Emma Trelles Seeks Your Poems...

...if you are a Cuban American writer living in the United States.

Emma Trelles, a South Florida poet and arts writer for the Sun Sentinel, is guest editing a special edition of MiPoesias.

The issue is slated to launch, online, in the spring of 2008. She is asking prospective contributors to submit 5-7 poems, though you may want to clarify if there is a page limit.

E-mail submissions to: mipoesias@earthlink.net

In the words of her call, MiPo is "interested in contemporary, well-crafted verse that reflects today's hyphen-American culture and concerns. [They] seek modern voices and fresh perspectives."

Deadline for submission is December 15, 2007.

To view the complete call, visit MiPo's submission page, here.

For what it's worth, they did a great job with their Asian American issue, guest-edited by Nick Carbo.

Rosa Alcalá at MiPo

MiPo as in Mipoesias, the online journal published by Didi Menendez---one of several projects she is behind: all with a sharp eye for, one might argue, the future (if it's not already here) of poetry publishing. Her projects, coupled with Charles Bernstein's PennSound and the Poetry Foundation's website are among the most ambitious online efforts at promoting verse. Wait. Add John Tranter's Jacket to complete an eclectic foursome.

The focus of tonight's brief entry from a lounge at SFO as I get ready to catch a red eye back to the heartland ("la América profunda" is what a friend in Spain calls it, teasing), is to direct readers to Rosa Alcalá's interview and poems here.

5th Annual Latino Writers Conference

I'd been seeing ads for this conference in Poets&Writers and other publications over the years. The things I'd heard about it were mixed--that it wasn't really worth going if you were a poet; that it was for writers who were interested in becoming the "Latina version of Terry McMillan" (author of Waiting to Exhale and How Stella Got Her Groove Back). Part of this view, I suspect, is fueled by the fact that agents, the presence of them, is something the conference publicity really underscores. In other words, the conference seems to be about promoting commercial success and, only by accident, good writing and literature. This may be the reason why this conference was not on the poet Raina Leon's radar, according a her post on May 22nd, a few days ago.

One of the reasons I went was because I wanted to meet Pat Mora. And I wanted to hear Jose Montoya. Which brings me to something of a paradox. How does a conference that has the reputation of being mostly about commercial success in fiction invite a classic Chicano poet as its keynote speaker? I don't know the answer to that question, but for me it made the conference worth the trip. That, and meeting some good people---some I mentioned several days ago. I intend to write to Carlos Vasquez, the conference organizer, and suggest ways of introducing a small press element to the conference as an additional option to what is typically presented. It seems to me that if the conference has the vision to invite someone like Jose Montoya, it could also bring to light the rich tradition of small press publishing that exists in Chicano/Latino literature (think Lorna Dee Cervantes' Mango Press, Gary Soto's Chicano Chapbook Series, Carlos Cumpian's MARCH/Abrazo Press, Chusma House, who keeps Jose Montoya's work in print, etc). Part of what I like to convey whenever I'm asked to give an informal presentation on Momotombo Press and small press publishing is that starting modestly and local is a viable option, especially for poets, but also for fiction writers. The feedback has always been positive. This last semester I gave a presentation to Cornelius Eady's class and his students, as a result of my talk, produced some really cool chapbooks of their own work! It's an ethos I learned from a number of people, including Sandra McPherson who started Swan Scythe Press (publishers of Emmy Perez and John Olivares Espinoza) and the two Garys: Gary Soto and his defunct Chicano Chapbook Series, and Gary Snyder at UC Davis, who shared extensively his experience with small press publishing when he was starting out.

