Showing posts with label Camino del Sol. Show all posts
Showing posts with label Camino del Sol. Show all posts

Wednesday, May 4, 2016

Poetry of Resistance: Voices for Social Justice ed. Francisco X. Alarcón, Odilia Galván Rodríguez

On April 20, 2010, nine Latino students chained themselves to the main doors of the Arizona State Capitol in an act of civil disobedience to protest Arizona’s SB 1070. Moved by the students’ actions, that same day Francisco X. Alarcón responded by writing a poem in Spanish and English titled “Para Los Nueve del Capitolio/ For the Capitol Nine,” which he dedicated to the students. The students replied to the poem with a collective online message. To share with the world what was taking place, Alarcón then created a Facebook page called “Poets Responding to SB 1070” and posted the poem, launching a powerful and dynamic forum for social justice.

Since then, more than three thousand original contributions by poets and artists from around the globe have been posted to the page. Poetry of Resistance offers a selection of these works, addressing a wide variety of themes, including racial profiling, xenophobia, cultural misunderstanding, violence against refugees, shared identity, and much more. Bringing together more than eighty writers, the anthology powerfully articulates the need for change and the primacy of basic human rights. Each poem shows the heartfelt dedication these writers and artists have to justice in a world that has become larger than borders.

Poetry of Resistance is a poetic call for tolerance, reflection, reconciliation, and healing.
The events that occurred in Arizona in 2010, and Arizona's SB 1070, were the subject of extensive discussions and debates at my home and among friends and family. As immigrants, none of us took these events lightly, particularly since at the time it seemed to be setting a dangerous precedent that would affect the civil rights of a large percentage of the population. As a result, I found myself identifying with many of the poems included in Poetry of Resistance.

In today's toxic and divisive political atmosphere, this powerful poetry volume is both relevant and sorely needed. Perhaps more so than ever.

As an example, I've chosen to highlight one of my many favorite poems.
OLMECAN EYES

Lorna Dee Cervantes

Olmecan eyes gaze into the future,
a path of light piercing the forest,
heavy lidded with the past, ancient
sorrows carved into stone. With rain,
the present leaks into now, into the DNA
of fallen stars, the mystery of oceans
the settled silt of settling into culture

Olmecan eyes reborn. The infant
stone unfurling in our navels.
Another civilization reconquers
the wilderness of today. Sun devouring
Earth, we are shadows of the way
we were, beneath the shifting planets,
the comets, the desolate inconsolable moon.

Into the history of obsidian blades,
a human heart beats on the plate,
the slate of our division thinning
into someone's blood. The blood of
The People surging still beneath
the pursed lips, the pierced tongue,
the sudden pulse. We are The People

still. Our constitution stolen
from us in the fear. We rise, not
vengeful, but full of the peace
of knowing, our present tense.

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Juan Felipe Herrera, U.S. Poet Laureate: "Borders can be overcome with the revolutionary tenderness of poems. This anthology is an incredible assemblage of voices and letters that proves that collective poetry is the answer to the violence-filled policies that increasingly face us in these times."

Sunday, September 22, 2013

Review: Mañana Means Heaven by Tim Z. Hernandez


Tim Z. Hernandez bases his novel Mañana Means Heaven on the story of Bea Franco, the young Chicana woman Jack Karouac meets while on his way to Los Angeles from San Francisco, during his travels across the United States, and who later appears in his famed novel On the Road as Terry, or "the Mexican girl."
"Mañana," she said. "Everything'll be all right tomorrow, don't you think, Sal-honey, man?"

"Sure, baby, mañana." It was always mañana. For the next week, that was all I heard --- mañana, a lovely word and one that probably means heaven. -- On the Road by Jack Kerouac
The title of the novel is taken directly from one of the passages of Karouac's novel, but this is Bea's story, not Jack's. That is made perfectly clear from the beginning. Hernandez takes Karouac's short chapter, and following the same timeline, cleverly weaves in Bea's background and breaths life into the woman by exposing the extreme emotional and familial circumstances that pushed her into opening up to a man like Jack, a gavacho "college boy," during that particular time in her life. A time that lasted but a blink in time, but one that changed both of their lives irrevocably.

