tag:blogger.com,1999:blog-145439692024-03-25T06:58:48.875-07:00Pluma Fronteriza - Your Chicano Literature News HeadquartersLet us keep you current on Chicano Literature, Writers, El Paso Chicano Writers and more.Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.comBlogger466125tag:blogger.com,1999:blog-14543969.post-71855351672214903862020-09-26T14:07:00.006-07:002020-09-26T14:14:30.750-07:00Chicano(a)x Poetry Timeline<p style="text-align: center;"><span style="font-size: x-large;"><b><img alt="Crazy gypsy: Poems: Luis Omar Salinas: Amazon.com: Books" class="detail__media__img-highres js-detail-img js-detail-img-high" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimages-na.ssl-images-amazon.com%2Fimages%2FI%2F61hV3XBc9nL._SL500_SY344_BO1%2C204%2C203%2C200_.jpg&f=1&nofb=1" style="display: block; height: 262px; width: 172.647px;" /> <br /></b></span></p><p><span style="font-size: x-large;"><b>Chicano(a)x Poetry Timeline: 1928-2010<br /></b></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">by Raymundo Eli Rojas</span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">Please cite: Rojas, Raymundo Eli "Chicano(a)x Poetry Timeline," Date: Https Address.</span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">Please note that after Sept. 26, 2020, this is meant to a community project, thus a working "Chicano(a)x Poetry Timeline."<br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">Did I miss one, or miss yours. Let me know. Under our "Undated," so you know when these were published?<br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"> <br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p><!--[if !mso]>
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</p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1928</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;"> </span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Mexican
Silhouettes<span style="font-style: normal;">, Josefina Niggli</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;"> </span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1937</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle14"></a><b><span style="font-style: normal;">Cantos de adolescencia/ Songs of Youth: 1932-1937 </span></b>(Recovering the Us Hispanic
Literary Heritage) [Paperback], Americas Paredes</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;"> </span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;"> </span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1939</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Clothed With the Sun, Fray Angélico Chávez</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Eleven Lady-Lyrics and Other Poems</span>, Fray Angélico Chávez</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Selected Poems (Writers Editions)</span>, Fray Angélico Chávez</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1952</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The Wide
Well of Hours<span style="font-style: normal;"> (New World Society of Pittsburgh
chapbook), Felipe Ortego</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h1><span style="font-size: medium;"><span style="font-family: arial;"><span> </span></span></span></h1><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h1><span style="font-size: medium;"><span style="font-family: arial;"><span>Chicano
Renaissance</span></span></span></h1><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1966</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Al cielo se sube a pie, <span style="font-style: normal;">Sabine
R. Ulibarrí</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b> </b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1967</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">I am Joaquín/Yo soy Joaquín<span style="font-style: normal;">,</span> <span style="font-style: normal;">Rodolfo
“Corky” Gonzáles</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b> </b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1969</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Chicano: 25 Pieces of a Chicano Mind<span style="font-style: normal;">,</span> <span style="font-style: normal;">Abelardo
Delgado</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b> </b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1970</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Los cuartro<span style="font-style: normal;">, Abelardo Delgado, Ricardo Sánchez, Raymundo “Tigre” Pérez,
and Juan Valdez <span> </span>(Magdleno
Avila)(Barrio Publications Chapbook)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Free, Free at Last (Barrio Publications Chapbook), <span style="font-style: normal;">Raymundo
(Tigre) Pérez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Crazy Gypsy (Barrio Publications Chapbook)<span style="font-style: normal;">, Luis Omar Salinas</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoHeader"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1971</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Canto y grito mi liberación (y lloro mis
desmadrazgos . . .)(Mictla Publications)<span style="font-style: normal;">,</span>
<span style="font-style: normal;">Ricardo Sánchez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Floricanto en Aztlán<span style="font-style: normal;">,
Alurista</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">El ombiligo de Aztlán<span style="font-style: normal;">,
Alurista and Jorge González</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Encanto chicano<span style="font-style: normal;">,
Javier Galvez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Pensamientos Capturados<span style="font-style: normal;"> (1971), Jose Montalvo</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Phases,<span style="font-style: normal;"> Raymundo (Tigre) Pérez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Primeros cantos<span style="font-style: normal;">,
Roberto Vargas</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Obras,
Ricardo Sanchez</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Selected
Poems<span style="font-style: normal;">, (chapbook), Richard García</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Shadows in Ecstasy and Other Poems<span style="font-style: normal;">, John Reyna Tapia</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Tarde Sobira<span style="font-style: normal;">, Alurista</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">This Side and Other Things<span style="font-style: normal;">, Elías Hruska y Cortes</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Vida de ilusiones<span style="font-style: normal;">,
Heriberto Terán</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">White Heroin Winter<span style="font-style: normal;">,
Carlos Morton</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Yellow Lane<span style="font-style: normal;">, Bernardino Verastique</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoHeader"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1972</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Hay Otra Voz Poems (1968-1971)<span style="font-style: normal;">,</span> <span style="font-style: normal;">Tino
Villanueva</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Nationchild Plumaroja, <span style="font-style: normal;">Alurista</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Oración a la mano poderosa<span style="font-style: normal;">, Alejandro
Murguía</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Menudo<span style="font-style: normal;">, ed. Frack Seth Alexander</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Space Flutes and Barrio Paths<span style="font-style: normal;">, Alex Kirack</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">El sol y los de abajo and other R.C.A.F. poems<span style="font-style: normal;">, José Montoya</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The Secret Meaning of Death<span style="font-style: normal;">, Raymundo (Tigre) Pérez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Menudo<span style="font-style: normal;">, Seth Alexander Frack</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Morena<span style="font-style: normal;">, Elena Guadalupe Rodriguez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Nationchild Plumaroja, 1969-1972<span style="font-style: normal;">, Alurista</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Oración a la mano poderosa<span style="font-style: normal;">, Alejandro Murguia</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Perro y antiperros: Una épica chicana<span style="font-style: normal;">, Sergio Elizondo</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Poemas y
reflexiones de cuatro chicanos . . .<span style="font-style: normal;">, Abelardo B. Delgado</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Voces de la gente, <span style="font-style: normal;">Joe Olvera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1973</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Always and Other Poems<span style="font-style: normal;">, Tomás Rivera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Bajo el sol de Aztlan: 25 soles de Abelardo<span style="font-style: normal;">, Abelardo
Delgado</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">La calavera (Toltecas de Aztlan Pubs), Alurista</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Chicanas en la literature y arte (Grito), ed. Estela
Portillo Trambley</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Chicano Poet: With Images and Visions of the Poet (<span style="font-style: normal;">Trucha Publications), Nephtalí De León</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Colección Tula y Tonán: Texto generativo<span style="font-style: normal;">, Alurista</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">From la llorona to Envidia . . . A Few Reflections<span style="font-style: normal;">, Rose Mary (La
<span> </span>Manita) Roybal</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">From the Barrio: A Chicano Anthology, Lilian Federman, Omar
Saliasn, ed.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Pensamiento Serpentino: A Chicano Approach to the
Theater of Reality, <span style="font-style: normal;">Luis Valdez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Selected Poetry<span style="font-style: normal;">,
Ricardo García</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">A Soft Tongue Shall Break Hardness, Jesús B. Ochoa</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">A
Tostón: Reminiscences of a Mexican-American<span style="font-style: normal;">,
Rafael Estupinia</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Viaje/Trip <span style="font-style: normal;">(Hellcoal Press)</span><span style="font-style: normal;">, Raúl R. Salinas</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoHeader"><span style="font-size: medium;"><span style="font-family: arial;">El
venado <span style="font-style: normal;">(Toltecas de Aztlan Publications: San Diego), Alurista</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoHeader"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1974</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">And Her Children Lived<span style="font-style: normal;">, Gloria Amalia
Flores</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">La chicana piena<span style="font-style: normal;">,
Sylvia Alicia Gonzales</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">5<sup>th</sup> and Grande Vista: Poems 1960-1973<span style="font-style: normal;">, Juan Gómez Quiñonez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Happy Songs, Bleeding Hearts<span style="font-style: normal;">, Lin Romero</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Formento Literario: Cuentos y poemas<span style="font-style: normal;">, Aristeo Brito</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Inscape<span style="font-style: normal;">, Leroy Quintana and Nora
Eidelberg</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">It’s Cold: 52 Cold Thought-Poems of Abelardo<span style="font-style: normal;">, Abelardo Delgado</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Padre y hijo/Father and Son: Chicano Thoughts<span style="font-style: normal;">, Leo and Marty
Hernández</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Robozos of love/we have woven/sudor de pueblos/on
our back (Tolteca Publications),
Juan Felipe Herrera</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>La voz poetica del Chicano, Editors: Herminio
Rios-C [and] Octavio I. Romano-V.</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoHeader"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1975</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">And This Is What We Said, Arturo Silvano Bobián, David
Garcia,<span> </span> Roberto “Chips” Portales</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Arise, Chicano and other poems (San Antonio M&A
Editions), <span style="font-style: normal;">Angela De Hoyos</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The Black Sun<span style="font-style: normal;">, Ricardo Mora</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Caravana enlutada<span style="font-style: normal;">, Ricardo Aguilar</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Chicana Themes: Manita Poetry<span style="font-style: normal;">, Marcela T.
Gaitán</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Chicano Poems for the Barrio<span style="font-style: normal;">, Angela De Hoyos</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Chicano Territory: Poems (<span style="font-style: normal;">Rifan), Reyes Cardenas</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Coca-Cola Dream<span style="font-style: normal;">,
Nephtalí de Leon</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Conversations From the Nightmare<span style="font-style: normal;">, Carol Lee Sánchez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Los criaderos humanos (épica de los desamparados) y
Sahuaros,<span style="font-style: normal;">Miguel M. Mendez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Entrance: Four Chicano Poets (Greenfield Review Press),</span> Leonardo Adame, Omar Salinas,
Gary Soto, Ernesto Trejo</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Espejos de alma y de corazón</span>, Heriberto G. Teran</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Hey, Mr. President, Man!,</span> Nephtalí de Leon</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">In Loneliness</span>,
Arthur Munoz</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">La mujer es la tierra: La tierra de vida, </span>Dorinda Moreno</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Noches despertado inconciencias</span>, Margarita Cota (La plonqui) <span> </span>Cárdenas.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Otro canto,</span>
Ana Castillo</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Selecciones,</span>
Angela De Hoyos</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Tlacuilos</span>,
Heriberto Terán</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Zero Makes Me Hungry (Chapbook)</span>, Ana Castillo</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1976</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Anti-Bicicleta
Haikú (Caracol): Poems<span style="font-style: normal;">, Reyes Calderon</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The Baby
Chook and Other Remnants<span style="font-style: normal;">, Reymundo Gamboa and Ernesto Padilla.</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Bajo
cubierta<span style="font-style: normal;">, Miriam Bornstein-Somoza</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Beans<span style="font-style: normal;">, Luis García</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Cambio
Phideo<span style="font-style: normal;">, Orlando Ramírez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">I Close my eyes to see <span style="font-style: normal;">(Chapbook), Ana
Castillo</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Los criaderos humanos (épica de los desamparados</span>, Miguel M. Méndez</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Divergencias</span>,
Manuel Gamboa</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">El
Quetzal emplumece, (Mexican American Cultural Center)<span style="font-style: normal;"> [edited by]
Carmela Montalvo, Leonardo Anguiano, Cecilio García Camarillo</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a name="bookPageTitle"></a>Entrance:
4 Chicano Poets<span style="font-style: normal;">, Leonard Adame, Luis Omar Salinas, Gary Soto, Ernesto Trejo
(Greenfield Revew Press Greenfield Review Chapbook, #24.) by Leonard Adame </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Fireflight: Three Latin American poets</span>, Elsie Alvarado de Ricord,Lucha
Corpi, Concha Michel; translated into English by <span> </span>Catherine Rodriguez-Nieto.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Get Your Tortillas Together</span>, Carmen Tafolla, Cecilio García-Camarillo, &
Reyes Cárdenas.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Hechizospells, </span>Ricardo
Sánchez</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Hijo del Pueblo: New Mexico Poems</span>, Leroy V. Quintana</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">I close me eyes</span>,
Ana Castillo</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Life Within the Heart Imprisoned</span>, Luis Talamantez</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Nationchild Plumaroja, 1969-1975</span>, Alurista</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Los
pobladores nuevo mexicanos y su poesia, 1889-1950, Anselmo F. Arellano</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Restless Serpents (self published Disenos Literarios: Menlo
Park, CA)</span>, José
Antonio Burcíaga and Bernice Zamora</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Reflexiones: 16 Reflections of Abelardo</span>, Abelardo B. Delgado</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Timespace Huracán<span style="font-style: normal;"> (Pajarito Pubs; Albuquerque),</span> Alurista</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Tres Aliens</span>,
Heriberto Terán</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Un paso más/One More Step (Renacimiento Publications;
Lansing, MI)</span>, Mario
Garza</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>1977</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Bloodroot (Place of Herons)</span>, Alma Villanueva</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Born Into a Felony</span>,
Manuel Gamboa</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Chicano
Poems for the Barrio (M&A Editions; 2nd print edition), <span style="font-style: normal;">Angela de Hoyos</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Con razón corazón</span>,
Inés Hernández Tovar</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Eating Stones, </span>Ricardo
Mario Amezquita</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Elements of San Joaquín</span>,
Gary Soto</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Here Lies Lalo: 25 Deaths of Abelardo</span>, Abelardo B. Delgado</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">El hacedor de juegos/The Maker of Games</span>, Rafael Jesús Gonzalez</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Inocencia perversa/Perverse</span>, Juan Bruce-Novoa</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">The Junk City Journal</span>,
Holly Delgado</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Ku: poemas (Maize),</span>
Xelina <span style="font-style: normal;">(Xelina Rojas Urista)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Libro para batos y chavalos chicanas</span>, Sergio Elizondo</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Luna llena: Ocho años de poesía chicana, 1971-1979</span>, Armando <span> </span>Vallejo</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Mesqui+ierra</span>,
José Flores Peregrino</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Mestiza: Poems</span>,
Marina Rivera</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Nahualliandoing: Poetry in Español, Náhuatle, English</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Noches despertando inciencias (Scorpion Press)</span>, Margarita Cota Cardenas</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Nosotros:
A Collection of Latino Poetry and Graphics from Chicago<span style="font-style: normal;"> (Revista
Chicano-Riqueña)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Otro Canto<span style="font-style: normal;"> (self published Chapbook), Ana Castillo</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Poems en español</span>,
Roberto Galvan</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Pensamientos capturados: Poemas de José Montalvo</span>, José Montalvo</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Symbols</span>,
Pilar Sánchez</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Ta
cincho, David Sergio Cavazos [and others] editors</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Think of This Situation</span>,
Tomás M. Calderon</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a href="http://lib.utep.edu/search~S0?/aVerastique%2C+Bernardino+/averastique+bernardino/1%2C1%2C2%2CB/frameset&FF=averastique+bernardino&2%2C%2C2/indexsort=-">Yellow Luna : poetry</a> , Verástique, Bernardino.[s.l.]