Back to the conference: I did, in the end, witness that a community of writers WAS forged over the course of the time spent at the National Hispanic Cultural Center. I had the opportunity to interact at length with Aaron Morales, who has been teaching Momotombo Press titles at Indiana State University and invited Paul Martinez Pompa to visit his class. Aaron is a talented fiction writer who has gotten support from the likes of Dagoberto Gilb and Luis Alberto Urrea. This was his second time at the conference and he has gotten something positive out of it both times. We'd been corresponding by e-mail for the last year and I didn't know he was going to be there. He introduced himself and we hit it off and Momotombo Press is going to publish him, at some point. On my last night there, I had a nice conversation with agent Stefanie Von Borstel, who lives in San Diego and is going to be at Macondo later this summer. And I met Malin Alegria, whose two-book deal for her YA books was forged at this conference. La Bloga recently reviewed her latest book, which she wrote while living near the border in Baja California. She is also from San Francisco's Mission District, as am I.

And lastly, the poet Ben Saenz, who I didn't know, introduced himself to me and we had a very nice talk which, I think, may produce some fruitful collaboration. In the end, though, doesn't any conference of this nature---whether you consider it worth your time or not---depend on what your aims are, and how much effort you put into making meaningful human connections?

I went with little expectations. I wasn't disappointed. I may very well return.

The Gift of Galatea

Last year Barbara Jane Reyes graciously agreed to be interviewed for Letras Latinas' Oral History Project. (Joyelle McSweeney had invited her to perform at "Chloe's Cabaret", a series we co-curated this past academic year with Cornelius Eady at Notre Dame's Performing Arts Center; our first season concluded on April 19th with Victor Hernández Cruz). During the interview, I believe, she mentioned the name Eileen Tabios. The name stuck.

Two days ago, Craig Perez, with whom I've exchanged some engaging e-mails these last few weeks, recommended I have a look at Galatea Ressurects, which is edited by Eileen Tabios.

Here is her Editor's Introduction in issue number 1. Reading it reaffirms my resolve to take a crack at Latino Poetry Review, the online journal Letras Latinas will be launching early next year, and after which this blog is currently named.

I know I know: I've arrived to this party over a year late!

Better late than not at all.

Thank you, Eileen. I love that you are in the Bay Area---my home.

Escuchando a Jose Montoya (2)

When Jose Montoya moved to California, he eventually became an art teacher at Sacramento State. In his remarks in New Mexico the other night he said he relished his role as an educator. One of his projects involved asking his Chicano/a students--this would have been in the late 60s/early 70s--to bring in photographs of their parents. A photography exhibit was curated, one which displayed photographs of Mexican Americans in the 40s, photographs that foregrounded and celebrated the pachuco aesthetic. Montoya shared with us that the response to the exhibit was mixed--that there were some on the academic and cultural left who lamented that he was perpetuating certain stereotypes. But his position, as he articulated it, was well thought out.

As I was listening to him deliver his remarks, it occurred to me that I had never heard "El Louie" read/performed by anyone, let alone its author. I had IN FORMATION with me so I could read along as he performed his poem. I was not disappointed. His style was deliberate, measured, not too fast, seemed to honor his line breaks; all the while he varied his voice when direct speech entered. It was the performance of a master. If I had permission I'd reprint the whole poem here, but I'll share a few stanzas where the speaker describes the main character, first towards the end of his life, and then recalling better days:

Kind of slim and drawn,
There toward the end
Aging fast from too much
Booze y la vida dura. But
Class to the end.

In Sanjo you'd see him
Spotting a dark topcoat
Playing in his fantasy
The role of Bogart, Cagney
and Raft.

I mentioned "direct speech." "El Louie" is a poem that is brilliant in the way it incorporates it. Here is a passage that leads to a briefer passage of it (idiomatic direct speech), but also ilustrates why Jose Montoya is a master code-switcher, and with this I'll end [apologies for not knowing how to reproduce the inverted exclamation point, and an accent mark]:

But we had Louie, and the
Palomar, el boogie, los
Mambos y cuatro suspiros
Del alma y nunca faltaba
That familiar, gut-shrinking,
Love-splitting, asshole-up-
Tight, bad news--

Trucha, esos! Va 'ver
Pedo!
Abusao, ese!
Get Louie!

Escuchando a Jose Montoya (1)

I do not recall when the poem "El Louie" entered my consciousness.

