Tuesday, August 31, 2010

Gems that cross my desk: The Habit of Buenos Aires


A native of Argentina, and of Irish and Italian ancestry, Lorraine Healy's book arrived in the mail several weeks ago and I have been dipping into it ever since, in no particular order, and enjoying it very much. Her book is the 2009 winner of The Patricia Bibby Book Award---chosen by David St. John. The prize is administered and published by Tebot Bach, which is located in Huntington Beach, CA.

Tebot Bach and Lorraine Healy have graciously permitted Letras Latinas Blog to reproduce one of the poems I particularly enjoyed (see below).



A POEM BEFORE WE FACE THE BUSINESS OF DEATH



On Mondays across eight thousand miles,
you and I hash the weathers of the week,
sweet saucy lipsticked and storied, you tiny mother,
who carry the daily load of your panic with peaceful hands.
I take up the refusal of your cooking,
I notch each laugh
of yours on an invisible totem pole.
This is about looking at you and bowing with every breath.
This is about returning every one of your terrors, unwanted.
About your hatred of genealogy, when
you and I make one such thorough line.
You third girl, undesired, born after
the irreplaceable dead boy, the prodigal
who never came back from pneumonia and silence.
Your green eyes are turning the skyblue
that trumpets cataracts. The way, when I visit,
I pick up the small lint of things
that you no longer see. This is about your right
to cry to dubbed reruns of La Familia Ingalls,
the things that are sacred to you,
sacred to God, the male one,
and his winged minions. This is about you and me
living like newborns, small animals
who have known captivity and escaped. Over the phone
I hear the police sirens of our Buenos Aires
and I tell you about the robins crowding my woods.
I shall inherit every age spot of your arms,
all the yellow that time brands on your skin,
the silver peeking stubborn through your blonde hair,
you who leave such treasure. Open handed you go
to kiss the beggars and buy from the poorest peddler.
Despite the miles, I go behind you, touching
my forehead to the cobblestones you tread.

*
"Tebot Bach, Welsh for little teapot, is A Nonprofit Public Benefit Corporation which sponsors workshops, forums, lectures and publications."

"The Tebach Mission: Advancing Literacy, Strengthening Community, and transforming life experiences with the power of poetry through readings, workshops, and publications."

Friday, August 27, 2010

Word for Word & Letras Latinas: two readings

Paul Romero is doing great things in New York with his signature open-air reading series in Bryant Park. Letras Latinas had the pleasure of collaborating with the curation of two installments this summer. The line up on July 27th was curated entirely by Letras Latinas, and Letras Latinas had a hand in curating part of August 10th's line up.

What follows are the blog posts that covered these two events, both of which are gems in the genre. Thank you, Jason Schneiderman. Thank you, Anne Lovering Rounds.


Word for Word Poetry Blogs

We've tapped some very special guest bloggers to help us celebrate this summer's Word for Word Poetry series at Bryant Park. They'll provide a behind-the-scenes look at each event and divulge about the talented poets who share their work. Experience Word for Word Poetry yourself every Tuesday through September 14, from 7pm to 8:30pm, at the Bryant Park Reading Room. 

*
Jason Schneiderman on Word for Word Poetry, July 27, 2010

This week’s Word for Word Poetry Reading was in the Letras Latinas series, welcoming Latino authors to Bryant Park. Paul Romero welcomed the audience in Spanish and English, explaining that the readers had been selected with the help of Francisco Aragón, director of the University of Notre Dame Institute for Latino Studies. With the subject matter of the evening stretching over both of the American Continents, with specific visits to Texas, California, Argentina, and Indiana (thanks to UND), it was interesting to think about how Spanish and English exist in overlapping geographies, with Latino culture marked by Spanish, but here made visibile (audible?) in English. Of course, New York—a central node in world culture—is the perfect place for letting identity emerge without fetters or restrictions; Bryant Park’s podium was giving a stage to Latino poets bound by a common identity capacious enough to hold broad sections of humanity.



