FOR IMMEDIATE RELEASE: a new partnership

The Anderson Center
LETRAS LATINAS RESIDENCY FELLOWSHIP

Michelle Otero, of Albuquerque, New Mexico, is the inaugural recipient of the "Letras Latinas Residency Fellowship." She will receive $1,000 and be in residence for one month this June at the Anderson Center at Tower View in Red Wing, Minnesota. This annual distinction is the result of a new partnership between the literary program of the Institute for Latino Studies at the University of Notre Dame and the Anderson Center. The aim of the initiative is to identify and support a Latino or Latina writer who is working on a first full-length book, and for whom a one month writing residency would suppose a crucial boost in this endeavor. There is no application process.

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“In its ongoing efforts to make the Anderson Center as ethnically diverse as possible, I wish to say how delighted I am with our new partnership with the Institute of Latino Studies at the University of Notre Dame. This outgrowth of the "Midwestern Voices and Visions" project established in 2007 by the Alliance of Artist Communities with support from the Joyce Foundation in Chicago fits perfectly into the Center's overall mission and helps to underscore the Center's desire to nurture the work of emerging Latino
writers.”

—Robert Hedin, Executive Director
The Anderson Center at Tower View

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"I was fortunate in 2007 to win a travel grant to conduct research on La Malinche in Mexico. I worried, though, about losing momentum in the rhythm of daily life in the U.S. I am grateful to the Anderson Center and Letras Latinas for their gift of time and space to re-enter Mexico and to continue following La Malinche, not on foot, but with the soul, on paper."

—Michelle Otero
inaugural winner of the Letras Latinas Residency Fellowship

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Michelle Otero is the author of Malinche's Daughter (Momotombo Press, 2006), an essay collection based on her work with women survivors of domestic violence and sexual assault in Oaxaca, Mexico.

Her work has appeared or is forthcoming in Artful Dodge, Puerto del Sol, Upstreet, and Metamorfósis, a Spanish-language anthology published by the National Hispanic Cultural Center. She has attended workshops and residencies at Macondo and Hedgebrook and has been a featured artist at the Border Book Festival, the Festival of International Books and Arts, sponsored by the University of Texas – Pan American, and the Women in Creativity series, sponsored by the National Hispanic Cultural Center. Her awards include a Fulbright Fellowship, an Association of Writing Programs Intro Journal Award, and fellowships from the McCune Foundation and the Barbara Deming Memorial Fund.

Otero was also a featured artist at a special event in the Regis Philbin Studio Theatre at the DeBartolo Performing Arts Center (DPAC) at the University of Notre Dame in 2006, where she performed with fellow Momotombo Press authors Paul Martínez Pompa and Brenda Cárdenas.

She is a founding member of the Women Writers' Collective, an El Paso-based group that showcases the talents of women writers and artists while raising awareness of women's issues. In Albuquerque, she performs with Las Meganenas, a repertory theatre troupe that uses performance to raise awareness of issues facing Latinas, such as the destructive impact of globalization on the women of Ciudad Juárez, Mexico, where over four hundred women have been murdered since 1993.

Raised along the U.S.-Mexico border, she lives in Albuquerque, where she has been a Project Coordinator for Enlace Comunitario, a non-profit that provides support and services to Latina immigrant victims of domestic violence.

She is currently working on Vessels, a memoir of borders.

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Letras Latinas, the literary program of the Institute for Latino Studies, seeks to enhance the visibility, appreciation, and study of Latino literature both on and off the campus of the University of Notre Dame with a focus on projects that identify and support emerging Latino/a writers. Letras Latinas actively seeks collaboration with individuals and organizations in order to more effectively carry out its mission.

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Since 1995, the Anderson Center has served the artistic community and the citizens of Minnesota through artistic leadership, program development, and support. It is the mission of the Anderson Center to uphold the unique wealth of the arts in the region; to develop, foster, and promote the creation of works by artists of all kinds; and to provide leadership and services that help to insure a strong, healthy arts community and a greater recognition of the value of arts in society.

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for more information:
(202) 974-6281

Role(s) of a/an (Latin@) Editor

Lately I've been thinking about the role of an editor. It's a role I stepped into in the spring of 2000 when the idea for Momotombo Press began to take shape. How does one's role change (or not change) if one is a Latino or Latina editor, or if the journal, review, or book series one is editing is Latino@ specific, or not? Why would anyone want to be an editor, in the first place?

But what really prompted me to post today is something I just discovered---a year late: an editorial statement. It's penned by an editor for a journal I hold in very high regard for the ethos of its mission. I admire the way it articulates its focused area of interest and concern, but which at the same time creates a space for flexibility, exploration, and inquiry.

The statement is by Carmen Seda, who I've had the pleasure of meeting on a number of occasions. It begins:

Lately, we here at BorderSenses have been kicking around the concept of "border.".....