But somehow it did. It my own private pantheon, the poem came to occupy a place that seemed to announce: This is a seminal poem in the history of Chicano/Latino poetry. It's a poem I have read perhaps half a dozen times over the years from Chusma House's IN FORMATION: 20 Years Of Joda. It has always seemed a masterpiece to me, but it's a claim I make from a visceral place, which may have to do with my relationship to the Spanish language. The New York Times, in a blurb on the back of IN FORMATION, said this:

"When Latino writers like Jose Montoya overcome the need to explain themselves to people who do not understand Spanish or use code-switching to energize and enrich their work , the result can be electrifying."

I read that and wonder who wrote it, what book is being reviewed and what year. In any case, it's remarkable to me that The New York Times would give the time of day to a poet like Jose Montoya. But there you have it.

One of the things that I liked about last night's event is that Jose Montoya and his person and his story and his work were being honored before a sizable audience that included, from my unscientific observations, many people who I suspect don't read much poetry. This particular writers conference (which I'll comment on another time soon) privileges, in my view, prose. And yet the keynote speaker of the whole affair was a poet.

Jose Montoya gave this wonderful informal chronicle of a talk laced with anecdote and humor that contextualized how his poetry came to be, and then he read two poems: "El Louie" (from 1969) and "Portfolio Pachuco" (from 1990).

I write these lines as I prepare to leave Albuquerque. I will continue later. I'll end by saying that anyone who has aspirations of getting a grasp of the history and breadth of Chicano/Latino poetry must own (it's still in print; I bought another copy) IN FORMATION (Chusma House, 1992).

POETAS Y PINTORES: Night of Connections

[While I still learn how to properly link—ie, I haven’t yet—clicking above will take you to poetasypintores.com]

Last night’s opening reception (and dinner afterwards) was one of the most satisfying, where this exhibit is concerned. It may have to do with the fact that from here on out, it’s all gravy given that this is the exhibit’s sixth stop. I almost didn’t come to New Mexico for this one because of my demanding travel schedule this month. But I’m glad I did. My thanks to María Meléndez and Carlos Vasquez at NHCC for making this happen. María did a wonderful job at the reception last night explaining how the dialogue between artists and poetic texts unfolded. Pat Mora read “Mangos y limones”, and Maria Elena Macias then commented on her interaction with that poem.

It was a delight to finally meet and interact with Pat, who has been such a generous supporter and cordial e-mail correspondent over the years. She was here for the 5th Annual Latino Writers Conference. Joining Maria Elena, who created “Rompiendo Esquemas”—inspired by “Mangos y limones”—, was Peter Dabrowski, a music conductor and Assistant Dean at UT Pan American. Maria Elena teaches art at UT Pan American, and is also a curator at an art space (I’m forgetting the name) in nearby McAllen. Our first flurry of conversation was about UT Pan American’s new MFA Program in Creative Writing, where Emmy Pérez teaches. It was clear, from talking to them, that Emmy has been a wonderful addition to UT Pan American’s community. By evening’s end we all agreed Poetas y Pintores needed to travel to south Texas. And given that Emmy is in the exhibit, along with Maria Elena, all agreed this a no-brainer. It was evident that we have a very strong ally and advocate in Peter and his Assistant Dean-ship so I’m optimistic this will happen, at some point. There was also talk of a reading for The Wind Shifts, which Emmy and I had already been scheming. It seems more possible than ever, now.

Also present at the opening (and dinner afterwards) was the Director of University of Arizona Press, Christine Szuter, who was filling in for Patti Hartmann at the Latino Writers Conference. I sat across from her at dinner, and beside Pat Mora and we had a very engaging conversation about literature and publishing. It looks likes Poetas y Pintores may travel to the University of Arizona, at some point, as well. Maria Meléndez has a theory: once people experience the exhibit in person, as Peter and Christine did last night, it’s an easier sell as far persuading someone to want to take it on. Before making this trip down to New Mexico, my mind set was that Poetas y Pintores was winding down. Now I’m not so sure. It’s going to be on display in Albuquerque till August 17 so it may very well get a second wind.