Meeting Jack gives Bea hope while she is trapped in what seems like a hopeless and desperate situation that Hernandez utilizes to build tension throughout his novel. Franco's short time with Jack changes her. It gives her the determination and resiliency that may have been there all along, but that she learns to use to become a woman who expects better for and from herself. For Jack, much later that moment in time becomes the stepping stone that helps to propel his career as a writer when the Paris Review publishes his short story "Terry, the Mexican Girl," and well, the rest is history.

If Franco and her family are well researched by Hernandez, then so are the historical details. Hernandez takes the reader to a post WWII Los Angeles that comes alive with all of its paranoia and multicultural prejudices. But nothing comes alive more than the San Joaquin Valley and the plight of the pickers -- the smell and paranoia in the tent camps, the fear of immigration raids, the hatred for the implacable owners and the need for work, the child workers, the stultifying poverty, and through Bea, the desperation.

Hernandez utilizes mañana, tomorrow, as the main theme of his novel. The word mañana represents many different things to the different people who inhabit the novel. To Bea and her brother Alex it represents the possibility of a future and the realization of a dream. To the pickers in Selma it represents the basics, work, food, a warm place to stay. If not today, tomorrow things will work out. To Jack it is always a way to gain time, to learn more, to see more. To little Albert, it comes to represent lack of money, a lack of hope. However, Hernandez also uses partings, abandonment, leaving and returning as a secondary and more subtle theme throughout the novel.

As an award winning poet and writer familiar with Franco's cultural background, Hernandez was already well equipped to write a story about Karouac's muse. However, Hernandez's research into her life and his insights into the person Franco was, into the woman she became, takes her story beyond that of a myth. Highly recommended.

_____________________

Memorable Quote from Tim Z. Hernandez's Guest Post: "I Remain As Ever, Bea"
I spoke briefly about what Bea had taught me, and about what we might all learn from her story. That each of us, regardless of how seemingly insignificant or boring or obscure our lives may be, are made up of valuable epic stories that deserve their day in the light.

Related Posts:
Guest Author Tim Z. Hernandez: "I Remain As Ever, Bea"
RIP Bea Franco, Kerouac's "Terry, The Mexican Girl"
Highlighting: Manana Means Heaven by Tim Z. Hernandez

Saturday, September 21, 2013

Guest Author Tim Z. Hernandez: "I Remain as Ever, Bea"

Today, I would like to extend a big welcome to Tim Z. Hernandez, author of Mañana Means Heaventhe story of Bea Franco who for years was only known as Terry, the "Mexican girl" from Jack Karouac's On the Road.
Mañana Means Heaven deftly combines fact and fiction to pull back the veil on one of literature’s most mysterious and evocative characters. Inspired by Franco’s love letters to Kerouac and Hernandez’s interviews with Franco, now in her nineties and living in relative obscurity, the novel brings this lost gem of a story out of the shadows and into the spotlight.

Franco was sought out by dozens of Kerouac and Beat scholars, but none could find her. According to one, “finding Bea Franco is like trying to find the ghost of a needle in haystack.”
Well, Tim Z. Hernandez found the "needle in the haystack" and wrote a book that has received high praise from The Associated Press, Booklist and others, and that I am sure will continue to do so.

On a personal note, when The University of Arizona Press contacted me about the upcoming release of Mañana Means Heaven I was immediately taken in by the synopsis. It just captures the imagination. Later, as I was in the middle of reading Bea Franco's journey through life, I was quite shocked and saddened to learn that she had passed away.

Today is the last day in a week-long blog tour. By following the tour, you will find real insight into Tim's research by listening to interviews, reading notes from his journal, excellent question and answer sessions, or if you prefer, there are also book excerpts available.

For his last stop today, however, Hernandez chose to write a very personal post about Bea.