: Bernardino Verastique, 1977. </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b> </b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>1978</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Canto
al Pueblo: An anthology of experiences, Editorial committee: Leonardo Carrillo
[and others]</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Cultura, José Antonio Burciaga</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Dark Smoke</span>,
Pancho Aguila</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">During the Growing Season, </span>Leo Romero</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Madrugada del ‘56/Morning of ’56: Selected Poems</span>, Reymundo Gamboa</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Mother, May I? (Place of Herons),</span> Alma Villanueva</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Nade Y Nade: A Collection Of Poems (M&A Press)</span>, Evangelina Vigil</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Tale of Sunlight</span>,
Gary Soto</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>The
last testament = El último padre: A Poemnovel / Rodolfo E. Braceli ; translated
by Francisco A. Lomelí ; pref. Gustavo V. Segade ; [editors, Juan Felipe
Herrera, Charlotte Jaramillo, Pedro Ortiz Vásquez]</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Under the Skirt of Lady Justice; 43 Skirts of Abelardo</span>, Abelardo <span> </span>Delgado</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b> </b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">A’nque (Maize Press: San Diego)</span>, Alurista<span style="font-style: normal;"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Cantos pa’ la memoria (Mango Chicano Chapbook Series 3)</span>, Leonardo Adame</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">I Go Dreaming Serenades (Mango Chicano Chapbook Series 2)</span>, Luis Omar Salinas</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Immigrants in Our Own Land,</span> Jimmey Santiago Baca</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The
Invitation <span style="font-style: normal;">(self published chapbook), Ana Castillo</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Poesía
chicana: Alurista, Ricardo Sánchez, Rafael Jesús González, Tino Villanueva,
Sergio Elizondo, Abelardo Delgado, Aristeo Brito y Javier Gálvez, introducción,
selección, traducciones y notas de Fernando García Núñez</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Here
Lies Lalo, </b><b><span style="font-style: normal;">Abelardo Delgado</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Siete de Abelardo</span>,
Abelardo B. Delgado</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Seascapes</span>,
Gary de France</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Selected
Poem (Arte Publico), <span style="font-style: normal;">Angela de Hoyos</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Speedway, </span>Orlando
Ramirez</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Unos pasos, </span>Victor
N. Baptiste</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>1980</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Afternoon of the Unreal (Fresno: Abramas Publications ), </span>Omar Salinas</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Bad Boys (Mango Publications)</span>, Sandra Cisneros</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a href="http://lit.alexanderstreet.com/wols/view/1000031027">Blue Mandolin, Yellow Field</a> (Tonatiuh Quinto Sol
International), Olivia Castellano </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Canto
al Pueblo: Antologia ; anthology, Comité Editorial/Editorial Committee, Arizona
Canto al Pueblo IV</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Como
arbustos de niebla (</b><i><span style="font-style: normal;">Mexico, D.F. : Editorial
Latitudes </span></i><b>Chicano
Chapbook Series) / Gary Soto ; traducción de Ernesto Trejo. </b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Eluder (Alexander Books)</span>, Rina G. Rocha</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">In their
father's name (Mango Pub Chicano Chapbook Series 7), Michael Sierra</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a href="http://sol.ci.el-paso.tx.us/ipac20/ipac.jsp?session=131K64588S0S7.79631&profile=ma&uri=search=TL%7E%21Nicaragua,%20yo%20te%20canto%20besos,%20balas,%20y%20sueños%20de%20libertad%20:%20poems%20/&term=Nicaragua,%20yo%20te%20canto%20besos,%20balas,%20y%20sueños%20de%20libertad%20:%20poems%20/%20by%20Roberto%20Vargas.&aspect=subtab177&menu=search&source=%7E%21horizon">Nicaragua, yo te canto besos,
balas, y sueños de libertad : poems / by Roberto Vargas.</a> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Life is a Two-Way Street (Rossetta Press), Denise Chavez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Palabras De Mediodia=Noon Words: Poems (Fuego de Aztlan)</span>, Lucha Corpi (Poetry
Collection).</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The
Unicorn Poem (Relampago Books: Austin), <span style="font-style: normal;">E.A. Tony Mares</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The
Unicorn Poem and Flowers and Songs of Sorrow<span style="font-style: normal;"> (Wings Press), E.A. “Tony” Mares</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Un Trip through the Mind Jail y Otras Excursions (Relampago
Books, Austin0</span>, Raul
Salinas</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>1981</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">The Dreaming Man (Waterfront Press), Alvarez, Lynne</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Ecstasy
and puro pedo (Mano Isquerda), Cecilio García Camarillo</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Emplumada (University of Pittsburgh Press)</span>, Lorna Dee Cervantes, American
Book Award 1982</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Fiesta
in Aztlán: Anthology of Chicano poetry </b><b><span style="font-style: normal;">(Capra Pr )</span></b><b>, edited by Toni Empringham</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Hang a
snake (Mano Isquerda, Cecilio García-Camarillo</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Prelude to Darkness (Mango Publications)</span>, Luis Omar Salinas</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Sleepinig
on Fists (Dooryard Press), Alberto Rios</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Spik In Glyph? (Arte Publico Press),</span> Alurista</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Survivors of the Chicano titanic (Place of Herons)</span>, Reyes Cardénas</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Swords of Darkness<span style="font-style: normal;"> (Mango
Publications Chicano Chapbook Series 1981), Jimmy Santiago Baca</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Thirty An' Seen A Lot (Arte Publico)</span>, Evangelina Vigil, Before
Columbus Foundation American Book Award for Poetry, 1983</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b> </b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>1982</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Calcetines
embotellados (Mano Izquerda), Cecilio García-Camarillo</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="border-collapse: collapse; mso-padding-alt: 0in 0in 0in 0in; mso-table-layout-alt: fixed;">
<tbody><tr>
<td style="padding: 0in; width: 72.75pt;" valign="top" width="97">
<p class="TableContents"><span style="font-size: medium;"><span style="font-family: arial;"><span> </span></span></span></p>
</td>
</tr>
</tbody></table><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Carambola
(Mano Isquerda), Cecilio García-Camarillo</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Double-face
(Mano Izquerda), Cecilio García-Camarillo, </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Return: Poems (Bilingual Review Press), </span>Alurista</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Whispering
to Fool the Wind <span style="font-style: normal;">(Sheep Meadow Press)(Walt Whitman Award)</span>, <span style="font-style: normal;">Alberto Alvardo Ríos</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Darkness
Under The Trees / Walking Behind The Spanish<span style="font-style: normal;">, (Berkeley: Chicano Library
Studies Publications, University of California), Luis Omar Salinas</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>1983</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>A
mi que! (Raza Cosmica Press; San Antonio),</b><b><span style="font-style: normal;"> Jose Montalvo</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Blue
horse of madness </b><b><span style="font-style: normal;">(Crystal Clear Printers)</span></b><b>, Olivia Castellano</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Second
St. Poems (Bilingual Press/Editorial Biling-U), Beverly Silva</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Amsterdam
cantos y poemas pistos <span style="font-style: normal;">(Place of Herons' international series) (Spanish Edition)
(Place of Herons) by Ricardo Sánchez (Paperback - 1983) </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>1984</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">¡A MI
QUE!<span style="font-style: normal;">
(1983) , Jose Montalvo</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">As Long as it takes, Rosemary Catacalos</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Borlotes
mestizos (Mano Isquerda)Cecilio García-Camarillo</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Chants (Arte Publico)</span>,
Pat Mora</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Life Span (Place of Heron Pr )</span>, Alma Villanueva</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Ojo de Cuava (Bilingual Review Press)</span>, Cordelia Candelaria</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Passing time: Poems (self-published chapbook)</span>, Teresa Palomo Acosta</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Shaking
Off the Dark <span style="font-style: normal;">(Arte Publico Press)</span>,
Tino Villanueva</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Women Are Not Roses (Arte Publico Press)</span>, Ana Castillo</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b> </b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>1985</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Again for the first time, Rosemary Catacalos</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Celso (Arte Publio Press)<span style="font-style: normal;">, </span><span style="font-style: normal;">Leo Romero</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Chingada (Bilingual Review Press), <span style="font-style: normal;">Alma
Luz Villanueva</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Exiles of Desire.<span style="font-style: normal;"> Arte
Publico Press. University of Houston, Juan Felipe Herrera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Five Indiscretions (Riverdale-on-Hudson Sheep
Meadow Press), <span style="font-style: normal;">Alberto Alvaro
Ríos</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Five
Poets of Aztlán (Bilingual Press/Editorial Biling-U ), <span style="font-style: normal;">Alfonso Rodríguez, Leroy V. Quintana, El Huitlacoche, Alma Luz <span> </span>Villanueva, and Carmen Tafolla, ed.
Santiago Daydí-Tolson</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The Rodrigo Poems<span style="font-style: normal;">,
Sandra Cisneros</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Sueno de Colibri/Hummingbird Dream: Poems <span style="font-style: normal;">(West End
Press)</span>, <span style="font-style: normal;">Naomi Quiñonez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Woman, Woman <span style="font-style: normal;">(Arte Publico Press)</span>,
<span style="font-style: normal;">Angela De Hoyos</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b> </b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>1986</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Amor de lejos/Fool’s Love (Arte Publico), </span>Rubén Medina, trans. Jennifer <span> </span>Sternbach with Robert Jones</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Borders (Arte Publico)</span>,
Pat Mora</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">From Restless Roots (Arte Publico)</span>, Ray González</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Eating
Fire (Maize), Gina Valdes</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">I was never a militant Chicano (Relampago Books, Austin)</span>, Reyes Cardénas ; [sketches,
Valentín Cárdenas]</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">My Hair Turning Gray Among Strangers</span>, Leroy V. Quintana</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1987</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Black Hat Poems <span style="font-style: normal;">(Slough Press, Austin) , Jose
Montalvo</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Borderlands/La frontera: The New Mestiza (Aunt Lute Books),
Gloria Anzualdua</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The Computer Is Down<span style="font-style: normal;">,
Evangelina Vigil-Piñón</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Facegames (<span style="font-style: normal;">Dragon Cloud Press), Juan Felipe
Herrera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Living with Numbers (1987), Lynne
Alverez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">My Wicked, Wicked Ways <span style="font-style: normal;">(third woman
press)</span><span style="font-style: normal;">, Sandra Cisneros</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Nebulous
Thoughts <span style="font-style: normal;">(ManoIzquierda Books), Diana Montejano</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Piecework: 19 Fresno Poets <span style="font-style: normal;">(Silver Skates)</span>, <span style="font-style: normal;">ed. Jon
Veinburg and Ernesto Trejo</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Sadness of Days: Selected and New Poems <span style="font-style: normal;">(Arte Publico
Press)</span><span style="font-style: normal;">, Omar Salinas, ed. Gary Soto</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>The Undying love of "El Indio" Córdova:
Décimas and oral history in a border family, Americo <span> </span>Paredes</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h1><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle10"></a><b><span style="font-weight: normal; mso-bidi-font-style: italic;">Twilights and Chants
(Paperback James Andrews and Company Inc ), </span></b><a href="http://www.amazon.com/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Ray%20Gonzalez">Ray
Gonzalez</a> (Author) </span></span></h1><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1988</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">HOTEL FRESNO (Blue Moon Press), <span style="font-style: normal;">Dixie Salazar</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">My Father Was A Toltec: Poems <span style="font-style: normal;">(West End
Press), Ana Castillo</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">The Ultraviolet Sky (Bilingual Press/Editorial Biling-Ue)</span>, Alma Villanueva (Poetry
Collection), 1989 <span> </span>American Book
Award Before Columbus Foundation</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>La
voz mestiza (Grupo de escritores mexico-americanos) presenta "Un homenaje
a la madre"</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1989</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Emergency
Tacos<span style="font-style: normal;">,
</span>a collection of
Chicago Latino/a poets<span style="font-style: normal;"> (MARCH/Abrazo), ed. Carlos Cumpián</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p><span style="font-size: medium;"><span style="font-family: arial;"><span class="m41"><i>Akrílica.</i> Alcatraz
Editions. 1989, Juan Felipe Herrera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p><span style="font-size: medium;"><span style="font-family: arial;"><span class="m41"><i>I didn’t know there
were Latinos in Wisconsin I (Focus Communications)</i>, ed. Oscar Mireles</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p><span style="font-size: medium;"><span style="font-family: arial;"><span class="m41"><i>Looking For Mary Lou:
Illegal Syntax</i>, Ivan</span><b> </b>Argüelles (<span>Rock Steady Press </span><span class="m41">ISBN:</span><b><span> </span></b><span>0962167606)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p><span style="font-size: medium;"><span style="font-family: arial;"><i>Marchitas
de mayo: sones pa'al pueblo (Scorpian Press)</i><i><span>, Margarita Cota Cardenas</span></i></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p><span style="font-size: medium;"><span style="font-family: arial;"><i>Three Times a Woman (Bilingual Press/Editorial Biling-Ue )</i><i>, <span>Alicia
Gaspar de Alba, María Herrera-Sobek, Demetria Martínez.</span></i></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Slow Dancing at Miss Polly’s (Naiad Pr ), <span style="font-style: normal;">Sheila
Ortiz Taylor</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Warrington
Poems (Pyracantha Press, Arizona State University, School of Art ), <span style="font-style: normal;">Alberto Ríos</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoHeader"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1990</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoHeader"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Entering
a Life (Arte Publico), <span style="font-style: normal;">Ernesto Trejo</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Immigrants
in our own land and other early writings (New Directions Publishing Corporation
), Jimmey Santiago <span style="font-style: normal;">Baca</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The
Searchers: Collected Poetry (Arte Publico, <span style="font-style: normal;">Tomás Rivera, ed. Julián Olivares</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Varariciones Sobre Una Tempestad/Variations on a
Storm (Third Women Press),
<span style="font-style: normal;">Lucha Corpi</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Who Will Know Us?: New Poems (Third Women Press), <span style="font-style: normal;">Gary
Soto</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1991</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Between
Two Worlds (Arte Publico), <span style="font-style: normal;">Américo Paredes</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Calender
of Dust (Broken Moon Press)<span style="font-style: normal;">, </span><span style="font-style: normal;">Benjamin Alire Sáenz</span>, <span style="font-style: normal;">Winner of the American Book Award</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h1><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle12"></a>Cantos
(Paperback) (Chusma House Press), <a href="http://www.amazon.com/Alfred-Arteaga/e/B001H6IFXA/ref=ntt_athr_dp_pel_1">Alfred
Arteaga</a></span></span> </h1><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Communion
(Arte Publico), <span style="font-style: normal;">Pat Mora</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Concrete
River (Curbstone Press)<span style="font-style: normal;">, Luis J. Rodríguez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">They
Flying Garcías<span style="font-style: normal;">, Richard<span> </span>García (University of Pittsburgh)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Follower of Dusk<span style="font-style: normal;"> (Flume
Press), Luis Omar Salinas</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">From the
Cables of Genocide: Poems on Love and Hunger (Arte Publico Press), <span style="font-style: normal;">Lorna Dee Cervantes, Patterson Poetry Prize, 1992</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Police Make House Calls <span style="font-style: normal;">(</span><span style="font-style: normal;">Bilingual Press/Editorial Biling-Ue )</span><span style="font-style: normal;">, Armand Hernández</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Rediscovering
My Spirit<span style="font-style: normal;">, Elena Díaz Björkquist</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Tristealegría/Poems
(Bilingual Press/Editorial Biling-Ue)<span style="font-style: normal;">,
Francisco Santana</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Why Am I
So Brown? (<span style="font-style: normal;">March/Abrazo Press), Trinidad
Sánchez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1992</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Caring
for a House<span style="font-style: normal;">, Víctor Martínez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">De Amor
oscuro/Of Dark Love<span style="font-style: normal;">, Francisco X. Alarcón, tran.