Kathleen de Azevedo, one of the invited writers for the conference, and who is author of the novel Samba Dreamers (University of Arizona Press), was at dinner, too. She lives in San Francisco and teaches at Skyline College. One of the interesting sidebars of last night (at our end of the table) was the role of Brazil and the Brazilian in “latinidad.” It gave me occasion to mention my experience of publishing Lisa Gonzales’ Arroyo with Momotombo Press. Pat had an interesting perspective on this “debate” and came out expressing, in the end, her inclination for more and not less inclusivity.

Michelle Otero, author of Malinche’s Daughter (Momotombo Press) was at the reception and dinner afterwards, as well. [Newsflash: Malinche’s Daughter has pretty much SOLD OUT. That is: Michelle has worked so hard at promoting and selling and doing readings that the 1000 print run has been exhausted in about one year—a record for Momotombo Press.] MFA candidate from New Mexico State University, Melanie [not remembering her last name], who writes fiction, was also present. She reported that Chicana poet Carolina Monsivais graduated from NMSU’s MFA program last weekend. Congratulations, Caro!

*

Finally, on the Poetry Foundation website, under “live readings”:

May 18-19, 2007 : Ojai, CA

Gary Snyder, Sherman Alexie, Maria Melendez, and Sandra Alcosser. Ojai Poetry Festival Snyder (Back on the Fire), Alexie (Dangerous Astronomy), Melendez (How Long She’ll Last in This World), and Alcosser (Except by Nature) offer readings and discussions in Ojai, home to Tim Burton and Ted Danson.

PALABRA PURA recap from Albuqueqrue

One of the hallmarks of PALABRA PURA is its pre-reading dinner. In addition to inviting a visiting poet to perform for a Chicago audience, we host a meal at a local restaurant—usually at Lula—with invited guests, starting with the Chicago poet our out-of-town artist will be sharing the stage with. Those present at the dinner usually include Guild Executive Director (and fiction writer) Ellen Wadey, Guild board member and poet Mike Puican, and poet Mary Hawley. The four of us form the PALABRA PURA steering committee. Attendance at these dinners fluctuates from as few as the steering committee and the out-town-poet to the steering committee, both featured poets and two or three additional guests. When María Meléndez and Carlos Cumpian read for PALABRA PURA during its first season, for example, special guest included poet Carl Marcum, who lives in Chicago and teaches at DePaul. When Victor Hernández Cruz read last month, special guests included Achy Obejas, the Cuban-born writer, Stephen Young of the Poetry Foundation, and Lisa Alvarado, Chicago writer and performer.

The idea is this: we want poets who read for PALABRA PURA to have as pleasant an experience as possible. Because we are not in a position to offer large honoraria, we try and make up for it in other ways. And one of those ways is to create opportunities for meaningful connection and dialogue. Last night was no exception. In some ways, the steering committee was spoiled in that we had Lisa to ourselves. Among the things she shared was her experience at the National Hispanic Cultural Center in Albuquerque, where she performed her work (to where I was flying the next day). We also learned more about the circumstances that led her to become a regular contributor to La Bloga. She hopes to increase Latino GLBT visibility in that space, for example.

After dinner we head to the California Clipper, the bar that graciously hosts PALABRA PURA. The inside décor reminds one—with its throwback red booths and dimmed lights—of a speakeasy from another era. Our readings take place in the backroom, which is presided over by a painting of a reclining nude that reminds one of Goya’s famous La maja desnuda. Last night Gregorio Gomez was already present at the bar of the Clipper with who I took to be a modest entourage of his enthusiasts. Like my experience with ACENTOS in the Bronx, the evening sort of eases into itself. When we’re ready to begin, our MC, the poet Johanny Vasquez Paz (author of the recently released Streetwise Poems with Mayapple Press), gets things started by introducing the open mic readers, who include this time a public school teacher who recites two poems from memory, including one where he deploys with success the repetition of the word: “Chicago.” Johanny later gives a more-personal-than-usual introduction of Gregorio Gomez, who is originally from Veracruz and has been part of the Chicago open mic poetry scene for some twenty years and runs one of the longest-running series called Weeds. The highlight of his reading, in my view, is the encore his fans demand: he recites from memory his poem “The City” which he half chants, as if praying aloud. I notice that there are people in the audience who seem to know the poem by heart and are almost reciting parts of it with him. In short, it was one of the evening’s highlights.