Blog Tour:
Monday, September 16 | Stephanie Nikolopoulos blog 
Tuesday, September 17 | The Daily Beat 
Wednesday, September 18 | La Bloga 
Thursday, September 19 | The Big Idea 
Friday, September 20 | The Dan O’Brien Project 

Welcome Tim!
______________________




I Remain as Ever, Bea

On the morning of August 15, 2013 I received a text from Albert Franco, Bea's son, telling me in only a few abbreviated words that his mother had passed away. This news took the breath out of me. It was unexpected, to say the least. I had just recently spoken with Patricia, Bea's daughter, who Bea had been staying with in Long Beach. My family and I were making plans to see her while we were going to be in California. At the time, Patricia said something to the effect of, "My mother's been doing much better lately and I'm sure she'd like to see you." So my wife and I began planning. Just a few days earlier, on August 3, after receiving copies of my book in the mail from my publisher, I hurried to the post office and sent Bea a package, which included a signed copy of the book, her book, along with a bound photo album I had made her, compiled with all the photos and documents her family had loaned me during the writing of her book. Days later Patricia called to tell me the package had arrived and how excited they all were. I asked if she wouldn' t mind taking a few pictures of Bea holding her book, and she agreed. On August 7, I received several text messages from Patricia's daughter Dina, images of Bea smiling with her copy of Mañana Means Heaven in her hands. She had that same curious glint in her eye that I had come to know, as if to say, it's about time! Of course, in that moment we had no idea that these photographs would become the only evidence that Bea did in fact live to see her life story told in the pages of a book. No longer merely the fictional "Mexican girl" of Kerouac's imagination, or the quiet and unassuming campesina that appeared for all of two minutes in Walter Salles' movie, On the Road, but Beatrice Renteria Franco, now Bea Kozera, the real woman, the real deal.


On the very day Mañana Means Heaven was to land on the shelves of bookstores across the nation, Thursday August 29, a handful of friends and family gathered at the idyllic Belmont Memorial Park in Fresno, California to pay their last respects to this "petite woman with fire in her heart," as one of Bea's relatives remarked. For the better part of three years, it seemed every member of my family was also invested in Bea's story. (It was my mother who actually located her whereabouts back in 2010. After telling her I was about to give up my search for Bea and just get on with the book, she replied, "Give me your files and notes, I'll find her!" 24 hours later, she handed me two possible leads.) Even my cousin Art, when I went to visit him in the pen the first thing out of his mouth was, "Have you finished your book about the Mexican girl?" And of course, so many times my wife Dayanna had watched me return from my interviews with Bea beaming with excitement. Like this, my family, even our children, became familiar with Bea; through our visits with her, through the myriad photos which hung on the wall above my desk as I wrote the book, through the sound of Bea's own tender voice played back on my video camera, for three solid years we lived with her presence. Needless to say, at her services, we were all there together. I was asked by her son Albert to share a few words, and so I spoke briefly about what Bea had taught me, and about what we might all learn from her story. That each of us, regardless of how seemingly insignificant or boring or obscure our lives may be, are made up of valuable epic stories that deserve their day in the light. Standing at the podium, I concluded my thoughts by sharing one small but very cool detail about Bea. Over the years she had enjoyed writing letters and postcards to people, and she had a distinct way of signing off. I could clearly see that curious glint in her eye shine, each time she assured her reader, "I Remain as Ever, Bea."


Tim Z. Hernandez, copyright 2013
______________________


Mañana Means Heaven by Tim Z. Hernandez
Released: August 29, 2013
The University of Arizona Press
In this love story of impossible odds, award-winning writer Tim Z. Hernandez weaves a rich and visionary portrait of Bea Franco, the real woman behind famed American author Jack Kerouac’s “The Mexican Girl.” Set against an ominous backdrop of California in the 1940s, deep in the agricultural heartland of the Great Central Valley, Mañana Means Heaven reveals the desperate circumstances that lead a married woman to an illicit affair with an aspiring young writer traveling across the United States.

When they meet, Franco is a migrant farmworker with two children and a failing marriage, living with poverty, violence, and the looming threat of deportation, while the “college boy” yearns to one day make a name for himself in the writing world. The significance of their romance poses vastly different possibilities and consequences.