Francisco Aragón (Moving Parts <span> </span>Press</span> <span style="font-style: normal;">0939952238
)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">De
Kansas a Califas & back to Chicago (<span style="font-style: normal;">March/Abrazo Press ), Carlos
Cortez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Fire in
my Hands: A Book of Poems (<span style="font-style: normal;">Scholastic; Reissue edition ), </span><span style="font-style: normal;">Gary Soto</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Snake
Poems: An Aztec Invocation (<span style="font-style: normal;">Chronicle Books), Francisco X.
Alarcón, ed.</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">“That” Goddess<span style="font-style: normal;"> (Pantograph Press 1880766000),
Ivan Argüelles</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Teodroo
Luna’s Two Kisses: Poems (W. W. Norton & Company ), <span style="font-style: normal;">Alberto Alvaro
Ríos</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Neighborhood
Odes (<span style="font-style: normal;">Sandpiper ), Gary Soto and David Diaz
(illustrations)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Sonnets
To Human Beings And Other Selected Works (Mcgraw-Hill ) <span style="font-style: normal;">, Carmen Tafolla</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The
Unicorn Poems of Flowers and Songs of Sorrow <span style="font-style: normal;">(West End Press) E. A. Mares
(Paperback</span><span style="font-style: normal;"> - Dec 31, 1992) </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Welcome to My New World<span style="font-style: normal;"> (1992) , Jose Montalvo</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Working
in the Dark: Reflections of a Poet of the Barrio (Museum of New Mexico Press ),
<span style="font-style: normal;">Jimmey
Santiago Baca</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1993</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Flight
of the eagle: Poetry on the U.S.-Mexico border/ El vuelo del águila : poesía en
la <span> </span>frontera Mexico-Estados Unidos</b><b>,
edited by Harry Polkinhorn, Rogelio Reyes, Gabriel <span> </span>Trujillo Muñoz</b><b> = / recopilado por Harry
Polkinhorn, Rogelio Reyes, Gabriel Trujillo <span> </span>Muñoz</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>From
Silence to Howl (Santa Cruz: Moving Parts Press 0939953173), Elba Rosario
Sánchez, <span> </span>José Antonio Burciaga, Abigaíl
Avelar, and others</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p><span style="font-size: medium;"><span style="font-family: arial;"><span class="m41"><i>Hapax Legomenon, </i></span><span class="m15"><span>by</span></span><span> </span><a href="http://www.downtownbrown.com/cgi-bin/psb455/scan/st=sql/tf=author/tf=title/tf=/sf=author/se=Arg%FCelles%2C%20Ivan..html">Argüelles,
Ivan</a><span class="m41"><i> (</i></span><span>Pantograph Press </span><span class="m41">ISBN:</span><span> 1880766043) </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p><span style="font-size: medium;"><span style="font-family: arial;"><i><span>Homenaje a Remedios Varo</span></i><span> (Coral Gables: Iberian Studies Institute 0935501576)(series ISBN), <span> </span>Marcela del Río</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">History
of Home<span style="font-style: normal;">, Leroy V. Quintana</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Memoria(s)
from an Exile's Notebook of the Future (<span style="font-style: normal;">Santa Monica College Press). [Poetry Chapbook], Juan Felipe
Herrera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Mujeres
Grandes Anthology<span style="font-style: normal;"> (M&A Editions 0913831528853), Angela de Hoyos, ed.</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Last
Generation, Cherri Moraga, <span style="font-style: normal;">Finalist for the Americana Library Association’s Gay,
Lesbian, <span> </span>Bisexual and Transgendered Book
Award</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>No
Golden Gate for Us (A Pennywhistle Chapbook)</b><b>,
</b><span style="font-style: normal;">by
Francisco X. Alarcón</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Planet,
with Mother, may I?, <span style="font-style: normal;">Alma Luz Villanueva (Poetry Collection), Winner 1994 Latino <span> </span>Literature Prize</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Scene from the Movie GIANT<span style="font-style: normal;">, Tino
Villanueva</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Warrior
for Gringostroika : Essays, Performance Texts, and Poetry, Guillermo Gomez-Peña</b><span style="font-style: normal;"> <br />
</span>We are the young
Magicians, <span style="font-style: normal;">Ruth Forman and Cherrie L. Moraga</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1994</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Contextos:
Poemas<span style="font-style: normal;"> (Santa Cruz: Moving Parts Press), Juvenal Acosta, Mario Angel
Quintero, <span> </span>Aflfred Arteaga, and
Carmen Rosello</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Cool
Salsa: Bilingual Poems on Growing Up Latino in the United States<span style="font-style: normal;">, Lori M. Carlson, ed.</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Chants<span style="font-style: normal;">, Pat Mora</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Fever of
Being<span style="font-style: normal;">,
Luis Alberto Urrea</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Lenguas
sueltas: poemas<span style="font-style: normal;"> (Santa Cruz: Moving Parts Press 093995219x), Elba Rosario
Sánchez, <span> </span>Cherríe Moraga, Francisco X.
Alarcón, and more</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Loose
Woman: Poems (Knopf)<span style="font-style: normal;">, Sandra Cisneros</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Nile and Other Poems<span style="font-style: normal;">, Teresa Palomo Acosta</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Night
Train to Tuxtla: New Stories and Poems.<span style="font-style: normal;"> University of Arizona, Juan Felipe Herrera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Releasing Serpents<span style="font-style: normal;">,
Bernice Zamora</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The Roots of a Thousand Embraces: Dialogues.<span style="font-style: normal;"> Manic D. Press. San Francisco, Juan Felipe Herrera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1995</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Agua Santa = Holy Water, <span style="font-style: normal;">Pat
Mora</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Aztec
Shell<span style="font-style: normal;">, Jorge H. Aigla<img border="0" height="24" src="file:///C:\Users\rayer\AppData\Local\Temp\msohtmlclip1\01\clip_image002.png" width="24" /></span><b></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Canto
Familiar</b>, <span style="font-style: normal;">by Gary Soto
and Annika Nelson</span>
(Illustrator), young adult </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Cronica
de mis años, <span style="font-style: normal;">Tino Villanueva</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Enigma
& Variations (Paradise is Persian for Park)<span style="font-style: normal;">, </span><span style="font-style: normal;">Ivan Argüelles
(Pantograph Press ISBN: </span><span style="font-style: normal;"><span> </span><span> </span>1880766116)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle24"></a><b>The
Fever of Being</b>
(English and Spanish Edition) [Paperback](West End Press), Luis Alberto Urrea
(Author) </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">G</span>ary Soto: New and Selected Poems<span style="font-style: normal;">, Gary Soto</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">My Father was a Toltec (W.W.
Norton), Ana Castillo</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Mujeres Grandes: Antology 2<span style="font-style: normal;"> (M&A Editions 09139831527459), Angela de Hoyos, ed.</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The Old Neighborhood: Canticos del Barrio<span style="font-style: normal;"> (Mission, TX: Corazón de Paz Pub.), René Saldaña, <span> </span>Jr.</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span class="m41">Railroad Face</span><span class="m41">, Ray González (C</span><span style="font-style: normal;">hili Verde Press </span><span class="m41">ISBN:</span><span style="font-style: normal;"> 0964061236</span><span style="font-style: normal; mso-bidi-font-style: italic;">)</span></span></span> </p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Stacey's
Story (West End Press0 , Robert L. Perea (Paperback - Dec 31, 1995) </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Zeros<span style="font-style: normal;">, Alurista</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1996</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a href="http://lit.alexanderstreet.com/wols/view/1000028033">Chicano Popcorn</a>
(privately published), Nephtali de Leon</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Confetti: Poems For Children, <span style="font-style: normal;">Pat
Mora (Poetry Collection, Children’s Lit.)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Daughters
of the Fifth Sun: A Collection of Latina Fiction and Poetry<span style="font-style: normal;">, Bryce Milligan, Mary <span> </span>Guerrero
Milligan, Angela de Hoyos, ed.</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Et Tú. . .Raza?<span style="font-style: normal;">,</span> <span style="font-style: normal;">Alurista, Winner of the 1997
American Book Award</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span class="m41">A Garden of Sound</span><span class="m41">, Alvaro Cardona-Hine (</span><span style="font-style: normal;">Pemmican Press </span><span class="m41">ISBN:</span><span style="font-style: normal;"> 1883458056)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>The
heat of arrivals: Poems</b><b>, </b><b>Ray González</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">In the
Gathering of Silence <span style="font-style: normal;">(West End), Levi Romero (Paperback - Dec 31, 1996) </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Love After the Riots<span style="font-style: normal;">
(Curbstone 18804284), Juan Felipe Herrera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">New
World Border<b> </b><b>Prophecies, Poems & Loqueras for the End of the
Century</b>, <span style="font-style: normal;">Gulliermo <span> </span>Gomez-Peña, Winner of the 1997
American Book Award</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Promiscuous Light<span style="font-style: normal;"> (Wings Press), Deborah Parédes</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Puentes
y fronteras/Bridges and Borders<span style="font-style: normal;">, Gina Valdés</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b> </b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1997</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Agua
Santa/Holy Water</b><b>, Pat Mora</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Aunt
Carmen’s Book of Practical Saints, Pat Mora</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Breathing
Between the Lines (Univ of Az Press), Demetria Martínez</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">El Coro:
A Chorus of Latino and Latina Poetry<span style="font-style: normal;">, Martín Espada, ed.</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Entre lineas</b><b>, </b><b>Gabriel
Trujillo ... [et al.]</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Framing
Job, </b><b>Ricardo Means Ybarra</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Ghost
Sickness, Luis Alberto Urrea</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Heat
of Arrivals (BOA Editions), Ray Gonzalez</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h1><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle11"></a><b><span style="font-weight: normal;">House with the Blue Bed (Mercury House<span> </span>Paperback), </span></b><a href="http://www.amazon.com/Alfred-Arteaga/e/B001H6IFXA/ref=ntt_athr_dp_pel_1">Alfred
Arteaga</a></span></span> </h1><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-left: 3.75pt;"><span style="font-size: medium;"><span style="font-family: arial;">I
Used to be a Superwoman<span style="font-style: normal;">, Gloria Velásquez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Junior
College: Poems<span style="font-style: normal;">, Gary Soto</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Look Back and Laugh (Chicano Chapbook Series<span style="font-style: normal;">, Michael Jayme
(chapbook)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Mayan Drifter: Chicano Poet in the Lowland of
America (<span style="font-style: normal;">Temple University Press), Juan Felipe
Herrera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Poems by
father and son, <span style="font-style: normal;">Trinidad Sanchez Jr., and Sr.</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Sometimes
Mysteriously (<span style="font-style: normal;">Anchorage: Salmon Run Press), Luis Omar Salinas</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Soy Como Soy, Y Que!<span style="font-style: normal;">, Raquel Valles Sentíes, (José
Fuentes Mares Award)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Whispering to Fool the Wind: Poems<span style="font-style: normal;"> (</span><span style="font-style: normal;">Sheep Meadow Pr ISBN 093529631X)</span><span style="font-style: normal;">, Alberto Ríos</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Working on it<span style="font-style: normal;"> (Chicano Chapbook Sereis 1997),
Juan Delgado</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1998</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Astillas
de luz/Shards of Light<span style="font-style: normal;">, bilingual anthology of Chicago Latina/o poets (Tía Chucha
Press), Olivia Maciel, ed.</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h1><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle5"></a>Cabato Sentora
(American Poets Continuum)(BOA Editions), <a href="http://www.amazon.com/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Ray%20Gonzalez">Ray
Gonzale</a>z</span></span></h1><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Destruction
Bay (West End Press)<span style="font-style: normal;">, Lisa Chávez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Floricanto
sí!: A Collection of Latina Poetry<span style="font-style: normal;">, Bryce Milligan, Mary Guerrero
Milligan, Angela <span> </span>de Hoyos, ed.</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Here’s Music’s Music: Notes to the Swede<span style="font-style: normal;"> (Mission, TX: Corazón de Paz Publishing), René <span> </span>Saldaña, Jr.</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Petty
Crimes,<span style="font-style: normal;"> Gary Soto</span>
(9-12), <span style="font-style: normal;">Winner of the Pen Center USA West Literary Awards</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h2><span style="font-size: medium;"><span style="font-family: arial;">Lime Orchard Woman: Poems, Alberto Alvardo
Ríos</span></span></h2><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span class="m41"><span style="color: black;">Love in the
Time of Aftershocks: A Prose Poem</span></span><span class="m41"><span style="color: black;">, </span></span><a href="http://www.downtownbrown.com/cgi-bin/psb455/scan/st=sql/tf=author/tf=title/tf=/sf=author/se=Arteaga%2C%20Alfred..html">Arteaga, Alfred</a><span class="m41"><span style="color: black;"> (Publisher:</span></span><span style="font-style: normal;"> <span>Chusma House <span> </span>Publications with Moving Parts Press </span></span><span class="m41"><span style="color: black;">ISBN:</span></span><span style="font-style: normal;"> 1891823000)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span class="m41"><span style="color: black;">Madonna: A Poem, </span></span><a href="http://www.downtownbrown.com/cgi-bin/psb455/scan/st=sql/tf=author/tf=title/tf=/sf=author/se=Arg%FCelles%2C%20Ivan..html">Argüelles, Ivan</a><span class="m41"><span style="color: black;"> (</span></span><span style="font-style: normal;">Runaway Spoon Press </span><span class="m41"><span style="color: black;">ISBN:</span></span><span style="font-style: normal;"> 1571410430)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Smoking
mirror: Poems <span style="font-style: normal;">(West End Press), Naomi Helena Quiñonez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Trochemoche<span style="font-style: normal;">, </span><span style="font-style: normal;">(Curbstone Pr ISBN 1880684500), </span><span style="font-style: normal;">Luis J.