Lisa Alvarado, for her part, has that rare knack, where poetry readings are concerned, of being able to connect with an audience in an indelible way. It’s a combination of humility, humor and knowing just the right dose of pre-poem commentary. She had given me The Housekeeper’s Diary back in March, but I had not really had the opportunity to engage with it until last night. I brought it and read along while she performed. She’s a wonderful reader and, I would say, had the audience in the palm of her hand. She then read from a mixed genre piece about her mother who, it seems, had been a model in her youth. A moving, heartfelt piece. All in all, it was one of PALABRA PURA’s best installments.

I finish up these comments in Albuquerque, where I’ve just returned from a memorable group dinner following the opening reception of Poetas y Pintores at the National Hispanic Cultural Center. More tomorrow.

I’m looking forward to hearing José Montoya read his poetry.

Dinner

by Lisa Alvarado

A mandala.
The wheel of life
on blue and yellow salad plates.
I arrange asparagus
spoke by spoke,
anointing them
with sacred oil;
extra virgin,
green
like my hope.
I want so much to please you.
So delicate; my effort
is excruciating.
I have never caressed a lover
as tenderly as I rub
thyme
rosemary
garlic
into the chicken
you will eat over conversation.
You will not think of me.
I am a whisper
a shadow.
Silently,
I slip in and out of rooms;
bearing gifts
you only see as a meal.
Dessert arrives.
Poached pears
blushing like a maiden;
surrounded
by sauces, candied flowers.
You say it is too pretty to eat.
But all I offer is consumable.
My skill
my craft,
all perishable;
to be created each day.
I am Sisyphus
loading the dishwasher,
only to do the same
tomorrow.


from THE HOUSE KEEPER'S DIARY (La Onda Negra Press)

performed for PALABRA PURA

at the California Clipper on May 16, 2007

Posted with permission of the author

Click here: Lisa Alvarado at PALABRA PURA

These are baby steps indeed: I don't know how to insert links in the body of a post they way most bloggers do! Hence the post title above. Can anyone recommend a place where I might find a tutorial on how to do this? Is there a "Blogging for Dummies"?

I take the train to Chicago tomorrow for my monthly trek to PALABRA PURA. Lisa Alvarado, who blogs for La Bloga on Thursdays, sent me a series of interview questions on PP, which I returned to her earlier today. As it turns out, she graciously agreed to read for PALABRA PURA on very short notice after our slated "visiting poet" for May had to cancel. I met Lisa for the first time at the Martin Espada reading in Chicago back in March, sponsored by the Poetry Foundation. The evening continued afterwards at The Drake for dinner with Espada and invited guests. PALABRA PURA invited Lisa to the pre-reading dinner for Victor Hernandez Cruz on April 18. In short, she has become a generous ally and supporter.

Lisa is the author of The Housekeeper's Diary, a chapbook of poems with accompanying black and white photography (Robin Barcus) published by La Onda Negra Press. Lisa will be joined by Gregorio Gomez. Again, to learn more, please click on the title of this post. And it goes without saying that if you know anyone in Chicago, pass this information along.

"Latino Poetry Review"(???)