Ruth Irupé Sanabria was born in Argentina to dissident parents who were placed in Death Camps by the Pinochet government during Argentina’s “dirty war”. To her knowledge, her family is the only family to be completely re-united following the abductions. Many of the poems were about her family’s status as a cause celebre, with the Seattle Press covering her family’s reunion. A major concern of her poems was how to live with the knowledge of brutality, how to stay alive in its wake, on poems asking “or is it madness to rise again at the rim of violence.” A poem about a piñata highlighted the ways that violence is never far, even when sanitized or turned into play. My favorite line: “We didn’t know we were fragile on our way from one war to the next.” Sanabria expressed curiosity about the statue of William Earl Dodge, who stands guard over the Bryant Park Reading room. We learned that he was an advocate for Native American rights, although his successes were limited.

Read the rest of Jason's post (about Steven Cordova and Rachel McKibbens....HERE

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Anne Lovering Rounds on Word for Word Poetry, August 10

The three poets in the park’s Word for Word reading last Tuesday night were poets of shape-shifting.  As the evening unfolded, we heard poems speak English and speak Spanish, inhabit memory and confront the present, and move from the real to the surreal and back again.



Brenda Cárdenas, poet laureate of Milwaukee and author of the collection Boomerang, opened the reading with a travel poem, “On the Coast in Pedasi.” What began as evocative recollection turned into a meditation on migration as the poet observed a cloud of bees “swarm the plaza”: “Watch your step,” the poem told us, underscoring Cárdenas’s own keen powers of observation. “Someone,” inspired by a photo she had seen on the Lac du Flambeau Reservation in Wisconsin, addressed with terse grace the exchanges implicit in photography. Through subtle wordplay— the photographer “like the poet” with “no reservation,”  “nothing to trade / in upturned hands,” the subject who “will give the camera / his best shot”—this poem opened up the multiple, rich, and perturbing transactions of the portrait. Cárdenas has a wonderful ability to balance the contemplative with exuberant, acrobatic language. In “That Beehive ’Do,” she rhapsodized the hairstyle she had worn for a London performance piece (“That beehive ’do / B-52 / bombshell”), and in “Poema para lost tin-tun-teros,” an homage to drummers, Cárdenas let onomatopoeia work its own magic, without translation. The reminiscence “Me and My Cuz” easily wove together multiple voices into its own music, from “Santana blaring from the Bose” to allusions to an uncle’s advice to teenage tough chicks (“…escúchame bien, / don’t you ever let me catch you / take your change off the bar”). On both stage and page, Cárdenas’s voice is compelling for the way it is inclusive and effortless.

Read the rest of Anne's post, about John Murillo and Willie Perdomo........HERE.

Wednesday, August 25, 2010

An Interview with Michael Nava


Last April, during the AWP Conference in Denver, I had
the pleasure of having dinner with Michael Nava. As a native of San Francisco, I was especially interested to hear about his experience as a candidate for judge in San Francisco. I went away from that meeting with an eye towards eventually interviewing Nava for this blog.
For more information about his campaign and how you can
support his campaign, visit: http://navaforjudge.com/


FA: Francisco Aragón
MN: Michael Nava


FA:
Before I ask you to talk about your campaign, could you share with our readers how you came to the decision to want to run for election? Why do you want to be a judge? And can you comment on what you would bring to the bench, in addition to your experience in the legal profession?