Mañana Means Heaven deftly combines fact and fiction to pull back the veil on one of literature’s most mysterious and evocative characters. Inspired by Franco’s love letters to Kerouac and Hernandez’s interviews with Franco, now in her nineties and living in relative obscurity, the novel brings this lost gem of a story out of the shadows and into the spotlight.
About the Author: Tim Z. Hernandez is a poet, novelist, and performance artist whose awards include the 2006 American Book Award, the 2010 Premio Aztlan Prize in Fiction, and the James Duval Phelan Award from the San Francisco Foundation. He is the author of two books of poetry, Natural Takeover of Small Things (2013) and Skin Tax, and the novels Mañana Means Heaven (2013) and Breathing in Dust. In 2011 the Poetry Society of America named him one of sixteen New American Poets. He holds a BA from Naropa University and an MFA from Bennington College.

Visit Tim Z. Hernandez here.
Buy the book here.

Saturday, August 17, 2013

Highlighting: Mañana Means Heaven by Tim Z. Hernandez

Mañana Means Heaven by Tim Z. Hernandez
Publication Date: August 29, 2013
Camino del Sol: A Latina and Latino Literary Series

The University of Arizona Press


Tim Z. Hernandez lifts the veil on one of literature’s most mysterious and evocative characters.

Readers across the world know Jack Kerouac and his famous novel, On the Road, but most don’t know that prior to its publication, Kerouac received countless rejections. It wasn’t until an excerpt titled “The Mexican Girl” was published in The Paris Review, earned rave reviews, and found its way into the Best American Short Stories of 1956 anthology that the novel was accepted for publication.

Given the relevance that “The Mexican Girl” had in Kerouac’s career, little has been known about the real “Terry,” actually Bea Franco. In Mañana Means Heaven, acclaimed writer Tim Z. Hernandez pulls Bea from out of the shadows and presents a rich and visionary novel portraying the woman behind the scenes in the novel that defined a generation. As author Paul Maher says, “Hernandez offers a dazzling offshoot from the oft-explored road story that is Kerouac’s.”

Set against an ominous backdrop of California in the 1940s, deep in the agricultural heartland of the Great Central Valley, Hernandez’s novel reveals the desperate circumstances that led a married woman to an illicit affair with an aspiring young writer traveling across the United States. When they meet, Franco is a migrant farmworker with two children and a failing marriage, living with poverty, violence, and the looming threat of deportation, while the “college boy” yearns to one day make a name for himself in the writing world. The significance of their romance poses vastly different possibilities and consequences.

Franco was sought out by dozens of Kerouac and Beat scholars, but none could find her. According to one, “finding Bea Franco is like trying to find the ghost of a needle in haystack.”

But 55 years after publication of Kerouac’s novel, Hernandez discovered Franco alive, and living in relative obscurity only one mile from his own home in Fresno, California. “It was an alignment, really, that I was able to find her. It just so happened that I knew where to look and who to ask. I have since been fortunate to develop a strong relationship with her and her family."

Based on Franco’s love letters to Kerouac and Hernandez’s interviews with Franco, the novel Mañana Means Heaven brings this lost gem of a story into the spotlight. Featuring a foreword and afterword chronicling Hernandez’s personal quest to find Franco, this novel deftly combines fact and fiction to lift the veil on a character who has lived far too long in the shadows.

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Tim Z. Hernandez is a poet, novelist, and performance artist whose awards include the 2006 American Book Award, the 2010 Premio Aztlán Prize in Fiction, and the James Duval Phelan Award from the San Francisco Foundation. In 2011 the Poetry Society of America named him one of sixteen New American Poets. He holds a BA from Naropa University and an MFA from Bennington College and is the author of the novel Breathing, In Dust, as well as three collections of poetry, including the recently released Natural Takeover of Small Things. Learn more at his website, www.timzhernandez.com.

Tuesday, February 12, 2013

Poetry: Natural Takeover of Small Things by Tim Z. Hernandez

Natural Takeover of Small Things
by Tim Z. Hernandez
Natural Takeover of Small Things by Tim Z. Hernandez is an intimate portrayal of life in California's San Joaquin Valley with all its beauty and exposed flaws. Mr. Hernandez's poetry is personal and while some poems are rendered with deeply moving, lyrical and rhythmic prose, others are rather straight forward, raw and cutting in nature. There is no real place for nostalgia in Hernandez's memories of "home;" instead there is realism filled with love and care in the shaping of moments, places and people who live and die in the valley -- from campesinos who work the land to those who become collateral damage.