Eduardo C. Corral asked me, a little while ago, for more info on "Latino Poetry Review." He recently mentioned (Thank you, Eduardo) "Latino Poetry Review" as the blog of Letras Latinas, the unit I direct at the ILS at ND. But I haven't really addressed what LPR will be, exactly. When I started this weblog, I made reference to an online journal with a projected launch date of January 2008. Calling Letras Latinas' weblog "Latino Poetry Review", then, is my attempt at advance publicity. When Latino Poetry Review (LPR) is officially launched early next year, the name of this weblog may very well change, but its function will remain: to act as the weblog of Letras Latinas, which, if one glances over at the menu on the right, is made up of a number of initiatives. At some point, I'll post Letras Latinas' mission statement here.

Latino Poetry Review is a response:

Imagine, if you will, that you suscribed, four years ago, to a certain journal--a monthly journal that publishes both poetry and prose. The journal in question reviews, on average, ten volumes of poetry per month. At ten volumes a month, over twelve months: that's 120 books a year. 120 books a year over a four-year period equals, roughly: 480 books of poetry reviewed. Imagine that the editor of this journal, in a piece of prose that discussed the journal's book reviewing policy, stated that the journal aims to review "a range of books." Imagine this journal touts itself as among the most important and most visible publishers of poetry in the United States.

What does it mean that said journal has not published a single review of a book by a Latino or Latina poet? Think, for a moment, which Latino and Latina poets have published books since the Fall of 2003. Try: poets who have been winners of the Guggenheim Fellowship, the NEA Fellowship, the Lila Wallace/Readers Digest Fellowshop; finalist for the National Book Award, finalist for the Pulitzer Prize, finalist for the Griffin International Poetry Prize; poets who have published in the most mainstream journals (except this one).

What does it mean that none of these poets have garnered a single line of criticism in four years?

I am no longer interested in fathoming an answer to this question.

And so:

Latino Poetry Review will commission writers, Latino and non-Latino alike, to write thoughtful engaging prose, whether in the form of the book review, or the essay, on Latino poetry--books and works whose authors happen to be Latino or Latina. And Latino Poetry Review will commission and publish interviews. I have been thinking about this project for well over a year, but could not move forward until THE WIND SHIFTS was completed. I began laying the groundwork months ago. LPR will have an advisory board. So far, two people have agreed to be on it and I hope to enlist two or three more. A handful of reviewers have signed on. I hope to sign on more.

I will be editing Latino Poetry Review (LPR) from Washington, D.C.

NYC Recap: ACENTOS

Hats off to Rich Villar for a very special series he has in the South Bronx. As I mentioned to those in attendence, I was especially moved by the Open Mic and its very supportive atmosphere. It's one of the areas we're still working to improve at PALABRA PURA in Chicago. The performance space at the Buckner Bar & Grill couldn't be better---great sound system, great lighting.
One of the highlights of the evening was getting to meet, afterwards, Aracelis Girmay and John Murillo. Aracelis' first book, TEETH, is coming out with Curbstone in June and I'd like to get her to Chicago in 2008 for PALABRA PURA. John read a great poem at the Open Mic, and introduced me to his mother afterwards. John's a Cave Canem Fellow and I shared with him news of an initiative that's in the works between the Andrés Montoya Poetry Prize and the Cave Canem Prize--something I'll talk about more on this weblog at some point. It was also inspiring to meet Jaime El Maestro, a local poet and poetry supporter who comes to all the Acentos readings, and who has started a series of his own in Manhattan in El Barrio. And finally, it was great seeing fellow Macondista and poet Renato Rosaldo. Renato and I had a great visit while riding the subway back down to Union Square.

Aside from my reading, other highlights were breaking bread with poet Diana Marie Delgado on Monday for lunch up near 125th, dinner with Fence Editor and Momotombo Press designer Charles Valle on Monday night at a great Thai place in the Village, and lunch with Charles Bernstein on the Upper West Side on Tuesday. He's been out to Notre Dame a couple of times in the last few years and he's been very supportive of Letras Latinas. I arranged to meet him to seek his advice on things to do with the web and online publishing as I continue to lay the groundwork for Latino Poetry Review.