MN:
I’ve been a lawyer for 28 years and in most of my jobs I’ve been the only Latino or the only gay person and certainly the only gay Latino.  My personal experience is illustrative of a greater problem in the legal profession, the lack of diversity.  In California, for example, 75% of the judges are white, 70% are male, and probably well over 90% are heterosexual.  This, despite the fact that racial and ethnic minorities are over 50% of the state’s population — Latinos alone are 36% — slightly over 50% of the population is female and the LGBT community is certainly larger than the percentage of gay and lesbian judges.  The court system is not a private system for dispute resolution — it is the third branch of government in a representative democracy.  Judges have enormous authority over the lives of individuals and, as interpreters of the law, a great impact of public policy.  Also, as every lawyer knows, judging is not the mechanical application of black letter law to particular circumstances.  Judges exercise discretion in countless ways, from deciding whether a piece of evidence should be admitted to whether the Constitution protects the interests of a particular minority group.  In my view, judges, then, should be drawn from the communities in which they exercise their authority.  In California, however, the Governor has essentially unbridled power to pick judges and we have had a series of Republican Governors largely unresponsive to the state’s changing demographics.  As a long-time advocate for a diverse judiciary, I tried to get appointed but, like so many other minority lawyers, my application got nowhere.  So I decided to run, and to run against precisely the kind of judge — straight, white, male Republican from a big law firm — who is overrepresented in the California courts.
            If elected, I will be the first openly gay judge of color.  But diversity is not just a matter of race, ethnicity or sexual orientation.  While many of the current judges of the court are drawn from private practice and/or narrow specialties, I have demonstrated a commitment to public service that spans my entire-career.  For example, I have been both a prosecutor and a criminal defense attorney; both a trial lawyer and an appellate lawyer.  As a judicial staff attorney at the Court of Appeal and the California Supreme Court, I have worked on legal issues of statewide significance in criminal, civil, juvenile and family law.  Diversity is also a matter of personal background because the exercise of judicial discretion is informed as much by a judge’s values and life history as his or her legal training.  I am the son of a teen-age mother, grandson of Mexican immigrants, raised in poverty, and the first in my family to be educated.  My personal history is similar to that life experience of many people who get enmeshed in the law — generally poor people, people of color, without the ability to understand or navigate the legal system — and I would bring a particular sensitivity to these litigants that would ensure that everyone who appeared before me would be treated with respect and would be given the opportunity to be heard.

FA:
The sense I have gotten, from following your campaign, and speaking with you in Denver, is that the experience of running for judge has been quite an education. What are some of things you have learned about the judiciary and judiciary politics, in particular, during these last several months?

MN:
The most powerful lesson I have drawn from the race is the extent of the insularity and arrogance of the legal establishment.  Lawyers seem to believe that the courts exist for their benefit and judges seem to think they are members of a private club, selected solely on the basis of their merits.  But the courts are public institutions that exist for the benefit of the people and judges are public officials, accountable to the people.  Moreover, the appointment system is as political and partisan as elections, but lacks the virtue of transparency.  Many judges were not appointed for their merit, but because of their political connections or their ideology.

FA:
San Francisco, as we know, is, for the most part, a liberal progressive city.Your opponent has been on the bench, I believe, less than two years, which isn't a long time. What can you tell San Francisco voters about your opponent that you think they should take into consideration when casting their vote in November?

          
MN:
My opponent was actually appointed last June, so he’s been on the bench slightly more than a year.  He exemplifies the kind of “establishment” choice — affluent, straight, white, male Republican, partner at a big law firm —that dominates California’s and San Francisco’s judiciary.  There is, of course, a place for judges with this background but not to the exclusion of lawyers from diverse backgrounds.  This is a message that resonates with the voters of San Francisco.   Given the chance, they vote for diversity.  For example, of the 9 gay or lesbian judges, six of them were elected rather than appointed.  The last Latino judge was also elected.  Indeed, I came in first in the June primary and would have won outright had there not been a third candidate. 

FA:
The most recent phase of your campaign has been your managing to retain the endorsement of the San Francisco Democratic Central Committee. It is my understanding that those who were spearheading efforts to have this endorsement rescinded are liberal members of legal establishment, not only in San Francisco but in California.Why would Democrats want the DCC to withdraw their endorsement and leave the Republican endorsement intact?

MN:
The unsuccessful attempt to have the San Francisco Democratic party rescind its endorsement was led by two judges, one a Democrat and the other a Republican.  What that demonstrates is that some judges have a completely unjustified sense of entitlement.  These judges never argued — nor could they — that I was not qualified.  Instead they argued that my opponent was qualified and, as such, there was no basis to challenge him.  They dismissed the point about diversity by claiming that San Francisco’s court is diverse enough (70% white, over 50% male, two Latino/a judges out of 51.)  To me, this was an example of a kind of paternalistic white liberalism that is all for the “downtrodden” as long the “liberals” get to decide the nature and timing of the assistance the “downtrodden” receive.  To that I say, Basta!  Our community doesn’t need the permission or approval of the white liberal establishment to assert its legitimate aspirations.

FA:
If you manage get be elected in November, could you share with our readers what kinds of things you would like to accomplish as a judge, if that's an appropriate question. What stamp would Michael Nava like to leave on the justice system in San Francisco and California?