Rodríguez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">1999</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Absence,
Luminescent <span style="font-style: normal;">(Four Way Books), Valerie
Martínez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">As We Go Along<span style="font-style: normal;"> (Berkeley: Gary Soto Chicano
Chapbook Series # 25), Marco Antonio Vasques</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span class="m41">Beneath Bone, </span><span class="m41">Liz González </span><span style="font-style: normal;">(Manifest
Press </span><span class="m41">ISBN:</span><span style="font-style: normal;"> 0967388511)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Border
Crosser With a Lamborghini Dream<span style="font-style: normal;"> (U of AZ)</span>, <span style="font-style: normal;">Juan
Felipe Herrera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Bus
stops and other poems<span style="font-style: normal;"> (Calaca)</span>, <span style="font-style: normal;">Manuel Vélez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Cabato
Sentora<span style="font-style: normal;"> (BOA Editions)</span>, <span style="font-style: normal;">Ray González</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Cande,
te estoy llamandoi <span style="font-style: normal;">(Wings Press 0930324447)</span><span style="font-style: normal;">, Celeste
Gúzman</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">City of Angels<span style="font-style: normal;">, Ivan Argüelles (Potes & Poets Press ISBN: </span><span style="font-style: normal;">0937013943</span><span style="font-style: normal;">)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">CrashBoomLove<span style="font-style: normal;"> (UNM
0826321143), Juan Felipe Herrera – winner of the 2000 Américas <span> </span>Award for Young Adult Literature from
the Consortium of Latin American Studies <span> </span>Programs
and the 2000 Latino Literary hall of Fame Award for Poetry; Americas Award from
the Center for Latin America, University of Wisconsin-Milwaukee</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Desire<span style="font-style: normal;"> (Bilingual Press)</span><span style="font-style: normal;">, Alma Luz Villanueva</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Great
Whirl of Exile (Curbstone Press)<span style="font-style: normal;">, Leroy V. Quintana</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">I didn’t know there were Latinos in Wisconsin II
(Focus Communications)<span style="font-style: normal;">, ed.Oscar Mireles</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Light,
Yogurt, Strawberry Milk<span style="font-style: normal;"> (Chicano Chapbook Series #21),
Francisco Aragón, ed. Gary <span> </span>Soto</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Long
Story Short<span style="font-style: normal;"> (Wings Press 0930324455), Mary Grace Rodríguez – winer of
the Premio <span> </span>Poesía Tejana</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Loteria
Cards and Fortune Poems: A Book of Life (City Lights Publishers)<span style="font-style: normal;">, Juan Felipe
Herrera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Mama and
Other Tregedies<span style="font-style: normal;"> (Pecan Grove Press 1877603635), Frances Treviño-Benavides</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Mi’ja,
Never Lend Your Mop…and Other Poems<span style="font-style: normal;"> (M&A Editions 0930324641), Brigid Milligan <span> </span>– finalist for the Tomás Rivera Prize</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Natural
Man <span style="font-style: normal;">(Chronicle
Books</span>), <span style="font-style: normal;">Gary Soto,
Finalist for the National Book Award</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">On This
Earth (<span style="font-style: normal;">Jacqueline Reid Dettloff ), Beatriz Reid Dettloff</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><i><span style="font-style: normal;">Peace in the Corazón</span></i><i> (Wings Press Poesia
Tejana Series chapbook ISBN: </i><span style="font-style: normal;">0930324463<i><span style="font-style: normal; mso-bidi-font-style: italic;">)</span></i></span><i>, <span> </span>Victoria García Zapata</i></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Poema:
Poems from a Common dude<span style="font-style: normal;">, Jesse G. Herrera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Primera causa/First cause<span style="font-style: normal;"> (Merrick, NY: Cross-Cultural Communications 0893041769), Tino
Villanueva</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">REINCARNATION OF THE COMMONPLACE
(national poetry award winner) (Salmon Run Press), Dixie Salazar</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Set this Book on Fire!<span style="font-style: normal;"> (Ceder Hill Pub. 1891812238), Jimmy Santiago Baca</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h2><span style="font-size: medium;"><span style="font-family: arial;"><i><span style="font-style: normal;">Smolt</span>
(Wings Press 0930324439)</i><i><span style="font-style: normal;">, </span>Nicole
Pollentier</i></span></span></h2><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Sonnets
to Humans Beans and Other Selected Works<span style="font-style: normal;"> (Wings Press 0930324471), Carmen <span> </span>Tafolla</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">So Often the Pitcher Goes to Water until it Breaks<span style="font-style: normal;"> (U of
Illinois), Rigoberto González – National <span> </span>Poetry
Series Winner</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">2000</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Arroyo<span style="font-style: normal;"> (Rancho de Taos: Ranchos Press),
Amalio Maduño</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a href="http://lit.alexanderstreet.com/wols/view/1000019643">As Our Barrio Turns: Who the Yoke
B On?</a><span style="font-style: normal;"> (Calaca Press), Alurista</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle25"></a>Campesino
Fingerprints (Calaca Chapbook Series Volume 1) [Paperback](Calaca Press), Rod
Ricardo-Livingstone (Author) </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Coyote Observes Humans<span style="font-style: normal;"> (Ranchos de Taos: Ranchos Press), Amalio Maduño</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Crooked<span style="font-style: normal;"> (Chicano Chapbook Series #29), Timothy Mathew Pérez</span> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a href="http://lit.alexanderstreet.com/wols/view/1000043068">Beyond the Beaten Path</a> <span style="font-style: normal;">(Alexander Street Press)</span>, raulsalinas</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Elegy on
the Death of César Chávez<span style="font-style: normal;">, Rudolfo Anaya, Texas Tayshas 2002003 High School <span> </span>Reading List</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">García
in Space<span style="font-style: normal;"> (Ranchos de Taos: Ranchos Press), </span><span style="font-style: normal;">Amalio
Maduño</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Gardeners
of Eden <span style="font-style: normal;">(Chicano Chapbook Series # 28), John
Olivares Espinoza</span><span><br />
</span><i><span style="font-style: normal;">How
to Undress a Cop: Poems (Arte Publico Press), </span></i><i>Sarah Cortez</i></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><i><span style="font-style: normal;">The Laughter of Doves</span></i><i> (Wings Press 0930324617), Frances Marie Treviño</i></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><i>La
Llorona, Lalo Delgado</i></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><i><span style="font-style: normal;">Madonna Septet</span></i><i>:
Volume I (Elmwood: Potes & Poets Press 1893541290), Ivan Arüelles</i></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><i><span style="font-style: normal;">Madonna Septet</span></i><i>:
Volume I (Elmwood: Potes & Poets Press 1893541290), Ivan Arüelles</i></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><i><span style="font-style: normal;">Marcoli Sausage</span></i><i> (Chicano Chapbook Series #27), David Domínguez</i></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><i><span style="font-style: normal;">My Own True Name: New and Selected Poems (Arte Publico)</span></i><i>,</i><i><span style="font-style: normal;"> </span></i><i>Pat Mora</i></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><i>Mi'ja,
Never Lend Your Mop and other poems (M&A Editions), Brigid A. Milligan</i></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Ouch<span style="font-style: normal;">, Jesse G. Herrera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Red (Bilingual Rev Press), Alfred
Arteaga</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><i><span style="font-style: normal;">Strong Box Heart </span></i><i>(Wings Press </i><span style="font-style: normal;">0930324536</span><span style="font-style: normal;">)</span><i>, Shiela Sánchez Hatch</i></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><i><span style="font-style: normal;">Selected Poetry</span></i><i> (Arte Púb)</i><i>,
Ceilio García-Camarillo</i></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Smoke<span style="font-style: normal;"> (Ranchos de
Taos: Ranchos Press), </span><span style="font-style: normal;">Amalio Maduño</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Somewhere Between Houston and El Paso: Testimonies
of a Poet<span style="font-style: normal;"> (Wings Press 0930324625), Carolina
Monsivaís</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><i><span style="font-style: normal;">Thunderweavers: Tejadores de Rayos (Univ of Arizona)</span></i><i>,</i><i><span style="font-style: normal;"> </span></i><i>Juan Felipe Herrera</i></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Turtle Pictures<span style="font-style: normal;"> (U of AZ)</span><span style="font-style: normal;">, Ray González (2001 Minnesota Book Award)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">VATOS<span style="font-style: normal;">, Luis Alberto Urrea and José Gálvez (</span><span style="font-style: normal;">Cinco Puntos Pr; ISBN: 0938317520)</span><span style="font-style: normal;">, Top Ten on <span> </span>the
YALSA Reluctant Readers Quick Pics list and on the Texas Tayshas 2002-2002 High
<span> </span>School reading List</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">When Living was a Labor Camp (Univ of AZ)<span style="font-style: normal;">, Diana García,
American Book Award 2001</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Who Said English Isn’t Romantic (Self published), <span style="font-style: normal;">Gilbert
Calzada</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoHeader"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">2001</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">Baptism by fire (Chicano Chapbook
Seres 31 2001), Hector W. Rivera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Base
Pairs (<span style="font-style: normal;">Swan Scythe Press), María Melendez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span class="m41">Between the Heart and the Land / Entre el corazón
and la tierra: Latina Poets in the Midwest, </span><span class="m41"><span><span> </span></span></span><a href="http://www.downtownbrown.com/cgi-bin/psb455/scan/st=sql/tf=author/tf=title/tf=/sf=author/se=C%E1rdenas%2C%20Brenda%20and%20Johanny%20V%E1squez%20Paz%20%5Beditors%5D..html">Cárdenas, Brenda and Johanny
Vásquez Paz [editors]</a><span class="m41"> </span><span style="font-style: normal;">(MARCH/Abrazo Press </span><span class="m41">ISBN:</span><span style="font-style: normal;"> <span> </span>1877636185)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">The Bully (Red Wing Press), Jose
Montoya</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span class="m41"><span style="color: black;">Chac Prostibulario: A Collaboration</span></span><span class="m41"><span style="color: black;">, Ivan </span></span><a href="http://www.downtownbrown.com/cgi-bin/psb455/scan/st=sql/tf=author/tf=title/tf=/sf=author/se=Arg%FCelles%2C%20Ivan%20and%20John%20M.%20Bennett..html">Argüelles and John M. Bennett</a><span class="m41"><span style="color: black;"> (</span></span><span style="font-style: normal;">Pavement Saw Press <span> </span>1886350531)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;">CrashBoomLove (U of NM), Juan
Felipe Herrera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Familia
(<span style="font-style: normal;">The Portlandia Group- chapbook), Elisa Gárza</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">From the
Other Side of Night: Del Otro Lado De La Noche: New and Selected Poems,
Francisco X. Alarcón, trans. Francisco Aragón</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Healing
Earthquakes (Grove Press)<span style="font-style: normal;">, Jimmey Santiago Baca</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span class="m41">The Heat: Steelworker Lives & Legends</span><span class="m41">, </span><a href="http://www.downtownbrown.com/cgi-bin/psb455/scan/st=sql/tf=author/tf=title/tf=/sf=author/se=Baca%2C%20Jimmy%20Santiago%20(editor)..html">Baca, Jimmy Santiago, editor</a><span class="m41"><span style="color: black;"> (</span></span><span style="font-style: normal;">Cedar Hill Publications <span> </span></span><span class="m41">ISBN:</span><span style="font-style: normal;"> 1891812173)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Giraffe
on fire<span style="font-style: normal;"> (UofAZ)</span>, <span style="font-style: normal;">Juan Felipe Herrera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h2><span style="font-size: medium;"><span style="font-family: arial;"><span>I
Ask the Impossible (Doubleday)</span><span style="font-style: normal;">, Ana
Castillo</span></span></span></h2><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">In Angry
Season<span style="font-style: normal;">, Lisa D. Chávez (U of AZ)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h2><span style="font-size: medium;"><span style="font-family: arial;"><span>Living
Life On His Own Terms: The Poetic Wisdom of Abelardo Delgado</span><span style="font-style: normal;"> (Barrio)</span></span></span></h2><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Mark my
Words: Five Emerging Poets<span style="font-style: normal;">, ed. Francisco Aragón (Monotombo
Press ISBN <span> </span>097104656)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Que Linda LA Brisa (<span style="font-style: normal;">Pamela Auchincloss Arts Management )</span><span style="font-style: normal;">, </span><span class="small1">James
Drake (Photographer), Benjamin Alire Sáenz, Jimmy Santiago Baca</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Rancho Notorious (BOA Editions)<span style="font-style: normal;">, Richard
García</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Set this book on fire<span style="font-style: normal;"> (Ceder
Hill 1891812238)</span>, <span style="font-style: normal;">Jimmy Santiago Baca</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Simple Thoughts: Poetry for the Masses (Iuniverse)<span style="font-style: normal;">, Robert J.