Finally, I was able to navigate my way up to 138th and 3rd Avenue and was sorry that Steven Cordova wasn't able to join me on this trek. But I think I'd be able to find my way up to Acentos on my own and will make it point to attend again when I can.

The Time Factor

One of the things I've often asked myself while reading this or that blog is: When do they (the bloggers) find the time to do this? One of the conclusions I think I have come to regarding this space is this: it will be a virtual archive of Letras Latinas--that is, if for no one's record but my own, it might very well be useful to chronicle those things that, at some point in the future, might serve as a record of what Letras Latinas was.

I submitted today the "Final Descriptive Report" to the National Endowment for the Arts for "POETAS Y PINTORES: Artists Conversing with Verse". I had tried to get an extension in order to include materials about the exhibit's next stop, but was told that since it fell outside the official grant period (2005/2006), my request was denied.

But for the record, for my record:

POETAS Y PINTORES opens next Thursday at the National Hispanic Cultural Center in Albuquerque, NM and the opening reception coincides with the first day of the 5th Annual Latino Writers Conference. Maria Melendez and I will be joined by poets Valerie Martinez and Pat Mora, and the artist who was inspired by Pat Mora: Maria Elena Macias. I'm looking forward to finally meeting Pat, who has been very supportive of many of Letras Latinas' projects. Poetas y Pintores will be on display for the better part of the summer until August 17. (If I knew how to imbed a live link to their website here, I would)

NYC Dispatch/Desde Nueva York (1)

The purpose of "Latino Poetry Review" is to serve, if you will, as the weblog of Letras Latinas--the literary program of the Institute for Latino Studies at the University of Notre Dame. Right now, suffice it to say that part of Letras Latinas' mission is to enhance the visibility and appreciation of Latino literature both on and off the campus of the University of Notre Dame.

Thus, this dispatch.

My four-day stint here originally centered around a reading I'm giving tomorrow night in the Bronx for ACENTOS, a reading series hosted by Rich Villar, who stepped in to curate after Oscar Bermeo moved to the west coast. I first learned of ACENTOS when I received an e-mail, out of the blue several months ago, by Villar asking for contact information for the poet, Steven Cordova. Rich wanted to invite Steven to read. When I went to the website to learn more about ACENTOS, it was gratifying to learn of its existence and mission. Right around that time Letras Latinas was in the midst of collaborating with the Guild Complex on PALABRA PURA. For more information on PP, stay tuned for an interview Lisa Alvarado is preparing for La Bloga.

I would like to think that ACENTOS and PALABRA PURA are siblings. My hope is that the spirit that sparked both of these initatives is replicated elsewhere--for reasons I won't dwell on right now. I'm grateful to Oscar and Rich for lighting this fuse.

Tonight, I had the pleasure of attending the latest installment of another series. Curated by Rigoberto Gonzalez, The Quetzal Quill, while not exclusively Chicano/Latino-focused, has featured Urayoán Noel, María Melendez, and Brenda Cárdenas--poets who have read in Chicago (or are slated to read) for PALABRA PURA, and who have read in the Bronx (or are slated to read) for ACENTOS.

The poets I had the pleasure of hearing last night were Cynthia Cruz and Ada Limón, who both read in PALABRA PURA's first season, and fiction writer, Manuel Munoz, who is promoting his new book, The Faith Healer of Olive Avenue. The reading took place at the Cornelia Street Café.

The Work of Maggie Rivas-Rodriguez

Maggie Rivas-Rodríguez is a professor of journalism at the University of Texas. She has recently taken to task PBS for a Ken Burns documentary on WW II which (suprise) rendered invisible the role of Latino/as (and Native Americans). The column (which you can read by clicking on the title of this post) where her efforts are highlighted appeared a few days ago. Why do I bring this up here? Because this case is emblematic of a trend in many disciplines, including poetry.

These are baby steps where this weblog is concerned. More later.

Letras Latinas weblog is born.

For the record, today I am meeting our web designer, graphic designer and publications manager to discuss Latino Poetry Review, an online journal slated to launch in early 2008. More to follow.