Wednesday, September 30, 2009

Poetics of Labor Reading Series: September 26, 2009

"Letras Latinas Presents"

poetry

in dialogue with




Diana García reads in the exhibit space

*

Without a doubt, the readings that took place at the Smithsonian's National Museum of American History last weekend were among the most satisifying I've had the privilege of being a part of---as an organizer. Hearing Diana and Quique perform their work in that space, and experiencing how their work dialogued with the exhibit around them was something I couldn't have fully anticipated. Diana read a new six-part poem that she had written specifically for the occasion, a piece she began writing several months ago when I extended the invitation. And Quique was an exemplary performer of his work. They complimented each other nicely.

In many respects, these readings were an experiment. We asked a lot of Diana and Quique. We asked them to perform four times in two days. On Saturday they read at 11 AM, and again at 2 PM. On Sunday they read at 12 noon, and again at 3 PM. Each session lasted 45 minutes. The idea was to make their poetry available to the casual museum visitor during those periods of time. So on the one hand we had people attending each reading who were specifically there to hear the poets (and see the exhibit); and we had people who stumbled upon the readings while viewing the exhibit, took a stool, and were taken in by the voices they heard. Diana sold copies of her book, When Living Was A Labor Camp (University of Arizona Press), which is always a gratifying outcome for a book-published poet. And Quique read from his artisan and lamentably out-of-print book, Immigrant Museum.

The photographs included here are from the first reading on Saturday morning. The session was video recorded and should be available---some version of it, perhaps edited---on the web at some point. My principal collaborator on this initiative was Magdalena Mieri, who directs the Program in Latino History and Culture at the museum, which is located on the Mall at 14th St. in Washington, D.C.

The exhibit itself  will be up until early January of 2010, and then it goes on the road all around the United States. Actually there are two copies of it that will be traveling to various venues. If someone can't physically make it to one of the exhibit's showings, it can be viewed, and listened to (there are audio oral histories) on the web.

Naomi Ayala and John Olivares Espinoza will be reading their work in the exhibit space on the weekend of December 5-6.



Tuesday, September 29, 2009

The Wind Shifts in Kansas City, MO: September 23, 2009

Photos courtesy of Latino Writers Collective member Xanath Caraza
*
Ben Furnish & Brenda Cárdenas
(below)





John Olivares Espinoza arranging his book
        
 
Before the reading

 
 Crosby Kemper III, CO of Kansas Public Library



El Público



 Linda Rodríguez

 
Brenda Cárdenas


John Olivares Espinoza



signing books



Linda Rodríguez, Mario Duarte, Gloria Martínez Adams, Ben Furnish



Brenda chats with a reader


After reading dinner



The group photo

Thursday, September 24, 2009

Where I Will Be Tomorrow at Noon:

NORTH-AMERICAN AUTHORS     TRANSLATING HISPANIC POETS
AT The LIBRARY of CONGRESS

 
In celebration of 450 years of U.S. Hispanic poetry
             
Hosted by: Dr. GEORGETTE DORN
Chief of the Hispanic Division of the Library of Congress.
 
Moderator:  Poet LUIS ALBERTO AMBROGGIO,
 Member of the North-American Academy of the Spanish Language.
 With the participation of the distinguished North American authors:
 
LORI MARIE CARLSON:  editor, translator, and novelist. Salient among her many publications is the landmark, award-winning collection, Cool Salsa. She is Lecturer in the Department of English at Duke University.

C.M. MAYO: novelist, fiction writer, poet. Founding editor of the bilingual publishing house Tameme.  Editor (and translator in part) of the anthology Mexico: A Traveler's Literary Companion.  Her translations of Mexican literary works  appear in several anthologies, including Best of Mexican Fiction,  New World / New Words, and Reversible Monuments  (Copper Canyon), one of the most important anthologies of contemporary Mexican poetry.


YVETTE NEISSER MORENO: poet and translator whose work has appeared in
numerous magazines and anthologies. Her translation of  poet Luis  Alberto Ambroggio's Difficult Beauty: Selected Poems was published by Cross-Cultural Communications in 2009. The Palestine-Israel Journal has published her critical work on (and translations of) Palestinian and Israeli poetry. Moreno teaches poetry translation at the Writer's Center in Bethesda, MD., and has taught poetry in public schools and libraries in Maryland, Virginia, and Washington, D.C.