MN:
Well, of course, my first responsibility will be to apply the law in an equal and impartial manner to everyone who comes before me.  I think my background actually prepares me for that task in a better way than others who have not had the experience of being an outsider.  To be impartial means to view the people who come before the court without the distortions of personal bias or stereotypes.  Bias and stereotypes are the products of ignorance and ignorance is bred by insularity.  From my perspective, someone like me, a queer Latino from a poor family who has also had to navigate the straight, white and affluent world both personally and professionally had a much wider knowledge of humanity than someone who, in essence, never had to leave home and see what the world is like for other people.  It’s the difference between Sonia Sotomayor and John Roberts; she swims in a much wider sea of human experience than he does and I would trust her ability to be impartial before I would trust his.

FA:
Could you describe, as best you can, what life is like on the campaign trail? What is your day-to-day like. Walk us through a day in the life of your campaign.

MN:
Well, I’m basically an introverted intellectual, so campaigning has been a real stretch.  Much of campaigning involves raising money, getting endorsements and meeting the voters.  So, for example, this week I am having coffee with potential donors, I am being interviewed by three different local Democratic clubs for their endorsements, and I am going to three or four other events to network with voters.  All this and, of course, a full-time job. 

FA:
Readers of this blog are particularly interested in Latino letters. What particular message do you have, in particular, for them?

MN:
While my fiction was never ostensibly political I was always aware as a gay and Latino writer that merely the act of speaking truthfully about the reality of my existence was, in the broadest sense, a political act because, by implication, it rejected stereotypes and rebuked the mindless biases that justify the oppression of my communities.  I see my campaign as being in the same spirit; telling the truth and letting people draw their own conclusions.

Monday, August 23, 2010

"Letras Latinas Presents": September, 2010

"Letras Latinas Presents"
Since relocating to Washington, D.C., Letras Latinas, the literary program of the Institute for Latino Studies at the University of Notre Dame, has made strides to enhance its outreach by entering into strategic partnerships to produce literary programming—both in our nation’s capital and other U.S. cities. September is slated to be an especially busy month:

September 15th 
Chicago, IL:

Silvia Curbelo

Valerie Martinez

Palabra Pura
Letras Latinas partners with the Poetry Foundation and the Guild Complex to present Silvia Curbelo and Valerie Martínez, who will perform their work at the Jazz Showcase at 806 South Plymouth Court in Chicago, IL. The reading will take place on Wednesday, September 15 at 6 PM. For more information, visit: http://www.poetryfoundation.org/programs/events.html





***

September 15th 
South Bend, IN:


Salvador Plascencia

is proud to present Salvador Plascencia 
at the Hammes Bookstore on campus at 7:30 pm.

Salvador Plascencia is the author of the novel, The People of Paper, which was named a best book of the year by San Francisco Chronicle, The Los Angeles Times, The Financial Times, and Boldtype. The novel  has been translated into a dozen languages. His fiction and reviews have appeared in McSweeney’s, Tin House, and The Los Angeles Times. In 2010, Poets and Writers named Plascencia one of the Fifty of the Most Inspiring Authors in the World.

Co-sponsored by Letras Latinas, the literary program of the Institute for Latino Studies at Notre Dame.
***

September 16th
Los Angeles, CA:


Diana García

Maria Melendez




Emmy Pérez

“Celebrando Chicana Poetry”
Letras Latinas partners with the Poetry Society of America, University of Southern California, and Southwest Airlines to present Diana Garcia, Maria Melendez, Emmy Pérez, who will perform their work at “Festival de Flor y Canto. Yesterday. Today. Tomorrow.” The reading will take place on Thursday, September 16th at 6:15 PM at Friends Lecture Hall, Doheny Memorial Library, University of Southern California, Los Angeles, CA. For more information, visit: http://web-app.usc.edu/ws/eo2/calendar/113/event/873308


***

September 16th
Washington, D.C.:



R. Dwayne Betts




Brenda Cárdenas


Paul Martinez Pompa


Ines P. Rivera Prosdocimi

Latino & African American Poetry in Dialogue
Letras Latinas partners with Cave Canem the American Poetry Museum, and Southwest Airlines to present R. Dwayne Betts, Brenda Cárdenas, Paul Martínez Pompa, and Ines P. Rivera Prosdocimi, who will perform their work at the Sumner School at 1201 17th Street NW, Washington, D.C. The reading will take place on Thursday, September 16th at 7 PMwith a colloquium to follow. For more information, visit:
This reading is made possible, in part, by the Weissberg Foundation.
***