The culture of the West and Western Latino culture permeate Hernandez's poetry. Readers experience the pride embodied by hardworking men and women, as well as substandard living conditions, wasted lives, and personal loses. But there is also taste and smell to savor in Hernandez's poetry: menudo, lengua, the fruits of the valley, the earthy smell of the campo -- the beauty and the tragedy.

This 80 page book is divided into three sections: The Arms in Dead Heat, San Joaquin Sutra, and Natural Takeover of Small Things.

I. Arms in Dead Heat includes memories of life in the San Joaquin Valley beginning with the poem that hooked me, Home:
Fresno is the inexhaustible nerve
in the twitching leg of a dog [...]
II. San Joaquin Sutra describes the beauty and the tragedy;
[...]
San Joaquin Valley,
where tired faces water quaint gardens with cut hoses,
bending to bury
the corn next to the sugarcane, reaching
for the avocado on the highest branch,
the melon's elusive fragrance
in all directions toward all the windows in all the houses on all the streets,
sweet invisible nectars drifting
in vastness of big sky
where taunts a kite
broken free
of its
strings.

☀ ☀ ☀
San Joaquin -
where sickly bodies of old Texan mothers draped in aprons of sunflower
and waning seasons sit idly by, waiting for some slick cancer to escort
their last days to proms of disintegration, while the souls of
amputated limbs
twitch anxious habits for workloads of the waiting day, [...]
III. Natural Takeover of Small Things is full of reflections on those little details that make up life and bring eventual death, the letting go of one life to begin another. Adios, Fresno says is all . . .
Adios, Fresno
You could use more letters of love.
Here, take these. You owe me nothing, except back pay.
But I won't mention it again.
Trust me when I say I'll have no regrets leaving you. [...]
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About the Author: Tim Z. Hernandez is a poet, novelist, and performance artist whose awards include the 2006 American Book Award, the 2010 Premio Aztlan Prize in Fiction, and the James Duval Phelan Award from the San Francisco Foundation. He is the author of a previous book of poetry, Skin Tax, and the novel Breathing in Dust. In 2011 the Poetry Society of America named him one of sixteen New American Poets. His novel of historical fiction, Mañana Means Heaven, based on the life of Bea Franco, will release in Fall of 2013. He holds a BA from Naropa University and an MFA from Bennington College.

Category: Poetry
Series: Camino del Sol: A Latina and Latino Literary Series
ARC provided by Publisher: The University of Arizona Press
Publication Date: February 21, 2013

All poetry quotes taken from Natural Takeover of Small Things by Tim Z. Hernandez. © Tim Z. Hernandez, 2013.

Monday, December 5, 2011

Review: The Book of Want by Daniel A. Olivas

When Moses descended Mount Sinai carrying the Ten Commandments, he never could have foreseen how one family in Los Angeles in the early twenty-first century would struggle to live by them

Conchita, a voluptuous, headstrong single woman of a certain age, sees nothing wrong with enjoying the company of handsome—and usually much younger—men . . . that is, until she encounters a widower with unusual gifts and begins to think about what she really wants out of life.

Julieta, Conchita's younger sister, walks a more traditional path, but she and her husband each harbor secrets that could change their marriage and their lives forever. Their twin sons, both in college, struggle to find fulfillment. Mateo refuses to let anyone stand in the way of his happiness, while Rolando grapples with his sexuality and the family's expectations. And from time to time, Belén, the family's late matriarch, pays a visit to advise, scold, or cajole her hapless descendants.

Ahh... The Book of Want! This is Daniel A. Olivas' first and I believe a wonderful debut novel. Using both social and magical realism, Mr. Olivas relates the story of a Mexican-American family covering three generations.

Olivas sets the story in Los Angeles with some of the back story taking place in Mexico. The novel begins with a prologue set in Mexico where he introduces Belén the matriarch of the family and her young daughter Conchita, the rest is divided into ten related, self-contained chapters, and ends with an epilogue.