STEVEN F. WHITE's work as a translator appears in Rubén Darío:  Selected Works, Poet in New York by Federico García Lorca, Seven Trees against the Dying Light by Pablo Antonio Cuadra, and The Angel of Rain  by Gastón Baquero. He has edited and translated bilingual anthologies of poetry from Nicaragua, Chile and Brazil. His most recent book of poetry is Bajo la palabra de las plantas: poesía selecta, 1979-2009.  He teaches at St. Lawrence University.

September 25, 2009 at 12:00 p.m.
The LIBRARY of CONGRESS
Pickford Theater. The James Madison Building, 3rd Floor
101 Independence Avenue, SE
Followed by a reception. R.S.V.P. Cynthia Acosta at (202)707-2013

Bittersweet Harvest: The Bracero Program/Poetics of Labor Reading Series




Diana Garcia,
visiting poet-in-resident
at Museum of American History
September 26 & 27




Quique Avilés
local poet-in-residence
at Museum of American History
September 26 & 27






 Bittersweet Harvest: The Bracero Program, 1942 - 1964

An exhibit at the Smithsonian's National Museum of American History

September 9, 2009 - January 3, 2010


 Through photographs and audio excerpts from oral histories, this exhibition will examine the experiences of bracero workers and their families while providing insight into Mexican American history and historical context to today's debates on guest worker programs. Begun in 1942 to fill labor shortages in agriculture and the railroads caused by World War II, the bracero program eventually became the largest guest worker program in U.S. history. Small farmers, large growers, and farm associations in California, Arizona, New Mexico, Texas, Arkansas, and 23 other states hired Mexican braceros to provide manpower during peak harvest and cultivation times.

By the time the program was canceled in 1964, an estimated 4.6 million contracts had been awarded. Bittersweet, the bracero experience tells a story of both exploitation and opportunity to earn money. The exhibition draws extensively from the Museum's collection of photographs taken by photojournalist Leonard Nadel in 1956, as well as oral histories, documents, and objects collected by the Bracero Oral History Project.

ALSO:

To celebrate Hispanic Heritage Month, the museum, in partnership with LETRAS LATINAS, the literary program of the Institute for Latino Studies at the University of Notre Dame, presents two poets who present selections from their works rooted in stories of migration, labor, and community.



 Diana Garcia 

Quique Avilés


Saturday, September 26 at 11 AM & 2 PM



Sunday, September 27 at 12 noon & 3 PM


at the Exhibition, 2nd Floor, West 




On the National Mall, 14th Street and Constitution Avenue, N.W., Washington, D.C.

      

Friday, September 18, 2009

Announcing: Up Jump the Boogie by John Murillo

FOR IMMEDIATE RELEASE:
Cypher Books will release Up Jump the Boogie by John Murillo, with a foreword by Martín Espada, on February 23, 2010 ($12.95, Paperback, 112 pages). Publication date: April 6, 2010.

Up Jump the Boogie is a series of lyrical dispatches from worlds hidden or denied. Murillo has survived every difficult scene in this book, transmuted each torn scrap of life into song with his skilled and compassionate alchemy. Meanings are woven from poem to poem as Murillo creates memories in his reader and then deftly evokes them, teaching her to feel what he has felt.

And his ambitions are no less than epic. He tells on one page of tragedy spanning continents and eras, and on the next plumbs the depths of personal loss, locking it all inextricably together in the 12-canto "Flowers for Etheridge," an ode to his poetic ur-father whose chant he carries on: "We free singers be." Murillo is a man who's been saved by poetry, and this is his book of rescue.
ADVANCE PRAISE
"Up jumps the boogie. That's almost all one needs to say. Murillo is headbreakingly brilliant. I didn't have a favorite poet for this year: Now I do. But with this kind of verve and intelligence and ferocity Murillo just might be a favorite for many years to come." – Junot Díaz