September 17th
Bethesda, MD:



Brenda Cárdenas


Teri Cross Davis


Gregory Pardlo


Paul Martínez Pompa

Letras Latinas + Cave Canem Redux
Letras Latinas partners once again with Cave Canem, The Writer's Center and Southwest Airlines to present Brenda Cárdenas, Teri Cross Davis, Gregory Pardlo, and Paul Martínez Pompa, who will perform their work at The Writer’s Center at 4508 Walsh Street, Bethesda, MD. The reading will take place on Friday, September 17 at 7:30 PM. For more information, visit: http://www.writer.org
This reading is made possible, in part, by the Weissberg Foundation.
***

September 21st
Fairfax, VA:


J. Michael Martínez



Barbara Jane Reyes

Fall for the Book
Letras Latinas partners with George Mason University’s Fall for the Book and Hispanic Culture Review to present J. Michael Martínez and Barbara Jane Reyes, who will perform their poetry at this annual multi-day festival that celebrates the written word. The reading will take place on Tuesday, September 21 at 6 PM at George Mason University, Research Building, Room 163, Fairfax, VA. For more information, visit: http://fallforthebook.org/
This reading is made possible, in part, by the Weissberg Foundation.


***



Ce•Uno•One by Francisco X. Alarcón

CE•UNO•ONE
Francisco X. Alarcón
Swan Scythe Press, 2010
El Tecolote's Nina Serrano reviews Francisco X. Alarcón's latest collection, Ce•Uno•One.
I first read this book of short poems in the time it took for three BART stations to pass, my mind was calmed, reassured and lured into new and ancient realms. Ce•Uno•One by Francisco X. Alarcón, meaning “One” in three languages, raises the questions following me since childhood. Questions like: What will happen to my soul when I die and my body rots? Or my old favorite, “What will happen to this inner voice I call ‘me’?”

But while I pondered the poems, written in the simplest language, I was tempted to say them aloud very quietly in the five languages they appear: English; Spanish; Nahuatl, the language of the Aztecs; Mapuche, the language of indigenous people of Argentina and Chile; and Gaelic, the original language of Ireland. With my face hidden behind the book I mumbled new sounds against the hum of train. They became chants on oneness, and how it applies to my essential question about the life of the soul after death.
Complete review can be found at El Tecolote's website.

Ce•Uno•One can be ordered directly from Swan Scythe Press' website.

Thursday, August 19, 2010

City of Asylum Pittsburgh/Sampsonia Way

One of the highlights (among many) of this summer was the week I spent on Sampsonia Way in Pittsburgh, PA at the invitation of City of Asylum/Pittsburgh--one of the most inspiring literary organizations I've had the pleasure of being involved with. When Henry Reese, the founder and Executive Director, learned that Brenda Cárdenas and I were going to be week-long guests at the Cave Canem retreat at the University of Pittsburgh in Greensburg, he generously invited us to a one-week residency in the week after the Cave Canem gathering and offered to organize a reading for us. During the time we were there, housed in one of City of Asylum's homes, we were interviewed by City of Asylum's literary companion Sampsonia Way. Sampsonia Way also recently interviewed Carl Phillips, who was on the faculty at Cave Canem. Below are the links to Brenda's and Carl's interviews which, in a way, I view as companion pieces.


Brenda Cárdenas reading outside of House Poem on Sampsonia Way, 
Photo © Renee Rosensteel



Carl Phillips on Sampsonia Way
Photo by Renee Rosensteel


*


Sampsonia Way is an online magazine sponsored by City of Asylum/Pittsburgh celebrating literary free expression and supporting persecuted poets and novelists worldwide.



Monday, August 16, 2010

Verse Wisconsin: Interview with Martín Espada


Martín Espada
Photo Credit: Katherine Gilbert-Espada
Originally uploaded by kgilbert-espada
Verse Wisconsin's Summer 2010 Issue includes an interview with Martín Espada.