The story focuses on two sisters, Conchita and Julieta. Conchita is a sixty-two year old woman, great looking and single. She loves being single, adores younger men and has had plenty of them in her life without a care for what anyone thinks of her. Although lately Conchita's age has become a problem:
"But now, when it came to her dating life, with each passing year, men's interest in Conchita has dwindled. Though still possessing a voluptuous figure, creamy-brown skin, and large, inviting eyes, few men under the age of fifty even acknowledged her presence. And Conchita had no desire for men her own age because they looked ready for the trash heap. It was galling. If she were a famous male actor, she could have her pick of younger partners!"
Slowly, however, Conchita's interest for her widower neighbor Mr. Rojo helps her reassess her life. Mr. Rojo certainly holds her attention with his mysterious ways and eventually shows Conchita that the seemingly impossible can happen. One of the most amusing chapters in the book, "How to Date a Flying Mexican," is related from Conchita's perspective -- hilarious and so well done!

Julieta is the traditional sister. She has been married to Manuel for years and together they have college-aged twins Rolando and Mateo. In this family everyone has secrets! Manuel's suspicious activities and big secret could end the marriage, and Julieta is keeping a secret of her own. Rolando in the meantime struggles to come to terms with his homosexuality, just as self-centered Mateo who thinks he can have everything he wants learns a few lessons. This family is firmly rooted in the present with daily, contemporary issues and struggles that are surprisingly well addressed in this short, ambitious book.

But hey, I don't want to leave out Belén. Belén is Conchita and Julieta's mother and has been dead for a while, but remember this is magical realism we're talking about so that's of no consequence here. She visits her descendants to advice and harass them about their decisions and eventually Olivas takes us back to Mexico for her story, providing the readers with this family's background. Interestingly enough, although Belen's story is fascinating and she's an integral part of the generational and cultural family tapestry created by Olivas, I found that going back in time after relating the first five chapters in the present interrupted the story's flow.

It's also interesting that although I love the story as a whole, I still think of the different chapters singularly. Chapter 10, Want: A Symphony is brilliantly done in its simplicity, yet there's a small section of it that didn't quite work for me. This is where Olivas ties all the story lines with small accounts or episodes by using text messages, interviews, or just dialogue between the characters. What didn't work so well for me? Interviewing the characters pulled me out of the story and dispelled some of the magic that Olivas so beautifully creates throughout most of the book.

There's a correlation between The Book of Want and the Ten Commandments, however not at all in a religious way. Happiness, love, acceptance, sorrow, friendship, and of course want are all subjects covered in this 121 page book by Mr. Olivas. For the most part I thoroughly enjoyed Daniel A. Olivas' approach to this family's story. I was particularly taken with the way Mr. Olivas focuses his use of magical realism closely to the Mexican-American culture while social realism encompasses the story as a whole, and through it all the humor and wit that abounds from beginning to end makes The Book of Want a delightful read.

❁❁❁❁❁❁

About the Author: Daniel is the author of six books including his first full-length novel, The Book of Want, which was published by the University of Arizona Press in March 2011. He is also editor of the landmark anthology, Latinos in Lotusland (Bilingual Press, 2008), which brings together 60 years of Los Angeles fiction by Latino writers. Daniel's writing has been widely anthologized (including in two Norton anthologies). He blogs each Monday on La Bloga, the blog dedicated to Chicano and Latino literature.

Daniel, the grandson of Mexican immigrants, grew up near the Pico-Union and Koreatown neighborhoods of Los Angeles. He now makes his home in the San Fernando Valley with his wife and son. Daniel received his degree in English literature from Stanford University and law degree from UCLA. He is a supervising deputy attorney general with the California Department of Justice in the Public Rights Division.

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Category: Literary Fiction
Series: Camino del Sol: A Latino and Latina Literary Series
Publisher/Release Date: University of Arizona Press/March 4, 2011
Source: University of Arizona Press
Grade: B

Visit Daniel A. Olivas here.

Thursday, February 24, 2011

Review: Empire by Xochiquetzal Candelaria

Using both lyrical and narrative forms, these concise verses explore a family history set against the larger backdrop of Mexican history, immigration, and landscapes of the Southwest. The poet's delicate touch lends these poems an organic quality that allows her to address both the personal and the political with equal grace. Straightforward without being simplistic or reductive, these poems manage to be intimate without seeming self-important.