"The feel of now lives in John Murillo's
Up Jump the Boogie, but it's tempered by bows to the tradition of soulful music and oral poetry. The lived dimensions embodied in this collection say that here's an earned street knowledge and a measured intellectual inquiry that dare to live side by side, in one unique voice. The pages of Up Jump the Boogie breathe and sing; the tributes and cultural nods are heartfelt, and in these honest poems no one gets off the hook." – Yusef Komunyakaa


John Murillo is the current Jay C. and Ruth Halls Poetry Fellow at the Wisconsin Institute for Creative Writing. A graduate of New York University's MFA program in creative writing, he has also received fellowships from the New York Times, Cave Canem, and the Fine Arts Work Center in Provincetown, Massachussetts. He is a two-time Larry Neal Writers' Award winner and the inaugural Elma P. Stuckey Visiting Emerging Poet-in-Residence at Columbia College Chicago. His poetry has appeared in such publications as Callaloo, Court Green, Ploughshares, Ninth Letter, and the anthology Writing Self and Community: African-American Poetry After the Civil Rights Movement. Up Jump the Boogie is his first collection.

TITLE: UP JUMP THE BOOGIE
AUTHOR: John Murillo
PUBLICATION DATE: April 6, 2010
PRICE: $12.95, Paperback
PAGES: 112
ISBN: 978-0-9819131-4-8
DISTRIBUTOR: Small Press Distribution • 800-869-7553 • www.spdbooks.org
FOR MORE INFORMATION: www.cypherbooks.orginfo@cypherbooks.org

Tuesday, September 15, 2009

LATINO STUDIES: Past, Present, Future: An Academic Symposium: September 16, 2009


 The "context" from which I carry out my work as director of Letras Latinas is the Institute for Latino Studies (ILS) at the University of Notre Dame. The ILS was founded in 1999. I'm on campus this week because we are celebrating our ten year anniversary. I've been on board since the summer of 2003---a time when Letras Latinas and its various programs and initiatives did not yet exist. Even so, the field of Latino Studies was still a relatively young one, which continues to grow by leaps and bounds. Tomorrow we are holding a day-long symposium. What follows is the schedules, and the bios of the key visiting players.

September 16, 2009
9:00 AM -- 4:30 PM
Institute for Latino Studies
McKenna Hall
University of Notre Dame


9:00 AM   Welcome -- Gilberto Cárdneas, Director ILS


Moderator for the day: Rev. Daniel Groody, CSC


9:15 AM  Session I -- Historical View of Latino Studies
Panelists
Ramona Hernández -- The City College CUNY
José Limón -- University of Texas at Austin
Gilberto Cárdenas -- University of Notre Dame (discussant)


10:15   Break


10:30 AM Session II Where are we now in Latino Studies?
Panelists:
María Cristina García -- Cornell University
Alicia Gaspar de Alba - University of California Los Angeles
Silvio Torres-Salliant -- Syracuse University


11:45 AM  Lunch -- Keynote Speaker Rev. Virgilio Elizondo, Morris Inn Courtyard


1:30 PM  Session II -- Where to now?
Panelists
Arlene Davila -- New York University
Roberto Goizueta -- Boston College
Allert Brown-Gort -- University of Notre Dame (discussant)


2:30 PM   Break


2:45 PM   Session IV -- Synthesis of Presentations -- Timothy Matovina


3:00 PM   Conversation -- Response Presentations
Respondents:
Fr. Virgil Elizondo
Augustin Fuentes
Marisel Moreno-Anderson


4:30 PM   Reception, McKenna Hall Atrium


Visting Participants:


Arlene Dávila is a professor of anthropology and social and cultural analysis at New York University. Her works include Barrio Dreams: Puerto Ricans, Latinos and the Neoliberal City (University of California Press, 2004); Latinos Inc.: Marketing and the Making of a People (University of California Press, 2001); and Mambo Montage: The Latinization of New York, coedited with Agustín Lao (Columbia University Press, 2001). Her research focuses on Puerto Ricans in the eastern United States and Latinos nationwide. She is currently working on a collection of essays on the production and circulation of contemporary representation of Latinidad, examining current debates about the so-called “mainstreaming” and “republicanization” of US Latinos.