Espada speaks on a variety of subjects including poetry about work, learning poetry from non-poets, the faith behind political poetry, and desegregating the poetry community. He also recounts his first poetry readings and how those experiences still impact his poetics today.
Verse Wisconsin—Interview with Martín Espada by Wendy Vardaman

Espada: The first reading I did was in 1979. Actually, it was not a reading of my work, but that of Nazim Hikmet, the great Turkish poet, at an event for Turkish solidarity, which then, as now, was needed. I got an appetite for reading and performing in public. I remember also, in the early 1980s, getting involved with the Central American solidarity movement, a natural outgrowth of the education I was getting on Latin America. I did a reading of Ernesto Cardenal’s poems as part of a Central American solidarity event. From there, it was an easy progression to reading my own work.

The first reading I did of my own was at the Club de Wash, at the same bar where I was working as the bouncer. Naturally, since I was the bouncer, I immediately got all the attention I wanted, and didn’t have any problem getting people to listen to me. I cut my teeth reading in places like that and the Cardinal Bar, places where you had to learn certain tricks to make yourself heard.

Verse Wisconsin: More of a slam setting, almost?

Espada: Yeah, although here I would add that a slam setting implies competition. I wasn’t there to be judged or rated. I was there because I had this compulsion to write poetry, to be heard and to find an audience, which all poets want, whether they admit it or not. That first reading did involve a certain amount of bellowing. The skills I learned reading in bars are still valuable, more than thirty years later.
More of Espada's interview alongside new poetry, reviews, and a new poem by Lorine Niedecker can be found at Verse Wisconsin's Summer 2010 Issue.

Shout out to Lyle Daggett for pointing out the interview at his blog. Daggett's review of Martín Espada's The Republic of Poetry can also be at A Burning Patience: The insurgence of words.

Friday, August 13, 2010

E-Interview with Anisa Onofre of Aztlan Libre Press

To continue celebrating the release of Tunaluna, the inaugural poetry collection from Aztlan Libre Press, and the latest book from acclaimed Xicano poet alurista, I had an e-conversation with Anisa Onofore, one of the founders of Aztlan Libre and the curator of Xican@ Poetry Daily—a great source of poetry and news. 

It's been a literary joy reading Anisa's posts the last few months and it's greater pleasure talking to her about her work with Aztlan Libre, Gemini Ink, and her greater goals in carving out a permanent space for emerging and veteran Latin@ poets.
Oscar Bermeo: What was the impetus for starting a new press?

Anisa Onofre: My compañero, Juan Tejeda, and I began talking about starting a press when we met a few years ago. I was doing a lot of writing, and he kept encouraging me to publish it. The original idea was to create a press, publish my book, and then offer an annual Premio prize for new Chicano writers. I hesitated because I didn’t want to create a press just to initially publish myself.

OB: Your first title is by prestigious Xicano poet alurista. How did you come to choose alurista as Aztlan Libre's inaugural author?

AO: So, the idea to start the press was always there. Then in 2009 Juan and I came across alurista’s MySpace page. Alurista was Juan’s poetry professor at UT-Austin years ago and Juan decided to contact him to see how he was doing. He sent a message through alurista’s MySpace, and alurista’s son Zamná responded with a telephone number. Juan called alurista who was living in Tijuana at the time. It was somewhere in that conversation alurista mentioned he had a new manuscript and was going to send it to us. We took this as a sign to start moving on the press (please see introduction to Tunaluna as a reference to this question).

OB: How does the work you are doing with Aztlan Libre connect with your work with Gemini Ink's Writers in Communities (WIC) program?

AO: On a technical level, my work with WIC also came in at the perfect time. When I started at Gemini Ink last July, one of the first things Executive | Artistic Director Rosemary Catacalos did was hire someone to train me in InDesign because part of the WIC job is to create the books that come out of the writing workshops. So having this knowledge really helped us to create Tunaluna.

On another level, I think Aztlan Libre Press’ philosophy is a lot like Gemini Ink’s philosophy, which is that we encourage people to write their stories, and for Aztlan Libre Press—particularly raza. We want our people to see their stories as important, valuable, and necessary, as well as to see them documented and reflected positively through these publications.

OB: What future titles/authors can we expect from Aztlan Libre in the future?