This distinctive collection ranges from the frighteningly whimsical image of Cortés dancing gleefully around a cannon to the haunting and poignant discovery of a dead refugee boy seemingly buried within the poet herself. The blending of styles works to blur the lines between subjects, creating a textured narrative full of both imagination and nuance.

Ultimately, Empire situates individual experience in the wider social context, highlighting the power of poetry as song, performance, testimony, and witness. Addressing themes such as war, family, poverty, gender, race, and migration, Candelaria gives us a dialogue between historical and personal narratives, as well as discreet "conversations" between content and form.
The beauty of Empire lies in the frankness with which Calendaria explores the complex history of a family and its past and present through poetry. It is very much a personal and intimate piece, and yet it encompasses much more by linking those personal experiences to historical events, and placing them in a political and social context.

As the gorgeous summary above explains, Xochiquetzal Candelaria uses both the narrative and lyrical forms of verse throughout her works. The book is divided in three parts and has a total of 64 pages and, yet by the end, the reader has a sense of having read much more.

In Part I of the book, the first lines of her poem Migration was the first poem to snag my attention:
"The white blue of daylight shrinks to a rip, and the geese seem to slip through but don't." 
And then later on there's a line that stayed with me:
"If I can say anything, I'll say I descended from a migrant bird." 
Two pages later I found Cortés and Cannon and was hooked. The strong imagery in this poem makes visualizing that amusing and celebratory moment more horrific by the almost tender momentary sense of connection Calendaria weaves in between Cortés and the Totonacs.

Throughout, there are works that focus on more than the history or the sociopolitical. All of Candelaria's poems are personal, but there are some that touch on deeply personal subjects that reach the reader -- at least they reached this reader.  Of those, I loved Empire #1: Five and Dime Store 1949, Empire #2: Poet, Empire #3: Marriage, and Empire #4: Mirror. I read and re-read Empire #2 - Poet at least ten times, and I know I'll read it again.

Empire is a book that I recommend highly, not for one read or even two -- take your time, think, savor and enjoy. I'll leave you with an excerpt and one complete poem.

❁❁❁❁❁❁

Empire #4: Mirror

The sun's reflection in a bucket of water just before
a sparrow plunges headfirst, its thirst breaking the light into bits

Hephaestus knew this was enough. That we wouldn't like
our noses, those bumps along the chin, thin spear of hair calling us

windows, crevasses along the eyes. Why repeat them?
Did he think upon reflection we wouldn't select?

Excerpt, page 54

❁❁❁

The Irises

Their green sepals begin like mouths, forming the word
okay, turning over at the tips to say
yes, then oh yes.
Three deep purple petals smoldering give way
to three more giving way.
Fire breaks through as a seam in the center.
These are messengers remembering that to speak
is to bloom and to bloom
is to sing and sing and sing.
❁❁❁❁❁❁

About the Author: Xochiquetzal Candelaria shares her first name with the Aztec goddess of love. She was raised in San Juan Bautista, California and holds degrees from UC Berkeley and New York University and is a tenured faculty member at San Francisco City College. Her work has appeared in The Nation, New England Review, Gulf Coast, Seneca Review and other magazines, as well as the online journal, Solo Ella. She was the winner of the 2006 Dorothy Sargent Rosenberg Poetry Prize, the Louisiana Literature Prize for Poetry, and the Gulf Coast Poetry Prize. In 2009, Candelaria received an individual literature fellowship from the National Endowment for the Arts.
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Category: Poetry
Series: Camino del Sol - A Latino and Latina Literary Series
Published by/Release Date: The University of Arizona Press - February 24, 2011
Source: The University of Arizona Press
Grade: A

Wednesday, November 10, 2010

Green Books Campaign: Havana and Other Missing Fathers by Mia Leonin

This review is part of the Green Books campaign.Today 200 bloggers take a stand to support books printed in an eco-friendly manner by simultaneously publishing reviews of 200 books printed on recycled or FSC-certified paper. By turning a spotlight on books printed using eco- friendly paper, we hope to raise the awareness of book buyers and encourage everyone to take the environment into consideration when purchasing books.