María Cristina García is professor of history and Latino studies and acting director of the American Studies Program at Cornell University. Her research and teaching interests revolve around the study of refugees and immigrants. Her first book, Havana USA, examines the migration of Cubans to south Florida after Fidel Castro took power in 1959. In 2006 she published Seeking Refuge, which examines Central American migration to Mexico, the United States, and Canada during the political upheaval of the 1980s and 1990s. She is currently working on a study of refugee policy in the United States since the end of the Cold War.

Alicia Gaspar de Alba is a writer/scholar/activist who uses prose, poetry, and theory for social change. She is a professor of Chicana/o studies and English at UCLA, where she also serves as chair of the César E. Chávez Department of Chicana and Chicano Studies. She has published eight books, among them the award-winning novels Sor Juana’s Second Dream (University of New Mexico Press, 1999), which was named Best Historical Fiction by the Latino Literary Hall of Fame in 2001, and Desert Blood: The Juárez Murders (Arte Público Press, 2005), which received both the Lambda Literary Foundation Award for Best Lesbian Mystery and the Latino Book Award for Best English-Language Mystery in 2005. Her most recent historical novel, Calligraphy of the Witch, was released by St. Martin’s Press in fall 2007.

Roberto S. Goizueta is the Margaret O’Brien Flatley Professor of Catholic Theology at Boston College. He is a former president of both the Catholic Theological Society of America and the Academy of Catholic Hispanic Theologians of the United States and holds honorary degrees from the University of San Francisco and Elms College. The National Catholic Reporter has named him one of the ten most influential Hispanic-American educators, pastors, and theologians. His most recent book, Christ Our Companion: Toward a Theological Aesthetics of Liberation, will be published in October by Orbis Books.

Ramona Hernández is director of the Dominican Studies Institute and professor of sociology at the City College of the City University of New York. Her research and publication interests include the mobility of workers from Latin America and the Caribbean; the socioeconomic conditions of Dominicans in the diaspora, particularly in the United States; and the restructuring of the world economy and its effects on working and poor people. She is the author of The Mobility fo Workers Under Advanced Capitalism: Domincan Migration to the United States (Columbia University Press, 2002), which received the title of Outstanding Academic Title from Choice in 2003, and coauthor of Dominican Americans (Greenwood Press, 1998).

Jose Limón serves as the Mody C. Boatright Professor of American and English Literature and professor of Mexican-American studies, American studies, and anthropology at the University of Texas at Austin. He is also  the director of the Center for Mexican-American Studies, which he co-founded in 1970. His academic interests include cultural relations, and folklore and popular culture. In addition to some thirty scholarly articles, he has authored three books. Mexican Ballads and Chicano Poems: History and Influence in Mexican-American Social Poetry (University of California Press, 1992) received an “Honorable Mention” award for the University of Chicago Folklore Prize for “distinguished contribution to folklore scholarship.”

Silvio Torres-Saillant is a professor in the English Department of Syracuse University. He completed two terms as director of the Latino-Latin American Studies Program and currently holds the William P. Tolley Distinguished Teaching Professorship in the Humanities. He is editor of the New World Studies Series at the University of Virginia Press as well as associate editor of Latino Studies, the quarterly journal published by Palgrave Macmillan. He formed part of the team of senior editors who worked on The Oxford Encyclopedia of Latinos and Latinas in the United States (2005). Among his many publications are An Intellectual History of the Caribbean (Palgrave Macmillan/Macmillan Caribbean, 2006) and Introduction to Dominican Blackness (CUNY Dominican Studies Institute, 1999).

Thursday, September 10, 2009

Interview with Rachel McKibbens


Rachel McKibbens
Photo courtesy of Peter Dressel
Originally uploaded by OBermeo
Rachel McKibbens was born in Anaheim, CA. She is a member and co-founder of the Right Coast Writers Brigade. Her poems have appeared in numerous journals and anthologies, including World Literature Today, The New York Quarterly and Bowery Women: Poems. Among other honors, she is a New York Foundation of the Arts Poetry Fellow, a Pushcart nominee, and the 2009 Women's Individual World Poetry Slam champion. She has read her work at universities, schools, galleries and various other venues across the nation. She teaches poetry and creative writing across the country at all levels. An ex-punk rock chola with five children, she lives in upstate New York with writer Jacob Rakovan and four of their children.