AO: Tunaluna is the first book in our Veteran@s Series. We’re also making plans for a Nuevas Voces Series, and an Aztlan Libre Press Premio en la Literatura Xicana, as well as a children’s coloring book. At the moment, we’re gathering the submissions we’ve received for a chapbook, Nahualliandoing Dos—a collection of poetry written in English, Spanish, and Nahuatl.

OB: In the era of SB 1070, the state of Texas' attempt to rewrite classroom texts, and the myth of a "post-racial" United States, what do you hope will be the impact of a multilingual press?

AO: The goal of our small press is to contribute to the development, promotion, publication, and free expression of Xican@ literature and art as part of the larger diaspora of American and World Literature and art, and to be part of the communication and dialogue that contributes to a better understanding among people of different cultures. This provides a positive impact on our children by providing reflections of the Chicano experience—an area that most media depicts in a negative light.

We hope to bring about awareness that literature in the schools generally does not reflect our history, language, culture, and literature, and that independent presses such as ours are important sources for this information. Multilingual presses offer an alternative to the school system, but we do not want to absolve the schools from providing a culturally relevant curriculum to its students, especially in a state like Texas where over half of the public school age children are Chicano/Latino.

Tuesday, August 10, 2010

Introduction: Tunaluna by alurista

TUNALUNA by alurista
Aztlan Libre Press, 2010
Cover art by Judithe Hernández
With permission from Aztlan Libre Press, we reprint the introduction to Xicano poet alurista's tenth book of poetry, Tunaluna. This book also marks Aztlan Libre's inaugural collection.
Introduction

I first met alurista in 1975 at the University of Texas in Austin. He was a Visiting Lecturer there for a couple of years teaching courses and already a legendary loco en la Literatura Xicana. I was a junior at the university and was involved en el Movimiento Chicano with various organizations at the school and in the community including MAYO and the Raza Unida Party and I had already begun writing when I enrolled in one of his Chicano Poetry classes. This course proved to be a turning point that greatly influenced the direction of my life and my life’s work. It was through alurista and this class of estudiantes and emerging escritores y poetas que se me prendió el foco. Everything came together, full circle, so to say, much like it has come together again today, and it was the new beginning of my American Indian spirituality and Xicano cultural identity. It was the new beginning of my work with poesía, música, danza, education, Chicano arts organizations and arts administration. It was the beginning of my work with Literatura Xicana and publications and independent Chicano publishing. In a very real sense, it was the beginning of Aztlan Libre Press, 35 years later, mas o menos, with the publication of this book, Tunaluna, our first and alurista’s tenth.

But it all began in alurista’s Chicano Poetry class at U.T. Austin where we met once a week, first on campus, then off campus, then at alurista’s home, or one of the other writer’s homes. We read our poetry, short stories, locuras, discussed, critiqued, talked politics, got organized, made música, marchamos, leímos en la universidad, la comunidad, and at the end of this course we published Trece Aliens, a compilation of writings and drawings from twelve students and alurista. I only have one copy in my files, copyrighted 1976 by the authors. An 8” X 11” spiral bound, xeroxed copied, black on white bond paper with black on blue slightly thicker cover stock and a Cecilio García-Camarillo black ink drawing on the cover entitled “Un bato con las manos abiertas” whose two outspread hands are drawn with the letters that spell “silencio” and whose black-hatted face is composed of words that read “para mi raza tortillas cósmicas” with a cucaracho coming out of the bottom of the drawing. I think we added that cucaracho to Cecilio’s drawing. Con permiso, carnal. It was my first publication. I remember collating the pages by hand assembly-style, and at the end of the short introduction to Trece Aliens alurista wrote: “la temática de la obra es el resultado de diálogos abiertos en los cuales exploramos la alienación humana – particularmente xicana – y sus causas. la dedicamos a todos los ‘aliens’ como nosotros, con esperanzas de que el dia llegue cuando las fronteras no existan.”

Thus began a journey that would immerse me in the Chicano Cultural Renaissance and working with many projects and organizations including the Conjunto Aztlan, LUChA (League of United Chicano Artists), the Festival Estudiantil Chicano de Arte y Literatura, Capitán-General Andrés Segura and Xinachtli, the Guadalupe Cultural Arts Center, Palo Alto College, and others.