The campaign is organized for the second time by Eco-Libris, a green company working to make reading more sustainable. We invite you to join the discussion on "green" books and support books printed in an eco-friendly manner! A full list of participating blogs and links to their reviews is available on Eco-Libris website.

The book I chose to read for this campaign is printed on acid-free archival-quality paper containing a minimum of 30%  post-consumer waste (or recycled materials) and processed chlorine free.
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Havana and Other Missing Fathers by Mia Leonin

Havana and Other Missing Fathers by Mia Leonin is a memoir published in 2009 by The University of Arizona Press as part of their Camino del Sol: A Latino and Latina Literary Series. I already own a few issues from the Camino del Sol series and when I decided to join this campaign and saw that this book was available, I couldn't pass it up.

In 1967, Norma drives away from her home in Kentucky and makes her way to Missouri to give birth and begin a new life. Sixteen years later that child, a daughter, learns that her life thus far has been based on a lie. Norma breaks down and tells her child that her father is not dead; indeed he's not her first husband Jerry, but a Cuban doctor -- a foreigner -- who is very much alive. Mother and daughter cry, wash their faces and go for ice cream.

Four years later at age 20, Mia lands in Miami Airport for the first time to meet her father hoping to find a place in his life, to understand the man and in the process parts of herself. She shares moments but no real intimacy with him, and his wife Zoraida seems to be too surprised at Mia's unexpected existence to show her true feelings. Unfortunately after that first meeting, she comes away with more questions than answers about the man, the father and a new culture that she's about to embrace.

Mia, on her father and language:
My father didn't give me explanations, apologies, or answers. He didn't "take responsibility" in any concrete way. He broke off language like pieces of hard candy that caught the light before dissolving in my mouth.
Even after a few years Mia's attempts to know and understand her father elude her, as the immutable Zoraida's resentment grows and prevents Mia from reaching him:
"Mi papa," I venture, "No lo conozco."
Conocer. The verb hangs in the air like the steel blade of a guillotine. Conocer means to meet and to know. Yes, I've met him, but no, I don't know him. How do I join the meeting and the not knowing of my father in one verb? It's more than a grammatical question.
This need for understanding and acceptance gives Mia the necessary impetus to go forth on a personal journey that will take her from Missouri to Miami, Florida to Bogotá, Colombia and eventually Havana, Cuba. Instead of searching for her roots, she finds herself in Havana exploring Cuban culture through the unique joys and sufferings of its people, their compulsive and sensual obsession with food, and the unique rhythms of its music and language. She falls in love with a man and the island's passions as she experiences highs and lows, glorious moments and betrayals, clarity, uncertainty and anguish along the way.
I thought I was just going to come here and "discover" my heritage or somehow feel connected to it, but this island doesn't merely give, it exacts a price for what you take from it. Not flowers or offerings of fruit, but flesh, memory, balance.
Ms. Leonin successfully uses a combination of dialogue and narrative to tell her story. Havana and Other Missing Fathers is a memoir, but it reads more like a novel with poetic overtones. The narrative switches from present to past in a flowing manner with few narrative interruptions as the story unfolds to its conclusion of partial resolutions and personal revelations.  The author writes in a lyrical style and uses language as the core to keep the reader engrossed and focused in the story. While the book is written in English, Ms. Leonin is particularly successful in the effective adaptation of Cuban Spanish, as she applies its unique rhythms, oblique meanings and double entendres to her exploration of roots and culture, both here and there.

Finally, I'll say that this book was an unexpected pleasure. Havana and Other Missing Fathers turned out to be a very personal and forthright journey where no one is spared, least of all the author. She captures the dichotomies in Cuban culture: intricacies and subtleties, beauty and unpleasantness, strengths and weaknesses. I connected with this story and was right there on that roller coaster ride of self-discovery and emotional upheaval with Mia. That's the highest recommendation I can give this book.

Category: Memoir
Series: Camino del Sol: A Latino and Latina Literary Series
Released: September 1, 2009
Source: Eco-Libris & The University of Arizona Press
Grade: B+

Visit Mia Leonin here.