Tinajero</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Sonnets
and Salsa<span style="font-style: normal;"> (Wings 093030324560)</span><span style="font-style: normal;">, Carmen
Tafolla</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Sonnets to Madness and other Misfortunes<span style="font-style: normal;">, Francisco X.
Alarcón, tran. Francisco Aragón <span> </span>(Creative
Arts Book Co. ISBN </span><span style="font-style: normal;">0887394507)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Vida!<span style="font-style: normal;"> (Wings), Alma Luz Villanueva</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Wachale!:
Poetry and Prose about Growing Up Latino, <a href="http://www.amazon.com/exec/obidos/search-handle-url/index=books&field-author=Stavans%2C%20Ilan/102-7904073-6372104">Ilan Stavans</a><span style="color: black; font-style: normal;"> (Editor)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">2002</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;"> </span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Along the
Border Lies (<span style="font-style: normal;">Creative Arts Book Company ),
Paul S. Flores</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Aluminum
Times<span style="font-style: normal;"> (Swan Scyth Press Chapbook1930454090), John
Olivares Espinoza</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Cantos:
An Anthology of Aztlanahuac Writings (Calaca press)<span style="font-style: normal;">, Ed. Cecilio García Camarillo, Roberto <span> </span>Rodríguez, and Patricia González</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The
Devil’s Workshop (Univ of Az Press)<b>,</b> <span style="font-style: normal;">Demetria
Martínez</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Elegies
in Blue (Cinco Puntos Press)<span style="font-style: normal;">, Benjamin Alire Sáenz</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">From the
other Side of Night: Del Otro Lado de la Noche: New and Selected Poems <span style="font-style: normal;">(U of AZ<span> </span>Press; ISBN:
0816522308), Francisco X. Alarcón</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The Hawk
Temple at Tierra Grande<span style="font-style: normal;"> (Boa Editions ISBN 1929918208)</span><span style="font-style: normal;">, Ray González -
<span style="color: black;">National <span> </span>Book
Critic's Circle Award Notable Book Citation for 2002 and Pulitzer Prize <span> </span>nomination</span></span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: black;">Greatest Hits 1969-1996</span><span style="color: black; font-style: normal;">, (Johnstown, OH: Pudding House Publications),
Luis Omar Salinas</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">In
Praise of Cities: Three Poems<span style="font-style: normal;"> (Momotombo Chapbook),
Francisco Aragón</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Land of a Thousand Barrios </b><b>(</b>Pudding
House Publications ISBN 1589980956)<b>)</b>, Danny Romero.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Notebooks of a Chile Verde Smuggler. University of
Arizona Press, Tucson. 2002, Juan Felipe Herrera</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Razor Edges of My Tongue<span style="font-style: normal;">, (Calaca Press)
Leticia Hernández-Linares</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Shadows and Supposes<span style="font-style: normal;">, Gloria Vando</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Summer of 1,000 Smiles </b><span style="font-style: normal;">(ISBN
2002 0973234849), Mike </span>Arenas.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The Smallest Muscle in the Human Body<span style="font-style: normal;"> (</span><span style="font-style: normal;">Copper Canyon Pr; ISBN: 155659173X</span><span style="font-style: normal;">)</span><span style="font-style: normal;">, Alberto Ríos – Finalist for the National Book Award 2002</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">2003</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;"> </span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Tertulia:
A Poet’s Quickie <span style="font-style: normal;">, Francisco Aragon</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Asleep
Inside an Old Guitar<span style="font-style: normal;">, (Momotombo Press in the spring
2003)</span><span style="font-style: normal;">, </span><span style="font-style: normal;">Eduardo C. Corral</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h1><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle9"></a><span>Circling the
Tortilla Dragon (Creative Arts Book Company)</span>, <a href="http://www.amazon.com/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Ray%20Gonzalez">Ray
Gonzalez</a> (Author) </span></span></h1><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h1><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle2"></a><span>Down and Up the
Apple Trees (1st Books Library )</span>, <a href="http://www.amazon.com/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Raul%20F.%20Salinas">Raul
F. Salinas</a></span></span></h1><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h1><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle8"></a>Human Crying Daisies (Red Hen Press), <a href="http://www.amazon.com/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Ray%20Gonzalez">Ray
Gonzale</a>z</span></span></h1><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Marlene Dietrich, Rita Hayworth, and My Mother<span style="font-style: normal;"> (U of AZ Camino Del Sol Series <span> </span>0816522588), Rita María Magdaleno (Feb.)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Naked Wanting<span style="font-style: normal;"> (U of AZ
Camino del Sol 0816522480), Margo Tamez (March)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Prayer to a Spider Woman </b><b><span style="font-style: normal;">(</span></b><span style="font-style: normal;">ICOCULT
of Saltillo, Mexico, </span>2003),
Renato Rosaldo.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>A Rush of Hands </b>(Camino Del Sol)(Univ of Arizona Press
Camino Del Sol Series 2003 ISBN 0816522553), Juan</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Delgado.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Work
Done Right<span style="font-style: normal;"> (U of AZ Camino del Sol Series 0816522669), David Domínguez (Feb.)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">2004</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Assault with a Deadly Donut, Olga Garcia</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Bestiary: Selected Poems 1986-1997 </b><b><span style="font-style: normal;">(Bilingual Press ISBN:
1-931010-20-X), Lourdes Vásquez</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Blood Mysteries </b><b><span style="font-style: normal;">(U of AZ Press 0816522375), Dixie
Salazar</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Coralito's Bay / La Bahia de Coralito.</b><b><span style="font-style: normal;"> Monterey National Marine
Sanctuary. Monterey. 2004 , Juan Felipe Herrera</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Free Metal Woman (Calaca), Sandra C. Munoz</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>In the City of Smoking Mirrors </b><b><span style="font-style: normal;">(U of AZ Press</span></b>),
Albino Carrillo.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>La
Llorona on the Longfellow Bridge: Poetry y Otras Movidas </b><b><span style="font-style: normal;">(Arté Público Press), Alicia
Gaspar de Alba</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Love to
Mamí: A Tribute to Mothers (</b><b><span style="font-style: normal;">Lee & Low Books </span></b>ISBN 1584302356 2004)<b>, </b>Pat Mora</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>New Sun:
Songs and Stories / Voces del Nuevo Sol: Cantos y Cuentos </b>(Writers
of the Sun 2004). An anthology</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">contain
the works of 38 local Sacramento, CA authors,some very well-known, e.g., José
Montoya, Francisco Alarcón, Olivia Castellano and others,</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">Machetes
y Mariposas: Poems for my Chicana Sisters (CalacArts), Sara Rebeca Duran
Garibay</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Gil Mendez
& the Metaphysics of a Blimp</b><b><span style="font-style: normal;">,
(Aureole Press), </span></b>Gary Soto.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Skin Tax
(Great Valley Books), Tim X. Hernandez, American Book Award</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Solstice
(</b>on
Swan Scythe Press), Emmy Perez</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>One Kind of
Faith </b>(Chronicle
Books 0811841170) Gary Soto</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Pity the Drowned Horses, Sheryl Luna</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Skin Tax:
Diaries of a Macho </b><b>(</b>Heyday Books 2 0 0 4 I S B N 1890771937),
Tim Hernández.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Slow
Dissolve </b>(Monotombo
Press ISBN: 0-9710465-4-9), Steven Cordova.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Tales from
a Michoacano</b>,
(Auraria ISBN 0-9724029-0-X), Ramon Del Castillo.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Under What Bandera: Anti-War Ofrendos from Minnesota y Califas
(Red Calaarts)</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Warrior
Poet of the Fifth Sun </b>(2004), Luis A. López</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Winter
Poems Along the Rio Grande </b>(New Directions Publishing 2004 ISBN
081121575X)<b>, </b>Jimmy
Santiago Baca</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>World to
World </b>(Univ
of Arizona Press 2004 ISBN 0816523754), Valerie Martínez.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">With Razors on our Feet (Red CalacaArts), Raymond R. Beltran</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">With Eyes of a Raptor (Wings Press), E.A. Mares</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;"> </span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">2005</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-style: normal;"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span class="MsoHyperlink">Bent to the Earth </span><span class="MsoHyperlink"><span style="font-style: normal;">(Carnegie Mellon Univ Press Jan
2005 </span></span>ISBN
088748431X), Blas Manuel De Luna.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span class="MsoHyperlink">Xicana on</span><b>the Run </b>(Chusma
House ISBN 18918230904), Gloria Velasquez</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a href="http://lit.alexanderstreet.com/wols/view/1000043243">Chicano Valentine</a><span style="font-style: normal;"> (privately published), Nephtali
de Leon</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Cinnamon Girl: Letters Found Inside a Cereal Box.<span style="font-style: normal;"> Harper Collins, Joanna Cotler Books
/Tempest. New York. 2005 , Juan Felipe Herrera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h1><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle43"></a><i>Consideration of the Guitar: New and Selected Poems </i>(American Poets
Continuum)(BOA Editions), <a href="http://www.amazon.com/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Ray%20Gonzalez">Ray
Gonzalez</a></span></span></h1><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle42"></a><b>Drive </b><span style="font-style: normal;">(Wings Press Apr 2005 ISBN
0930324544), Lorna </span>Dee Cervantes</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle41"></a>Elegy
of Desire<span style="font-style: normal;"> (Univ of Arizona Press), Luis
Omar Salinas</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>From the Bellybutton of the Moon: And Other Summer
Poems / Del Ombligo de la Luna: Y Otros Poemas deVerano </b>(The
Magical Cycle of the Seasons Series)Children's Book Press (CA) Mar 2005 ISBN
0892392010), Maya Christina González (Illustrator),Francisco X. Alarcón.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Friday Nights at the Mercury Café </b>(Chapbook
2005)<b>, </b>Gwylym
Cano.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle4"></a><b>From the
Tongues of Brick and Stone </b>(Momotombo Press2005 ISBN 0971046565),
Brenda Cardenas</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Iguanas in the Snow: And Other Winter Poems /
Iguanas en la Nieve: Y Otros Poemas de Invierno </b>(The
Magical Cycleof the Seasons Series) (Children's Book Press (CA) (March 10,
2005) ISBN 0892392029), Maya Christina González</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">(Illustrator),
Francisco X. Alarcón (Unknown).</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Karate on Wheels: A Journey of Self Discovery </b><b>(</b>Atahualpa
Press ISBN 097264832), María Palacios</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Land of a ThousandBarrios </b><b>(</b>Pudding
House Publications ISBN 1589980956), Danny Romero</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Looking For My Wings </b>(Patroncito
Publishing), Magdaleno M. Rose-Avila</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Mahic </b>(Calaca Press Dec. 2005 ISBN 097170354X),
Tomás Riley</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Poems to Dream Together/poemas Para Sonar Juntos:
Poemas Para Sonar Juntos </b>(Lee & Low Books; Bilingual edition
May 30, 2005 ISBN 158430233X), Francisco X. Alarcon, Paula Barragan.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h1><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle7"></a><i>The
Religion of Hands: Prose Poems and Flash Fictions</i> (Camino
del Sol: A Latina and Latino Literary) (Univ of Arizona Press), <a href="http://www.amazon.com/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Ray%20Gonzalez">Ray Gonzalez</a>
(Author) </span></span></h1><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Santo de la Pata Alzada: Poems from the
Queer/Xicano/Positive Pen </b><b>(</b>Evelyn Street Press Feb 2005 ISBN
0972391010), Lorenzo Herrera y Lozano</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Watercolor Women/opaque Men: A Novel in Verse</b>(Curbstone
Press Sept 1, 2005 ISBN 1931896208), Ana Castillo</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Xicana on the Run </b><b>(bilingual), (Chusma House Press ISBN </b>1891823094)
Gloria L. Velásquez</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Y la tierra no los olvido/And the Earth Did Not