Her first book of poetry, Pink Elephant, will be published by Cypher Books this fall.
Oscar Bermeo: You are one of the most respected and successful poets in Slam Poetry and a sought after workshop facilitator in poetry and performance. So why the need for book publication?

Rachel McKibbens: That question is bizarre, son! I have never considered myself a “successful” slam poet. The one time I won anything (the Women of the World Poetry Slam) was by accident. You can ask anyone who was in that audience. So, the closeted jock in me got a little mad about it, too, because it was the most unprepared I have ever been for a competition; I hadn't read in public in over seven months. I had no clue if anything I'd written was accessible. I felt like winning that slam after eight years of competing on phenomenal teams (and never winning) was a sort of condolence prize. Like Scorsese winning his first Oscar for that shitty Departed movie instead of Taxi Driver or Goodfellas.

I love teaching writing workshops. It's totally selfish because I learn much more from the students than they probably do out of me. What's wild is (and I didn't realize this until the last workshop I led,) I have NEVER attended a real-live writing workshop. I moved to New York six years ago and dove right into facilitating. In between that, reading poems all over the place and raising all these younglings, I completely forgot about putting time aside to, oh I dunno, brush my hair or go to a workshop.

Sometimes I'll tell my classes, “Writing is a lot like sex. You won't have any fun unless you're willing to switch positions.” Slam is fun. Teaching is fun. But it'd suck if I only limited myself to those mediums. Having Pink Elephant published is still very nerve-wracking to me. Last year, when I realized it was finally the book I wanted it to be, I considered burning it in some Santerian release ritual. I needed to just be done with it. It is the only place where several moments of my life have been given any acknowledgment. The Mexican in me felt wrapped by the family's tradition of tight knit silence, but everything else that I am (mother, daughter, sister, lover) won that inner crusade. My boo convinced me that letting it get published was a lot like sending my youngest to kindergarten. The whole “letting go as moving forward” cliché. I just shat a tiny Dr. Phil with that sentence.

OB: How did you and Cypher Books come together?

RM: Willie Perdomo approached me three years ago after a reading in New York, asking if I had a manuscript. At the time, all I had was this crazy-long word document loaded with every poem I'd ever written, in no particular order. An ambrosia salad of poetry. And that's what I sent him. I don't know if he actually read the thing, bless his heart, because I didn't hear from him until a year later. By then, I had gone through the word doc and attempted to steer it towards becoming a book. I sent him that version, but decided shortly after that everything I wrote was crap so I spent the next year avoiding him. When I moved to Rochester, he sent me a final email asking “what's up with Pink Elephant?” This time, the book was split into two separate manuscripts, and I had about fifteen new poems added to Pink Elephant from the 2008 NaPoWriMo challenge. I finally liked it. And so did Willie & his partner in crime, Lisa Simmons. They offered me a contract, and I got nervous all over again. Pink Elephant is such a personal book, I wasn't sure it was meant for public consumption. So much of the poems are small versions of amends, from myself, to myself. I worried whether the book would be relevant to anyone else but me. Luckily, Willie convinced me it could be, after a very long phone conversation where I tried to talk him out of publishing it. I made him promise, however, no accompanying CD. It could only be the written story, nothing else.

OB: After many years in New York City, you've relocated to Upstate New York, how has the move affected your writing? And what is the poetry community like in your new home?

RM: Moving upstate hasn't affected the content of my writing, but it certainly has affected the process. Leaving the city has allowed my bones to finally settle. I had no idea how long I'd kept my shoulders hiked up to my ears. The city squeezed me in every way: financially, creatively and spiritually. Having a large family in NYC is almost impossible unless you're a zillionaire. It's remarkable what a big backyard can do for parents who write; I can relax, now. I feel I have a lot more time to spend on a poem. There isn't that hurried churning sensation that the NYC poetry scene puts out. Even better, I can sit at my desk without a rat bumping into my ankles. Peace and quiet is rad.