Have a read. Let us know---here or elsewhere---what you make of it.

cosas, momotombo interviews, a podcast

COSAS

I admire the discipline of diligent web loggers.
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Lest I get in trouble for quoting a poem in full without proper permission, here is the latter half of something. It's from a piece titled, "Missing Angels":

[...]
Remember we too migrated--
we once left our signatures on the sand
& on night
sliding through our fingers
like hourglass
And the memory of you
swearing an oath on a steel spike
then offering it deep to the earth & ocean
dead fish looking on

We promised we would not end like the others
forgetful of breeze
the smooth Caribbean relax
of conversation
the humanity of doing nothing

Soon you'll have to answer to the sand you swore
& the steel you swore
because it's possible they've hidden you
buried the script of you
the arching target of history: Yet
blood reaches home soon
Sand will eventually turn to bone
Wind will feel its flesh
Steel will give it body

& there is still music
more music
memorized in stone

from WISE FISH: TALES IN 6/8 TIME (Coffee House Press, 2005)
* by Adrian Castro

Many many months ago, when I mapped out PALABRA PURA's 2008 season, one of the things I wanted to do was invite poets whose work interested me, but who I hadn't had the pleasure of meeting.

One of those poets was Adrian Castro, whose work I was led to by Victor Hernández Cruz.

The irony is that I recently made the difficult decision to stay put and sit out tonight's reading in Chicago because my travel was taking its toll (I head out again on the 30th). So I'll have to rely on Lisa Alvarado to let me know how things go tonight at the California Clipper. On a related note, Latino Poetry Review (LPR) will be publishing a piece on Castro's work by Barabra Jane Reyes.
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And speaking of VHC, I was in the Strand in NYC back in mid April, wandering back to the poetry section, and there was Victor: crouched and scanning the shelf for first editions of Frank Lima. He found a volume he already had: Inventory, a New and Selected. So I got to buy it instead.

Contributing Editor of LPR, Urayoán Noel, will be putting something together on Lima for a future issue of LPR.
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One of my recuperated pleasures since my move from South Bend to the District last summer was the urban noontime stroll. Today, I took a generous one along M into Georgetown for a lunch meeting. On my way back I walked into a small bookstore. A friend had casually mentioned its existence, but I hadn't gone in till today. I handed over my bag, walked upstairs to check out the poetry section and was pleasantly taken aback:

While not rivaling, say, the selection one might find in the Poetry Room at City Lights in San Francisco, or the poetry section at the sadly defunct Cody's on Telegraph in Berkeley, or Black Oak Books on Shattuck in Berkeley, I was quite impressed for its range and aesthetic diversity. I only spent a moment, but it was enough to see that they carried titles, for example, by Rodrigo Toscano and Edwin Torres, and others. I ended up buying two volumes: one was a book published by Soft Skull Press in 1998 titled Intermission and which had an introduction that began:

Let's say, for the sake of argument, you are a lover of poetry. Why else would you be standing there in the poetry section of this bookstore? Your eyes happened to fall upon this book.
If you are a fan of Tracie Morris, as I am, then I don't really have to twist your arm now, do I?...

Cornelius Eady goes on to say:

If you are a stranger to her work, then I envy you, for you are about to experience the pleasure of discovery, a delight that seems all too rare in these cynical days

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The second book I bought was published in 2007 by Atelos, which is a press whose editors are Lyn Hejinian &Travis Ortiz

Here's how the first poem in the volume begins:

QUARK TRICK

decorative heart slap
chasing zephyr tail

wearing red for aerial diffusion
elusive illusion reached by ruin

how to render gesture
before its mess: prefection

how to gale on DNA
while still revered by extension

the whirligigged dog arrives
bowlegged in blue surrender

how to pierce insistent whelping
...

from The Popedology of an Ambient Language

* by Edwin Torres

And the name of the bookstore?

Google "Bridge Street Books" and check it out.

MOMOTOMBO INTERVIEWS

Eduardo C. Corral and Daniel A. Olivas have generously consented to have their interviews of Kevin A. González and Aaron Michael Morales, respectively, posted on Momotombo Press' website in the "Interviews" section. Have a peek at these latest Momotombo Press website updates. There are also e-interviews of previous Momotombo Press authors, as well as a special e-interview with Gary Soto on the subject of The Chicano Chapbook Series.

A PODCAST

I was exploring the web today and came upon a podcast I did not know existed: it is of a reading sponsored by The Poetry Foundation that took place at The Art Institute of Chicago on January 24, 2008. Linking it here is consistent with Letras Latinas' mission.

AIRE FRESCO: escuchando a un amigo,

colega,

aliado--

entrevistado

por

Terry

Gross

AQUI

"Poetics of Modesty": Javier O. Huerta

Javier might have to confirm or deny this memory: I think the first time I met him was at the Palmer House in Chicago the last time the AWP conference was held in Chicago. (What year was that?) It was at the first "Con Tinta" gathering before Con Tinta existed. In other words, a group of us decided to organize a little reception after a Chicana poets panel. We had Mexican food catered and delivered to my room. Someone (Emmy Pérez?) introduced me to Javier Huerta. He was a graduate student in UTEP's bilingual creative writing program, and he was also the poetry editor of the Rio Grande Review there. Does that sound right?