ForgetThem</b><b>, </b>Lorna Dee Cervantes.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;"> </span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">2006</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;"> </span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">Death of a Mexican and other
Poems (Bear Star Press), Manuel Lopez</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">Dial H for Horror, Juan Manuel
Perez</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">Dreaming the End of War </span></b><b><span style="font-style: normal;">(</span></b>Copper Canyon Press), Benjamin A. Saenz</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>How Long She’ll Last in This World </b><b><span style="font-style: normal;">(Univ of Arizona Press </span></b>Feb
2006 ISBN 0816525153), María Meléndez.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h1><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle"></a>Raul Salinas and the Jail
Machine: My Weapon Is My Pen (CMAS History, Culture, and Society Series) , ~ <a href="http://www.amazon.com/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Raul%20Salinas">Raul Salinas</a>
(Author), <a href="http://www.amazon.com/s/ref=ntt_athr_dp_sr_2?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Louis%20G.%20Mendoza">Louis G. Mendoza</a>
(Editor)</span></span></h1><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h1><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle1"></a>Indio
Trails: A Xicano Odyssey through Indian Country (Wings Press), <a href="http://www.amazon.com/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Raul%20Salinas">Raul Salinas</a></span></span></h1><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>My Nature Is Hunger </b>(Curbstone
Press 2006 ISBN 1931896240), Luis J. Rodríguez.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: arial;">Pepper
Spray (Momotombo), Paul Martinez Pompa</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>The Theater of Night </b><b>(Hardcover)(Copper Canyon Press Feb </b>15,
2006 ISBN 1556592302), Alberto Rios.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Other Fugitives And Other Strangers </b>(Paperback)(Univ
of Nebraska Press Apr 30, 2006 ISBN 1932023275),Rigoberto González</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"><b>2007</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>Agua
Santa/Holy Water </b>(Camino Del Sol) (University of Arizona) by Pat Mora</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">187
Reasons Mexicanos Can't Cross The Border, City Lights, 2007 , Juan Felipe
Herrera</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: arial;">Cayetana
(Wings Press), Frances Trevino</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: arial;">Menudo
Sunday, Juan Manuel Perez</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><div style="border-bottom: solid black 1.0pt; border: medium none; mso-element: para-border-div; padding: 0in 0in 2pt;">
<p class="MsoBodyText" style="border: medium none; margin-bottom: 0in; mso-border-bottom-alt: solid black 1.0pt; mso-padding-alt: 0in 0in 2.0pt 0in; padding: 0in;"><span style="font-size: medium;"><span style="font-family: arial;">Songs
Older Than Any Known Singer: Selected and New Poems 1974-2006 (Wings), John
Phillip Santos</span></span></p>
<p class="MsoBodyText" style="border: medium none; margin-bottom: 0in; mso-border-bottom-alt: solid black 1.0pt; mso-padding-alt: 0in 0in 2.0pt 0in; padding: 0in;"><span style="font-size: medium;"><span style="font-family: arial;">Undocuments
1971-2007. City Lights Publishers. San Francisco. 2007 , Juan Felipe Herrera</span></span></p>
</div><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">2008</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;"> </span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h1><span style="font-size: medium;"><span style="font-family: arial;">The
Chicano/Latino Literary Prize: An Anthology of Prize-Winning Fiction, Poetry,
and Drama [Paperback] (Arte Publico), <a href="http://www.amazon.com/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Stephanie%20Fetta">Stephanie Fetta</a> (Editor) </span></span></h1><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle13"></a><b>Corazon Descalzo: Historias De Una
Nina Migratoria</b> (Spanish Edition) [Paperback](Bilingual Press), Elva
Trevino Hart (Author), Arcelia E. Ceron (Translator), Selene M. Leyva-Rios
(Translator) </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"><i><span style="color: black;">Each Month I Sing </span></i><b><span style="color: black; font-style: normal;">(Farrolito Press, 2008), L. Luis Lopez</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Falling
Angels: Cuentos Y Poemas (Calaca Press) , Olga Garcia Echeverria (Paperback)</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="color: black; font-style: normal;">From Here You Can
Almost See the End of the Desert,</span></b><b><span style="color: black; font-style: normal; font-weight: normal;"> </span></b><i><b><span style="color: black;">Aaron Michael Morales</span></b></i><b><span style="font-style: normal;"> </span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"><b>Half the
World in Light</b><b><span style="font-style: normal;">. (University of Arizona Press.
2008), </span></b><span style="font-style: normal;">Juan Felipe Herrera</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle18"></a><b>Latinos
in Lotusland: An Anthology of Contemporary Southern California Literature</b> [Paperback]<a name="contributorNameTrigger12"></a> (Bilingual Press), Daniel A. Olivas </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">MARIPOSAS:
A Modern Anthology of Queer Latino Poetry <span style="font-style: normal;">(Floricanto Press),<span>
</span>Emanuel Xavier (Paperback - Oct 12, 2008) </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h1><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle23"></a>Raw Silk Suture [Paperback]
(Floicanto Press), <a name="contributorNameTrigger16"></a><a href="http://www.amazon.com/Lisa-Alvarado/e/B001HCZQVI/ref=ntt_athr_dp_pel_1">Lisa
Alvarado</a></span></span> </h1><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h1><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle17"></a>Tomas Rivera: The Complete Works [Paperback] (Arte
Publico), <a href="http://www.amazon.com/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Tomas%20Rivera">Tomas Rivera</a>
(Author), <a href="http://www.amazon.com/s/ref=ntt_athr_dp_sr_2?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Julian%20Olivares">Julian Olivares</a>
(Editor) </span></span></h1><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;"> </span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"><b><span style="font-style: normal;">2009</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoBodyText" style="margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><h1><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle19"></a>Born in
the Cavity of Sunsets [Paperback](Bilingual Press), <a name="contributorNameTrigger13"></a><a href="http://www.amazon.com/Michael-Luis-Medrano/e/B002Q5TKGW/ref=ntt_athr_dp_pel_1">Michael Luis Medrano</a> </span></span></h1><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle3"></a>Cool Auditor (American Poets
Continuum)(BOA Editions, ~ Ray Gonzalez, </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The
Date Fruit Elegies (Bilingual Press, 2009), John Olivares Espinosa</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle21"></a>Echoes
in Now-Time [Paperback](Authorhouse), <a name="contributorNameTrigger14"></a><span style="font-style: normal;">Naguib Elias
Lozano Manzur </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle6"></a>Faith Run (Camino Del Sol a Latina
and Latino Literary Series) (Univ of Arizona Press), Ray Gonzalez (Author) </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle22"></a><b>The
Gloria Anzaldúa Reader </b>(Latin
America Otherwise) [Paperback]<a name="contributorNameTrigger15"></a> (Duke Univ
Press) Gloria Anzaldua , AnaLouise Keating (Editor) </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle15"></a>Odalisque in Pieces (University of
Arizona Camino Del Sol) [Paperback]<a name="contributorNameTrigger1"></a>, Carmen
Giménez Smith </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle16"></a>what i'm on (Univ of Arizona
Camino Del Sol) [Paperback], <a name="contributorNameTrigger11"></a>Luis Humberto
Valadez </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><a name="btAsinTitle20"></a>PHOTOGRAPHY
AND POETRY OF A CHICANO [Paperback] (Xlibris, Corp.), Arturo Cantú Hernández (Author) </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b>2010</b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Crucified
River/Rio Crucificado (Mouthfeel Press), Nancy Lorenza Greenfield</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Elisas's
Hunger (Mouthfeel Press), Carolina Monsivias</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<i>Flexible Bones (University of Arizona Press; Cami</i></span></span><p><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><span face=""Tw Cen MT","sans-serif"" style="font-style: normal; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic;">No Date:</span></p>
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<p class="MsoNormal"><span face=""Tw Cen MT","sans-serif"" style="mso-bidi-font-size: 12.0pt;">Absence
Luminescent</span><span face=""Tw Cen MT","sans-serif"" style="font-style: normal; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic;">, Valerie Martínez</span></p>
<p class="MsoNormal"><span face=""Tw Cen MT","sans-serif"" style="mso-bidi-font-size: 12.0pt;">Anti-Cicicleta
Haiku</span><span face=""Tw Cen MT","sans-serif"" style="font-style: normal; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic;">, Reyes Cárdenas</span></p>
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Tongues</span><span face=""Tw Cen MT","sans-serif"" style="font-style: normal; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic;">, Elizabeth Chávez</span></p>
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Camarillo</span></p>
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Carolina Monsivaís</span></p>
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Solences/Silencios Astillados</span><span face=""Tw Cen MT","sans-serif"" style="font-style: normal; mso-bidi-font-size: 12.0pt;"> (Wings), Greta de
León)</span></p>
<p class="MsoNormal" style="mso-vertical-align-alt: auto; punctuation-wrap: hanging; text-autospace: ideograph-numeric ideograph-other;"><span face=""Tw Cen MT","sans-serif"" style="mso-bidi-font-size: 12.0pt;">World to World</span><span face=""Tw Cen MT","sans-serif"" style="font-style: normal; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic;">, Valerie Martínez - finalist in The Journal Award Competition and the
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<p class="MsoNormal"><span face=""Tw Cen MT","sans-serif"" style="font-style: normal; mso-bidi-font-size: 12.0pt;"> </span></p>
<p class="MsoNormal"><span face=""Tw Cen MT","sans-serif"" style="font-style: normal; mso-bidi-font-size: 12.0pt;"> </span></p>
<p class="MsoNormal"><span face=""Tw Cen MT","sans-serif"" style="mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic;">Marcoli Sausage</span><span face=""Tw Cen MT","sans-serif"" style="font-style: normal; mso-bidi-font-size: 12.0pt;"> (chapbook),
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<p class="MsoNormal"><span face=""Tw Cen MT","sans-serif"" style="mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic;">Light, Yogurt, Strawberry Milk</span><span face=""Tw Cen MT","sans-serif"" style="font-style: normal; mso-bidi-font-size: 12.0pt;"> (chapbook), Francisco Aragon</span></p>
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Marco Antonio Vásquez</span></p>
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Silvia Torres</span></p>
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Carl Marcum</span></p>
<p class="MsoNormal"><span face=""Tw Cen MT","sans-serif"" style="mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic;">¡Pos Órale!</span><span face=""Tw Cen MT","sans-serif"" style="font-style: normal; mso-bidi-font-size: 12.0pt;"> (chapbook),
Felecia Rose Catón García</span></p>
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Neomi Sánchez</span></p>
<p class="MsoNormal"><span face=""Tw Cen MT","sans-serif"" style="mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic;">(Not) a Machine</span><span face=""Tw Cen MT","sans-serif"" style="font-style: normal; mso-bidi-font-size: 12.0pt;"> (chapbook),
Alberto Ledesma</span></p>
<p class="MsoNormal"><span face=""Tw Cen MT","sans-serif"" style="mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic;">Working on It</span><span face=""Tw Cen MT","sans-serif"" style="font-style: normal; mso-bidi-font-size: 12.0pt;"> (chapbook),
Juan Delgado</span></p>
<p class="MsoNormal"><span face=""Tw Cen MT","sans-serif"" style="mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic;">P/V</span><span face=""Tw Cen MT","sans-serif"" style="font-style: normal; mso-bidi-font-size: 12.0pt;"> (chapbook), Danny
Romero</span></p>
<p class="MsoNormal"><span face=""Tw Cen MT","sans-serif"" style="mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic;">Bird Language</span><span face=""Tw Cen MT","sans-serif"" style="font-style: normal; mso-bidi-font-size: 12.0pt;">, Diana Rivera</span></p>
<p><br /><span></span><span></span></p>Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-8660631934142352342020-09-26T13:58:00.000-07:002020-09-26T13:58:08.295-07:00Chicano(a)o Literature Veterans<p><span style="font-size: x-large;"><b> <span style="font-family: arial;">Chicano/a Veterans</span></b></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;"> Again, it's been more than 10 years since updated. This is a working list and we will take any additions.</span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;"><br /></span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;">by Raymundo Eli Rojas<br /></span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><b><span style="font-family: arial;"><span style="font-size: small;">WWII</span></span></b></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;"> </span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;">Luis Leal</span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;">S.D. Navarro</span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;">Felipe de Ortego y Gasca</span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;"><span>Sabine R.