The poetry scene in Rochester is interesting. Writers & Books have lots of writing workshops, but the poetry readings themselves are incredibly small and intimate and sometimes bizarre. No time limits on the mic. You can do or say whatever you want. It's well-behaved anarchy, for the most part, much like the series where I began my poetry adventures – Two Idiots Peddling Poetry in Orange, California. I've only been to a reading out here maybe three times. Getting on a mic isn't a top concern to me. It never has been. But it was expected of me, for a very long time, and I'm still an orphan-hearted people pleaser. So it's probably for the best that I've moved somewhere where nothing is expected of me.

OB: Folks are quick to label your poetry under a couple of different banners: slam, performance, confessional, Def Poetry, raw, dark, literary. How would you define your poetics?

RM: I don't think I can define my own poetics. My brain is all over the place. I'm writing sestinas about the female version of Pinnochio one day, then writing about the dead dog in my mother's refrigerator the next. All of the words in your question can describe at least one of my poems, but none of these words can cover them all. Plus, I'm funny. Not haha funny. But oh Lord funny counts, right? Hmmm. I guess you could say I'm the Jamie Foxx of poetry.

OB: Can you describe your poetic process? How does a Rachel McKibbens poem come together?

RM: I stand around in dark alleys, praying to get victimized. No good poem is bloodless. You have to have a really shitty life if you want to come up with something worthwhile to write. Lots of babydaddies and garage tats are a bonus. If you want to really knock 'em out of the park, I suggest having a mother who leaves you in a hot car with the windows rolled up while she plays bingo at the cult factory.

OB: What's the secret to good cupcake making? Is it in the batter or in the icing?

RM: Both. Always dash a little almond extract into your batter. It brings a new dimension of flavor to the cake and confuses the eater into believing that this new, unidentifiable taste means the baker pisses strands of solid gold. For frosting, always use real butter (even if the recipe allows shortening as a substitute) and don't be afraid to add a shot or two of sour cream once the confectioners sugar has been mixed in.

Rachel will be joined by Tara Betts, Jane Cassady, Bekah Dinnerstein, Erica Fabri, Benjamin Lear, Daniel McGinn, Jacob Rakovan, Samantha Thornhill and other guests to celebrate the publication of Pink Elephant at New York City's Bowery Poetry Club on October 29th.

For more information regarding Pink Elephant, please contact Cypher Books.

For writing exercises, sample poems, calendar of events and more insight into cupcake baking, visit Rachel's website: rachelmckibbens.com.

Tuesday, September 8, 2009

Alicia Gaspar de Alba & Orlando Ricardo Menes to read

[NOTE: Please click on the e-flyer below to enlarge]:

Biographical Sketches:

ALICIA GASPAR DE ALBA has published three novels (2007, 2005, 1999), two collections of poetry (2003, 1989), and one short story collection (1993). Her poetry and fiction have been anthologized in numerous publications. Alicia's books have won several writing awards. In 2005, Desert Blood: The Juárez Murders won the Lambda Literary Foundation Award for Best Lesbian Novel and the Latino Book Award for Best English-Language Mystery. Sor Juana's Second Dream was awarded the Latino Literary Hall of Fame Award for Best Historical Novel in 2001. And in 1994, she received the Rudolfo and Patricia Anaya "Premio Aztlán" for The Mystery of Survival and Other Stories. Alicia received a Massachusetts Artists Foundation Fellowship Award in poetry in 1989. Alicia Gaspar de Alba is Professor and Chair of the César E. Chávez Department of Chicana and Chicano Studies at UCLA.