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The next time I saw him was during my first visit to El Paso---at a Barnes and Noble. Sheryl Luna and I were giving a reading there, and Javier introduced me (Richard Yanez introduced Sheryl). It was shortly after Puerta del Sol and Pity the Drowned Horses came out. I was generously hosted by Emmy Pérez and her husband Peter. That was a fun trip. I remember an excursion to Mesilla, and Cuidad Juárez. But I didn't really get to hang out with Javier. Lástima.

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And then I mostly remember how highly Emmy Pérez would always speak of him---he'd been her student at UTEP. And the next thing I know, Valerie Martínez is choosing his manuscript as the winner of the Chicano/Latino Literary Prize at UC Irvine---a few months before she'd choose Gabriel Gómez's (from El Paso) as the winner of the second Andrés Montoya Poetry Prize, which we announced that year at the Border Book Festival. So that would have been spring of 2006. And then I heard that he'd been accepted to do doctoral work in English at UC Berkeley. I thought, cool: a poet-critic.

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Javier Huerta was the last person I asked to be a contributing editor at Latino Poetry Review. He should have been the first. LPR is indebted to him for setting the standard for post-publication discussion. He, along with Miguel Murphy, also contributed to one of the most interesting pieces in the first issue: their e-conversation, Blood and Breath. Of the newer poets I've been observing these last few years, Javier's trajectory has been the most gratifying to watch.

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KUHF*FM, Houston's Public Radio station (NPR) is currently profiling him on their website with an interesting biographical sketch and radio interview to mark his selection as Arte Público Press' author of the month. I just got done listening to it.

CHECK IT OUT.

El Beisbol: Anticipando 5/5/08

This commentary was in my inbox. I thought I'd pass it along:

Keeping It Real

by Alex Montoya


My apologies to Nylce Myers, to whom I promised this commentary forever ago, pero no te precupes, amiga - it's not football related.

It was a year ago that I was fortunate enough to speak at the inaugural - and in that vein, historic - all-class reunion for Latino alumni at the University of Notre Dame.

Just a few weeks before doing so, my employer, the San Diego Padres, held our annual celebration of Mexico at beautiful PETCO Park - a fan promotion entitled ''Mexico Opening Night.'' It was my experiences from that night, which were repeated just last week, that shaped my talk then and my blog now.

In short, Mexico Opening Night (MON) is a welcome back to fans from south of the border each new baseball season. It's my job to liven up the ballpark with mariachis, folklorico dancers, food, and entertainment befitting of this festive occasion.

Padres fans, especially those from the South Bay and Tijuana parts of the region, love it. But not everyone shares their enthusiasm.

The mere thought that we would celebrate the Mexican culture, and in so doing raise the Mexican flag alongside the United States one for a night, drew the ire of some. I won't say many because although they were loud they were certainly a minority.

Still, the vocal minority had some lungs. Chief among them was a local conservative radio talk show host who urged baseball fans to boycott the game. The Padres, he seethed, were being unpatriotic and encouraging illegal immigration. He also encouraged listeners to protest outside the ballpark during that April evening's game.

The picketers never materialized but the publicity sure did. City and state news media caught wind of this burgeoning ''controversy'' and before long, everyone had heard that Padres-Dodgers was Mexico Opening Night and PETCO would be festooned in red, white, and green.

Some say any publicity is good publicity. You can draw your own conclusions. All I know is that night there were 41,000 attendees. PETCO Park holds just under 42,000.

Fast forward to a year later and again MON was held with the usual lively and proud atmosphere. There was no talking head espousing boycotts - maybe he grew weary of serving as an unpaid advertiser for us? - but there were definitely complaints from scores of patrons.

The Padres, as is their custom, patiently explained that Mexico is our neighbor and an important fan base. Baja Californians especially are passionate about beisbol and are loyal ballpark customers. To that end, U.S. military protocol dictates that it is acceptable to fly another country's flag alongside Old Glory as long as they are equal in height and length.

Most complainers did not want to hear these facts but they were indeed true. So was my point to the alumni gathered at Notre Dame: we must not be afraid to celebrate our culture and heritage.

For the Padres, it meant allowing the Mexican national anthem to be sung before the Star Spangled Banner. For you it might mean posting a picture of Cesar Chavez on your cubicle or saying some words in Spanish on your outgoing voicemail.

Where we raised the tri-colors on our flag court you might do so in your front yard or work desk. It's not the act that matters it's the spirit within.

Don't be afraid to express pride in your heritage, ancestry, and traditions. Celebrate the accomplishments and vigor that is your legacy.

These days, where anti-immigration sentiment is spread by hourly talk show hosts and Minutemen, we need to keep our culture alive.

That is our mission as Domers and Latinos.

Feliz Cinco de Mayo.