Ulibarrí</span></span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;"> </span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><b><span style="font-family: arial;"><span style="font-size: small;">Korea</span></span></b></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;"> </span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;">Rolando Hinojosa</span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;">S.D. Navarro</span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;">Felipe de Ortego y Gasca</span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;"> </span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><b><span style="font-family: arial;"><span style="font-size: small;">Vietnam</span></span></b></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;"> </span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;">Roy Benavidez</span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;">Daniel Cano</span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;">Jorge Mariscal</span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;">S.D. Navarro</span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;">Juan Ramírez</span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;">Joe Rodríguez</span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;">Michael Rodríguez</span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;">Charlie Trujillo</span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;">Alfredo Véa</span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;"> </span></span></p><span style="font-family: arial;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: small;">Gulf War</span></span></p>
Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-84018378424369578472020-09-26T13:54:00.001-07:002020-09-26T13:54:43.373-07:00Chicanx(o)a Authors: Where were they born?<p><span style="font-size: x-large;"><b> Chicanx(o)a Authors: Where were they born?</b></span></p><p><span style="font-size: x-large;"><b><span style="font-size: small;">Again, always open to correction. Just contact me. It's a working list so if you have someone to add let me know.<br /></span></b></span></p><p><span style="font-size: x-large;"><b><span style="font-size: small;">By Raymundo Eli Rojas</span></b></span></p><p><span style="font-size: x-large;"><b><span style="font-size: small;"> </span></b></span></p><p><span style="font-size: x-large;"><b><span style="font-size: small;">
</span></b></span></p><h1>Mexico</h1>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Alurista (Mexico
City)</p>
<p class="MsoNormal">Aristeo Brito (Ojinaga,
Chihuahua)</p>
<p class="MsoNormal">Lucha Corpi (Jaltípan,
Veracruz)</p>
<p class="MsoNormal">Martha P. Cotera ((Nuevos Casas Grandes, Chihuahua)</p>
<p class="MsoNormal">Angela de Hoyos (Coahuila)</p>
<p class="MsoNormal">Greta de León (Mexico
City)</p>
<p class="MsoNormal">Abelardo B. Delgado (Boca
de Conchos, Chihuahua)
raised in El Paso, TX</p>
<p class="MsoNormal">Sergio Elizondo (El Fuerte, Sinaloa)</p>
<p class="MsoNormal">Alex Espinoza (Tijuana,
Baja California) raised in La Puente, CA</p>
<p class="MsoNormal">Ernesto Galarza (Jalcocotán, Nayarit)</p>
<p class="MsoNormal">Guadalupe Gárcia Montaño (Nayarit), raised in Van Nuys, CA</p>
<p class="MsoNormal">Guillermo Gómez-Peña</p>
<p class="MsoNormal">Ixtaccíhuatl (currently lives in Chicago)</p>
<p class="MsoNormal">Jesús Gúzman (Parral, Chihuahua)</p>
<p class="MsoNormal">Consuelo González Amezcua (Piedras Negras)</p>
<p class="MsoNormal">Francisco Jiménez (San Pedro de Tlaquepaque, Jalisco)</p>
<p class="MsoNormal">Luis Rodíguez (Cd. Juárez), raised in CA</p>
<p class="MsoNormal">Francisco X. Stork (Monterrey)</p>
<p class="MsoNormal">Luis Urrea (Tijuana)</p>
<p class="MsoNormal"> </p>
<h3><b>United States</b></h3>
<p class="MsoNormal"> </p>
<h4>Arizona</h4>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Lucrecia Guerrero (Nogales)</p>
<p class="MsoNormal">Miguel Mendez (Bisbee)</p>
<p class="MsoNormal">Wayne Rapp (Bisbee)</p>
<p class="MsoNormal">Alberto Ríos (Nogales)</p>
<h4> </h4>
<h4>California</h4>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Francisco X. Alarcón</p>
<p class="MsoNormal">Kathleen Alcala (Compton),
now resides in near Seattle,
Washington</p>
<p class="MsoNormal">Ron Arias (Los Angeles)</p>
<p class="MsoNormal">Alfred Arteaga (East L.A.)</p>
<p class="MsoNormal">Nash Candelara (Los
Angeles)</p>
<p class="MsoNormal">Daniel Chacón (Fresno)</p>
<p class="MsoNormal">Lisa Chávez (L.A.) raised in Fairbanks, Alaska</p>
<p class="MsoNormal">Ofelia Dumas Lachtman (LA)</p>
<p class="MsoNormal">John Olivares Espinoza (Indio)</p>
<p class="MsoNormal">María Elena Gaitan</p>
<p class="MsoNormal">Olga Angelina García Echeverria (East
L.A.)</p>
<p class="MsoNormal">Richard García, (San Fras)</p>
<p class="MsoNormal">Dagoberto Gilb (Los
Angeles)</p>
<p class="MsoNormal">Rigoberto González (Bakersfield)
raised in Michoacán</p>
<p class="MsoNormal">Jorge Huerta</p>
<p class="MsoNormal">Michael Jayme (El
Monte)</p>
<p class="MsoNormal">María Melendez (Davis)</p>
<p class="MsoNormal">Alejandro Morales (Montebello)</p>
<p class="MsoNormal">Manuel Muñoz (Dinuba)</p>
<p class="MsoNormal">David Nava Monreal</p>
<p class="MsoNormal">Yxta Maya Murray (Southern CA)</p>
<p class="MsoNormal">Ricardo Pimental (San
Bernardino)</p>
<p class="MsoNormal">Veronica Reyes (East L.A.)</p>
<p class="MsoNormal">Elba Rosario Sánchez</p>
<p class="MsoNormal">Michelle Serros (Oxnard)</p>
<p class="MsoNormal">Lorna Dee Cervantes (San
Francisco)</p>
<p class="MsoNormal">Charlie Truillo (Corcoran)</p>
<p class="MsoNormal">Gina Valdés (Los
Angeles)</p>
<p class="MsoNormal">Manuel Vélez (Salinas)</p>
<p class="MsoNormal">Alma Luz Villanueva (Lompac)</p>
<p class="MsoNormal"> </p>
<h4>Colorado</h4>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Rodolfo “Corky” González (Denver)</p>
<p class="MsoNormal"> </p>
<h4>Illinois</h4>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Ana Castillo (Chicago)</p>
<p class="MsoNormal">Sandra Cisneros (Chicago)</p>
<p class="MsoNormal">Rina García (Kankakee)</p>
<p class="MsoNormal">Carlos Morton (Chicago)</p>
<p class="MsoNormal">Felipe de Ortego y Gasca (Chicago)</p>
<p class="MsoNormal">Claudia Rosa Silva (Chicago)</p>
<p class="MsoNormal"> </p>
<h4>Michigan</h4>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Trinidad Sánchez (Detroit)</p>
<p class="MsoNormal">Trinidad Sánchez, Jr.</p>
<p class="MsoNormal"> </p>
<h4>Minnesota</h4>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><span style="mso-bidi-font-style: italic;">Ivan Argüelles</span></p>
<p class="MsoNormal"><span style="mso-bidi-font-style: italic;">Lorraine</span><span style="mso-bidi-font-style: italic;"> Mejía-Green</span></p>
<p class="MsoNormal"> </p>
<h4>New Jersey</h4>
<p class="MsoNormal"><b> </b></p>
<p class="MsoNormal">Raymond Barrio (West Orange)</p>
<p class="MsoNormal"> </p>
<h4>New Mexico</h4>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Rudolfo A. Anaya (Pastura)</p>
<p class="MsoNormal">Cordelia Candelaria (Deming)</p>
<p class="MsoNormal"><span class="m41"><span style="font-weight: normal;">Alvaro
Cardona-Hine</span></span></p>
<p class="MsoNormal">Dennis Chávez (Las
Cruces)</p>
<p class="MsoNormal">Linda Chávez (Albuquerque)</p>
<p class="MsoNormal">Erlinda González Berry
(Roy)</p>
<p class="MsoNormal">Luis Leal</p>
<p class="MsoNormal">Demetria Martínez (Albuquerque)</p>
<p class="MsoNormal">Cleofas Martínez Jaramillo (Arroyo Hondo)</p>
<p class="MsoNormal">Leroy Quintana</p>
<p class="MsoNormal">Benjamin A. Sáenz (Las
Cruces)</p>
<p class="MsoNormal">Sabine Ullibari</p>
<p class="MsoNormal"> </p>
<h4>Texas</h4>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Oscar “Zeta” Acosta (El
Paso)</p>
<p class="MsoNormal">Ricardo M. Aguilar (El
Paso) raised in Cd. Juárez</p>
<p class="MsoNormal">Gloria Anzuldua</p>
<p class="MsoNormal">Roy Benavidez (Crystal)</p>
<p class="MsoNormal">Aristeo Brito (Presidio)</p>
<p class="MsoNormal">José Antonio Burciaga (El
Paso)</p>
<p class="MsoNormal"><span style="mso-bidi-font-weight: bold;">Carlos Francisco
Caire</span></p>
<p class="MsoNormal">Gilbert Calzada (El
Paso)</p>
<p class="MsoNormal">Norma Cantú (Laredo)</p>
<p class="MsoNormal">Juan Contreras (El
Paso)</p>
<p class="MsoNormal">Oscar Casares (Brownville)</p>
<p class="MsoNormal">Carlos Nicolas Flores (El
Paso)</p>
<p class="MsoNormal">Mario T. García (El
Paso)</p>
<p class="MsoNormal">Victoria García Zapata (San Antonio?)</p>
<p class="MsoNormal">Alicia Gaspar de Alba (El
Paso)</p>
<p class="MsoNormal">Catherine González (Rhome)</p>
<p class="MsoNormal">Ray González (El
Paso)</p>
<p class="MsoNormal">Consuelo González Amezcua (Del Rio/Piedras Negras)</p>
<p class="MsoNormal">Diana González Bertrand (San Anto)</p>
<p class="MsoNormal">Celest Gúzman (San
Antonio?)</p>
<p class="MsoNormal">Sheila Hatch Sánchez (San
Antonio?)</p>
<p class="MsoNormal">María Herrera-Sobek (Rio
Hondo)</p>
<p class="MsoNormal"><span style="mso-bidi-font-weight: bold;">Michael A. Hernández
(El Paso)</span></p>
<p class="MsoNormal">Rolando Hinojosa (Mercedes)</p>
<p class="MsoNormal">Arturo Islas (El
Paso)</p>
<p class="MsoNormal">Diana López (Corpus Cristi)</p>
<p class="MsoNormal">Gloria López-Stafford (El
Paso)</p>
<p class="MsoNormal">Theresa Meléndez (El
Paso)</p>
<p class="MsoNormal">Carolina
Monsivías (El Paso)</p>
<p class="MsoNormal"></p>
<p class="MsoNormal">Pat Mora (El Paso)</p>
<p class="MsoNormal"><span style="mso-bidi-font-size: 11.0pt;">Estela Ramirez (Laredo)</span></p>
<p class="MsoNormal">Raymund Paredes (El
Paso)</p>
<p class="MsoNormal">Deborah Parédez (San
Antonio)</p>
<p class="MsoNormal">Raymundo “Tigre”
Pérez </p>
<p class="MsoNormal">Joe Olvera</p>
<p class="MsoNormal">Emma Pérez (Houston)</p>
<p class="MsoNormal">John F. Rechy (El
Paso)</p>
<p class="MsoNormal">Tomas Rivera (Crystal)</p>
<p class="MsoNormal">Elena Rodríguez (El
Paso)</p>
<p class="MsoNormal">Margarito G. Rodíguez (Alice)</p>
<p class="MsoNormal">Leo Rojas (El Paso)</p>
<p class="MsoNormal">Rubén Salazar (El
Paso)</p>
<p class="MsoNormal">René Saldaña, Jr.</p>
<p class="MsoNormal">Ricardo Sánchez (El
Paso)</p>
<p class="MsoNormal">Rosalia Solarzano (El
Paso)</p>
<p class="MsoNormal">Octavio Solis (El
Paso)</p>
<p class="MsoNormal">Robert Tinajero (El
Paso)</p>
<p class="MsoNormal">Frances Marie Treviño (San
Antonio)</p>
<p class="MsoNormal">Sergio Troncoso (Ysleta)</p>
<p class="MsoNormal">Margarita Vélez (El
Paso)</p>
<p class="MsoNormal">Tino Villanueva</p>
<p class="MsoNormal">Adrian Villegas (Waco)</p>
<p class="MsoNormal">Richard Yañez (El
Paso)</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Amalio Madueño (living in Taos, NM)</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">01/01/03</p>
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<![endif]--></span> </b></span></p>Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-50210263417163088662020-09-26T13:51:00.003-07:002020-09-26T13:51:42.849-07:00Chicano(a)x Literature List Coming<p><span style="font-family: arial;"> I had though I had lost these lists, and accidentally came across them. I decided that I should publishing them rather than let them sit. So over the next few weeks we'll be posting some of these Chicano(a)x Literature lists. </span></p><p><span style="font-family: arial;">In doing that, I indent for them to be working lists and open to correction, but please cite Pluma Fronteirza when you can. I'll try to come up with a recommended citation.</span><br /></p>Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-83577452626550088952012-07-02T05:00:00.000-07:002012-07-02T05:00:07.402-07:00Lunes con Lalo: Institutional Alternatives<meta name="title" content="Lunes con Lalo: Institutional Alternatives" /> <meta name="description" content="“These palomas like I, belong here in
the barrio?”" /> <link rel="image_src" href="http://www.plumafronteriza.blogspot.com" />
<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL5m2kgPbLF2R_fMTpvU39kHugKT8Z9BQdFWl0tshVyHrEeMf0P1NCJKgQLo5GBnRWd1Fmv0U1pLRZ2xMiK306bf5gmRcq5bACLibm6iai3uZhtWl4xFd-m_1F7AWbwsWAaQpI/s1600/Lalo+Delgado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL5m2kgPbLF2R_fMTpvU39kHugKT8Z9BQdFWl0tshVyHrEeMf0P1NCJKgQLo5GBnRWd1Fmv0U1pLRZ2xMiK306bf5gmRcq5bACLibm6iai3uZhtWl4xFd-m_1F7AWbwsWAaQpI/s1600/Lalo+Delgado.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lalo Delgado</td></tr>
</tbody></table>
<br />
<span style="font-size: x-large;"><b>Institutional Alternatives</b></span><br />
<br />
<div style="margin-bottom: 0in;">
<b><span style="font-size: large;"><i>“These palomas like I, belong here in
the barrio?”</i></span></b></div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
<b><span style="font-size: large;"><i>by Abelardo B. Delgado </i></span></b></div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
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</div>
<div style="margin-bottom: 0in;">
I found our city to be lacking in terms
of enough alternatives. The same story of long-waited lists was told
by two manager of the two high-rise housing units. I was happy to
learn that some two such high-rise units are scheduled to be erected
in South El Paso, a barrio which is almost 100 percent Chicano. </div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
This barrio is perhaps one of the
reasons I didn't find anymore Chicanos in the places I visited. Let
me explain.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
The barrio is near Juarez, Mexico and
is near downtown and for people like our <i>abuelitos</i> who lack
transportation the place is ideal. It also has one of the oldest
churches, Sagrado Corazon.