ORLANDO RICARDO MENES’ poems have appeared in several prominent anthologies, as well as literary magazines like Ploughshares, The Antioch Review, Prairie Schooner, Shenandoah, Chelsea, Callaloo, Indiana Review, River Styx, Epoch, Spoon River Poetry Review, New Letters, Crab Orchard Review, and Green Mountains Review. Besides his own poems, he has published numerous translations of such poets as the Argentine Alfonsina Storni and the Cuban José Kozer. In this regard, My Heart Flooded with Water: Translations from the Poetry of Alfonsina Storni (Latin American Review Press, 2010) is forthcoming.  Menes’ third collection of poetry, Furia, was published in 2005 by Milkweed Editions. He is also the author of Rumba Atop the Stones, published in 2001 by Peepal Tree Press (Leeds, England), in edition to being the editor of Renaming Ecstasy: Latino Writings on the Sacred (Bilingual Press, 2004) and the forthcoming The Open Light: Poets from Notre Dame 1991-2008 (University of Notre Dame Press, 2010). Menes is an Associate Professor in the Department of English at the University of Notre Dame.

Monday, September 7, 2009

"LaChiPo": where new dialogues are unfolding....

[...]

On a more basic level, one must have a politically and economically viable identity in order to willingly lose it, to throw it to the wind. Those that say for aesthetic reasons that identity is dead, fragmented, or passé, often have a viable identity they do not need to worry about.  Being invisible or visible as a white male is quite different than being invisible or visible as a Chicano.  This invisibility itself speaks to a broader symptom in the poetics of the “new.” The invisibility of identity is a symptom of a broader ideological construction: that of the exclusion of Chicana/o voices in the broader cultural hierarchy.  This is not a categorical absolute. Rather, it is a fact of this particular moment in US culture.  The exclusion of a representative Chicana/o and Latina/o voices (Rodrigo Toscano, Lorna Dee Cervantes, and even Juan Felipe Herrera arguably fulfill the publication and aesthetic criteria ) in American Hybrid (and other such “avantist” anthologies) is symptomatic of this broader ideological exclusion and social disparity.

[...]

The historical result is what comes to be known as “official verse culture,” “the School of Quietude,” or simply “conservative” verse is in fact a nebulous space that can only be defined in the negative, by what it is not (as is the case for “avant” traditions).  More, because “innovative” poetics resist and reject any sense of singularity, the narrative lyric—a form with which many foundational Chicana/o poets identify due to its ability to affirm identity while also lineating that identity’s experience—is summarily rejected, as it smacks of old romanticism.  The result is a type of political hijacking on the avant-garde’s part.  On one hand, the American avant-garde aligns itself with the disenfranchised in that it too resists perceived dominant culture.  On the other hand, it rejects the very forms of representation by which “minority” poets largely speak. 

—J. Michael Martínez and Jordan Windholz

from “A Poetics of Suspicion: Chicano/a Poetry and the New (a dialogue)"  by J. Michael Martinez and Jordan Windholz

forthcoming in Puerto del Sol,

and recently posted as a file at “LaChiPo,” a new list-serve for Latino/a and Chicano/a poets, started by Carmen Giménez Smith.

Friday, September 4, 2009

"LETRAS LATINAS PRESENTS"

Letras Latinas' "bread and butter" is partnerships and collaboration.

Whether we provided artistic direction(curation), co-sponsorship funding, 
or logistical assistance, we are proud to present
our nationwide Fall 2009 season:


September 16

Juan Felipe Herrera

Jazz Showcase, 
Chicago, IL, 6 PM

Co-sponsors:
The Poetry Foundation, The Guild Complex (PALABRA PURA),
Rafael Cintron-Ortiz Latino Cultutal Center

***
September 17

“Sharing Our Stories, Sharing Our Poems”
Alicia Gaspar de Alba
Orlando Ricardo Menes

210 McKenna Hall
University of Notre Dame, 9:30 AM

Co-sponsor: Institute for Latino Studies, University of Notre Dame

***

September 21

Naomi Ayala
Carmen Calatayud
Dan Vera

George Mason University, 
Fairfax, VA 3 PM

Co-Sponsor: Fall Festival for the Book, 2009

 ***
September 23

“The Wind Shifts: New Latino Poetry ON TOUR”
Francisco Aragón
Brenda Cárdenas,
John Olivares Espinoza

Kansas City Public Library
Kansas City, MO, 6:30 PM

Co-sponsors:
Latino Writers Collective (“Cuarta Página”)