All along this journey I have been involved with writing and publishing in one way or another. In 2008, my compañera, Anisa Onofre, who is also a poet/writer and currently the Director of the Writers in Communities Program at Gemini Ink here in San Antonio, and I decided to fulfill a dream and create an independent Chicano publishing company dedicated to the promotion of Xican@ Literature and Art. In 2009 Aztlan Libre Press began to become a reality. In the spirit of Cecilio Garcia-Camarillo and Caracol, plans are underway to publish Nahualliandoing Dos, a chapbook of collected poemas and writings in three languages, Nahuatl, Español and English, and a coloring book for children in three languages with the symbols of the 20 days in the Aztec calendar. Tunaluna is the first in the Veteran@s Series, and we're making plans for a Nuevas Voces Series and an Aztlan Libre Press Premio en la Literatura Xicana, among other projects. It’s a labor of love, pero como preguntó la camarada, “is there any other kind?”

Friday, August 6, 2010

Rigoberto González on the 20th Anniversary of Arturo Islas' Migrant Souls

MIGRANT SOULS
Arturo Islas
Avon Books, 1991
Pluma Fronteriza celebrates the 20th anniversary of Arturo Islas' Migrant Souls with a guest post by Rigoberto González:
Arturo Islas: An Appreciation on the Occasion of the 20th Anniversary of Migrant Souls

Arturo Islas died one day after Valentine’s Day in 1991, almost a year after the release of his second novel Migrant Souls. News of his death was a particularly disappointing moment for me because I had resolved to attend Stanford University’s graduate program just to work with him. I was only a junior at the University of California, Riverside, but I already had aspirations to become a writer. I had been reading Chicano literature voraciously, and one of the books that had moved me had been The Rain God (1984). The sequel to the Angel family saga, had just been released to wide acclaim and I spent the next twelve months fantasizing about telling Islas all about me. You see, the other thing I knew about him was that he was gay. A gay Chicano writer. Who knew there were two of us?

Complete guest post at Pluma Fronteriza.

Wednesday, August 4, 2010

Craig Santos Perez interviews Judith Angeles

Craig Santos Perez talks to Zion Imprints' Judith Angeles about her endeavors as a publisher, experience in writing communities, and how the intersections of the written and spoken word meet in her chapbook He Art.
CSP: This is your first self-published chapbook. Why did you decide to self-publish? What has been its rewards and challenges?

JA: I decided to self-publish because I believe in having the ultimate control over my well-being and my art. I trust in my writing that much. Poetry is my well-being.  I also am all about sovereignty and I am not willing to change to suit a certain canon or any of that other foolishness. I am not into “selling out” or remolding myself to suit a particular kind of not-me. I also decided to self-publish because I found it to be a selfless thing to do and because I am into the art of bookmaking and now digital bookmaking. I also aspire to be a publisher and to have a community based, co-op styled printing house for artists and writers to come in and be a part of a printing community that preserves its culture through storytelling and archives.

Read more at Craig Santos Perez's website.

Monday, August 2, 2010

The Tidal Basin Review- By the Time I Get to Arizona: SB 1070 Special

TIDAL BASIN REVIEW
SUMMER 2010
Cover Art, Rachel Eliza Griffiths
The Tidal Basin Review’s Summer 2010 Issue includes a special section dedicated to poets and scholars responding to Arizona’s controversial SB 1070 law.

By The Time I Get To Arizona: SB 1070 Special
• Rachel Eliza Griffiths
• Tony Medina
• Truth Thomas
• Carmen Giménez Smith
• Ricardo Guthrie
• Martha Collins
• Brian Gilmore
• Diane Harriford
• Becky Thompson
• Lisa Alvarado
• Sarah Browning
• Cinnamon Stuckey

The Summer 2010 Issue also includes the creative works of 31 writers, including Kim Coleman Foote and Reginald Flood, the winners of the 2010 Tidal Basin Review Editorial Prize.

For more information on the Tidal Basin Review’s Summer 2010 Issue, please visit their website <www.TidalBasinPress.org> or email their press contacts, Melanie Henderson, Managing Editor and Randall Horton, Editor-in-Chief, at tidalbasinpress@gmail.com.