***

September 24

Paul Martínez Pompa
Jacob Saenz
-
Rafael Cintron-Ortiz Latino Cultutal Center
University of Illinois at Chicago, 1:30 PM

Co-sponsors:
Inter-University Program for Latino Research, University of Illinois at Chicago

***

October 7

Junot Díaz

DeBartolo Center for the Performing Arts
University of Notre Dame, 8 PM

Co-Sponsors:
Institute for Scholarship and the Liberal Arts, Office of the President, Institute for Latino Studies, Creative Writing Program, Kellog Institute, The Graduate School, The Fernández Fund, Department of Romance Languages

***

October 27

Paul Martínez Pompa

Estrella Negra
Chicago, IL 7:30 PM

Co-sponsors: Tianguis Books, The Guild Complex

***

October 29, 2009

“The Wind Shifts: New Latino Poetry ON TOUR”
Brenda Cárdenas
David Dominguez
Gina Franco 
Scott Inguito

Poet’s House
New York City, 8 PM

Panel discussion at 6:30 PM, featuring: Brenda Cárdenas, Gina Franco, Urayoán Noel, Rich Villar

Co-sponsors:
National Endowment for the Arts, The Guild Complex, Poet’s House, ACENTOS Foundation

***

November 18

Rita María Martínez
 Luis Tubens

Décima Musa
Chicago, IL 7:30 PM

Co-sponsors:
The Guild Complex (PALABRA PURA), Rafael Cintron-Ortiz Latino Cultutal Center

Wednesday, September 2, 2009

CALL FOR SUBMISSIONS: Please Circulate

(CALL FOR SUBMISSIONS)

Without Camels: A Caravan of Latino Writing

Caravan: A company of merchants, pilgrims, or others
who travel together . . . a troop of people going in company. . .
a company in motion . . . the traveling house of gypsies . . .

Quercus Review is putting together a special section of Latina and Latino imaginative writing—“Without Camels: A Caravan of Latino Writing”—for its 10th anniversary edition. The writer Fred Arroyo will help edit this section.

Jorge Louis Borges once suggested a caravan of imaginative writing that existed outside or without labels like “Latino.” Borges considered that what is authentic in literature cannot be limited by cultural, ethnic, or nationalistic markers. Borges tells us, “the first thing a falsifier, a tourist, an Arab Nationalist would do [in writing and trying to emphasize an “authentic” reality] is have a surfeit of camels, caravans of camels, on every page” (“The Argentine Writer and Tradition”). Latino writing springs from a rich tradition, and in its continuity and change there is a company of writers who are traveling together. This caravan is populated by diverse visions, aesthetics, experiences, and feelings that move outside and beyond labels. We want to capture this movement, this energia. And we want to see and hear and feel it in imaginative writings “without camels.” Caravan is also evoked to echo the song of the same name, which was written by the outstanding trombonist Juan Tizol (Puerto Rico, 1900-1984). Not actually a first, however, since the composition borrows or responds to Middle Eastern traditions. Those rhythms—that borrowing, mixing, and response—are also the caravan of imaginative writings by Latinos we want to share with a larger audience.


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Poetry:
Send 2-3 previously unpublished poems with cover letter and SASE. We do not accept simultaneous or electronic submissions of poetry. Please include a brief bio in your cover letter. We prefer poems that do not exceed 40 lines, though we will consider longer work.

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Fiction: Send previously unpublished stories with cover letter and SASE. Simultaneous submissions okay with notification upon acceptance elsewhere. Please include a brief bio in your cover letter. We consider fiction up to 7000 words. All work must be double-spaced, paginated, with your name included on each page.
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Please send submissions to

Fred Arroyo
Department of English
2505 University Avenue
Drake University
Des Moines, IA 50311

Or

Quercus Review
ATTN: Sam Pierstorff, Editor
Modesto Junior College
Department of English
435 College Ave.
Modesto, CA 95350

Please note: We will not read manuscripts that do not include an SASE (self-addressed, stamped envelope.) Please submit separately for each genre. Also, please include an email address and/or phone number in your cover letter.