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://digitaljournal.com/img/8/9/9/i/5/4/5/o/CanaryCage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://digitaljournal.com/img/8/9/9/i/5/4/5/o/CanaryCage.jpg" width="242" /></a></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Old people congregate themselves in
tenement houses where rent is cheap and they can have their <i>plantas</i>
and their <i>canarios</i>. In that same barrio there is a “casa de los
ancianos” for women. I found there some twenty women, nineteen of
them Chicanas and one Anglo.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
This place has been highly successful
and evolved form a place similar to the tenements (<i>presidios</i>) where
there was cooking and washing and eating done in each unit to what no
is a well-planned community.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
The manager spoke to me at length
about each individual, and I could sense a sort of pride and joy in
her work. She told me of the problems of handling the money for some
whose faculties lack to do it themselves, and of a Senora Luz who
used to feed the pigeons and who exclaimed at the first attempt to
stop her from doing that – “These <i>palomas </i>like I, belong here in
the barrio?” – she continues to pay young kids to feed them,
since she cannot do it inside the home now. She pointed to Dona Lola
watering two rusty cans with plants and said, – “See those
plants...if I were to take them from her not only would the plants
die, but so would she.”</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
There are actually two alternatives
for the aged Chicano, or otherwise, a nursing home or a housing
authority unit. In our city, which I venture to predict is not much
different from others, the choices are rather limited.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Cedar Grove Nursing Home, somewhat for
from the city on Alameda Avenue, was recently closed down for failure
to meet standards. It was run by an Anglo couple who proudly spoke of
their dedication to their work but realized economically it was not
feasible to upgrade the facility. Four Seasons Nursing Center, R.N.
Nursing and Convalescent Home, Sunset Haven, Valley Community Home
are in operation as far as a place for the <i>viejitos</i> needing medical
attention or to recuperate, but even all of them covered only some
one-thousand beds are available.</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://graphics8.nytimes.com/images/2009/10/12/opinion/12clothesline1.480.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="http://graphics8.nytimes.com/images/2009/10/12/opinion/12clothesline1.480.jpg" width="320" /></a></div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
It is obvious that the necessity for
such institutions so overwhelmingly evident will pry the necessary
funds loose to build a more adequate series of such nursing homes as
well as housing units for those still able to function pretty
independently. What worries me is if such institutions in an effort
to answer the call efficiently do not lose the human value which
needs be instituted in the very blue prints. More so will those
differences that I speak about be considered. Take the simple task of
having a set of <i>tenederos</i> erected. <i>Tendederos</i> are clotheslines, and
most of our <i>viejitas</i> prefer the good El Paso sun to dry their clothes
rather than the gas dryer. Because I fear the human and cultural
aspect will be omitted, I would like to offer some suggestions based,
again, on what I have seen this last month in which I have
infiltrated “el mundo de nuestros viejitos.”</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;"><b>Suggestions</b></span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
All staff should hold sensitivity
training sessions so that these cultural differences involving
particularly Blacks, Chicanos, or Indians can be acknowledged. By now
in each community there are enough articulate and knowledgeable
members of these communities who could conduct them.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Most of the places I visited were
extremely well-cleaned and spotless, ye in all of this spic and span
environment, I felt a very dehumanistic and artificial air prevailed.
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
I could perhaps suggest a big of home
grime to be permitted if it means lifting up the spirit of something
to get he antiseptic mood out of nursing homes. It was depressing for
me to be in some of these places only a couple of hours, how much
more so for the “Jefitos” and <i>Abuelitos</i> (parents and
grandparents) who stay there two or three years.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
One ex-male nurse and now administrator
is one of the nursing homes hit real hard on instilling the feeling
of usefulness and worth by doing what he claimed he did with el Senor
Pablo Garcia. Senor Garcia had come there not able to even brush his
own teeth and feed himself. In a month or so he was doing both tasks
quite well; he was babied too much by his own family and by the
previous home. What appears to be cruelty may very well be the best
remedy, as I presume Senor Garcia missed a meal or two before he got
the message he could do much on his own.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
There's nothing better than
involvement, and I believe from what I saw that the old are sheltered
from present issues too much. Locally, again, there's a group of
oldsters who started a store and can be heard to shout in some
meetings, Viejito Power.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
I cannot find strong enough language to
make the following recommendation and that one is to our Chicano
community. We must continue to care for our <i>papas y abuelitos</i> whether
it is in our own home or in a nursing home, or wherever, by visiting
them and let the “nietos” (grandchildren) be with them. Some of
the youngsters today actually fear <i>viejitos </i>because they have not
been exposed to them. Do not just dump and forget them as discards.
We can very well recycle <i>viejitos</i> into a meaningful and well-earned
rest and maximum productivity with merely being concerned with them
rather than for them.</div>
<div style="margin-bottom: 0in;">
<br /></div>
</div>
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<!-- AddThis Button END -->Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-21499366510226776212012-07-01T20:09:00.001-07:002012-07-01T20:09:46.791-07:00Rodolfo F. Acuña: Is the Glass Half Full or Half Empty A Stupid Question<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Rodolfo
F.
Acuña</b></span></td></tr>
</tbody></table>
<br />
<b><span style="font-size: 18pt;">Is
the Glass
Half Full or Half Empty</span></b></div>
<div class="MsoNormal" style="text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 18pt;">A
Stupid
Question</span></b></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-size: small;"><b>By Rodolfo
F.
Acuña</b></span></div>
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<b><span style="font-size: 18pt;"> </span></b><span style="font-family: Arial,Helvetica,sans-serif; font-size: 18pt;"> </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">The day the
Supreme Court
handed down its decision Arizona’s SB 1070, I received about a
dozen text
messages saying, “We won!” </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">Knowing the
history of the
Court and dealing with this sort of wrongheaded thinking since
the Bakke Case
of 1978, I knew that I had to be skeptical and quickly read
the incoming news,
which using boxing jargon said that it was a split decision,
that the court had
struck down three key provisions of the law and kept one. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">I could
hardly see this as a
victory and texted back, “Bullshit!”</span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">Inevitably
friends and foe
alike shoot back the refrain, “Rudy, why do you always see the
glass as half empty
instead of half full?” I am so used to that inane question
that I have canned a
response; “because my mother did not raise a pendejo!”</span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">I would be
pretty stupid if I
went to Starbuck’s and asked for a full cup of coffee and only
got a half a cup
and paid for the full cup. Even the server asks, “Do you want
to make room for
cream and sugar?” A
half a cup is not a
full cup no matter how you cut it.</span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">But stupid
comments about
the glass being half full or half empty have been a way of
coping with the
reality that our liberties are being whittled away.</span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">How could
anyone in their
right mind believe that Justice Antonin Scalia would be fair
which would
require “judicial restraint,” implying a degree of
impartiality. Scalia told us
where he stood when he said of President Obama’s ruling
exempting students from
deportation: </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-left: 1in;">
<span style="font-size: 18pt;">“After
this
case was argued and while it was under consideration, the
secretary of homeland
security announced a program exempting from immigration
enforcement some 1.4
million illegal immigrants. The president has said that the
new program is ‘the
right thing to do’ in light of Congress’s failure to pass the
administration’s
proposed revision of the immigration laws. Perhaps it is,
though Arizona may
not think so. But to say, as the court does, that Arizona
contradicts federal
law by enforcing applications of federal immigration law that
the president
declines to enforce boggles the mind.”</span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">There
was
little comment in the media that Scalia has received thousands
of dollars from
the Koch Brothers for speaking engagements as well as from
organizations
associated with ALEC, <b>American Legislative Exchange
Council</b>,<b>
American Legislative Exchange Council</b>, the
godparents of SB 1070. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">The first
reports had the
anti-1070 forces winning, declaring that the high court struck
down “most of
Arizona’s immigration law.” It later amended it to read “the
Supreme Court
upholds a key part of Arizona’s immigration laws and strikes
down other parts.”</span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">This
touched off a Laker
mentality among many Latinos who chanted “we won, we are
number 1.” </span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">Latinos
were elated even
though they had gotten a half cup of coffee and paid for the
full cup. </span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">In all this
the Constitution
of the United States has been trampled. A basic principle is
that the federal
system “has the legal
authority and
responsibility to control immigration, and establish the
conditions under which
people from other countries can come to the U.S.” </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;"> Arizona agriculture has benefited hugely
from government
labor policy and government subsidies that include massive
reclamation programs
and the handing out of millions of acres of land to private
corporations. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">Arizona, a
freeloader state
receiving over $1.30 cents back for every dollar it sends to
Washington D.C..
It shows its appreciation by trying to usurp its power. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">Although
most of Arizona's
law is incompatible with federal law, Scalia and his gaggle of
corporate pimps
ignore the reality that Arizona is attempting to nullify the
rights and duties
of the federal government. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">The
argument that the
federal government is not enforcing immigration law does not
hold water. Again,
Washington DC has sole power in enforcing immigration law. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">The
Confederacy attempted to
nullify the Constitution and used the pretext that the federal
government was
not enforcing the Fugitive Slave Laws. A bloody Civil War was
waged and many
believed that the issue was settled. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">Logically,
the Court’s
ruling was all over hell; it weakened the federal preemption
powers by
vacillating on the right of state officers to arrest
immigrants for being
deportable. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">It did and it didn’t uphold the “show me your
papers” provision,
which requires state and local police to determine the
immigration status of
anyone suspected of being an undocumented immigrant during
traffic stops and
other detentions.</span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">At the same
time it says
that is alright if someone is stopped for reasons other than
to inquire about
immigration status. Then officers are free to inquire as to
immigration status just
as they can ask about outstanding warrants or a criminal
record. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">Incredibly,
the plaintiffs did
not raise questions about racial profiling in their briefs,
which is clearly
prohibited by the Constitution. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">Let’s face
it, it is
impossible to enforce this kind of law without relying on
discriminatory
stereotypes based on skin color or accent. As one critic put
it,</span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-left: 1in;">
<span style="font-size: 18pt;">“Under
the
Arizona statute approved by the Supreme Court today, the
simple acts of taking
one’s children to school, buying groceries, or attending
church will put citizens
and noncitizens alike at risk of being racially profiled and
unlawfully
detained at the side of the road – or worse, locked up in
jail…”</span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;"> </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">What
concerns many of us is
that the decision encourages copy-cat laws. This will tie us
up in the courts for
years and millions of dollars will be wasted on litigation. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">The Court
can pontificate
all it wants about racial profiling, but what about
compliance? </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">My mother
did not raise a
fool and I look no further that the statements of Maricopa
County Sheriff Joe
Arpaio who has defiantly said he will continue to racially
profiling Latinos,
and as well as making illegal stops and seizures in the
Phoenix area.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">Georgia has
passed similar
laws and it does not matter to its politicos that the loss of
labor costs the
state over $1 billion annually. Mississippi, Alabama and even
Pennsylvania have
succumbed this lynch mob hysteria. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">A Utah bill
requires police to
check the immigration status of anyone detained for a felony
or serious
misdemeanor, making checks discretionary for those suspected
of lesser
offenses.</span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">Human
rights activists have exposed
pretexts that amount to avoidance. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">It is a
shell game: the Court
strikes down the most controversial portions of 1070,
requiring police officers
to check the immigration status of people they stop, while
giving police license
to ask for the detainees papers under another pretext.</span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">In
California, authorities do
not need the U.S. Supreme Court ruling upholding Arizona's
"show me your
papers" immigration law to begin turning people over to the
federal
government for deportation, witness what is happening in
Escondido. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">These
discussions always
bring me full circle to Tucson and HB 2281. I am not seeing
the glass half
empty when I say that for going on forty years Arizona has
violated the rights
of Mexican and Native American children and avoided compliance
with Brown v.
Board of Education. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">My worse
fear is that a
ruling on HB 2281 will follow the example of 1070 and spread
to other states,
California included. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">It is not a
case of seeing
the glass half empty to say that administrators such as
Superintendent of the
Tucson Unified School District John Pedicone are purposely
ignoring the needs
of Mexican American students and are ignoring studies that
prove effective methods
in teaching them. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">As a
professional educator,
I know that the system is failing all students and to ignore
this historical
fact is criminal especially when the purpose is to line one’s
own pocket. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">I have no
patience with
wrongheaded thinking such as the glass is half full or a half
a loaf is better
than none. </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">I know the
difference
between a Joe Arapaio who wears a white robe and Antonin
Scalia who wears a
black robe – the color shows that Scalia outranks Arapaio.</span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">Please
click on to the link
and support Sisyphus</span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 18pt;">Sean Arce
and José González
Under Attack</span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<a href="http://mexmigration.blogspot.com/2012/06/sean-arce-and-jose-gonzalez-attacked-by.html"><span style="font-size: 18pt;">http://mexmigration.blogspot.com/2012/06/sean-arce-and-jose-gonzalez-attacked-by.html</span></a><span style="font-size: 18pt;"> </span></div>
<div class="MsoNormal">
<a href="http://mexmigration.blogspot.com/" style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 18pt;">http://mexmigration.blogspot.com/</span></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 18pt;">
</span></b></div>
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 18pt;"></span></b></div>
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</div>Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-35190321754491589482012-05-25T09:01:00.000-07:002012-05-25T09:01:47.271-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<div style="text-align: center;">
<span style="font-size: x-large;"><b>Arturo Islas </b></span></div>
<div style="text-align: center;">
<span style="font-size: x-large;"><b>Born on This Day</b></span></div>
<div style="text-align: center;">
<span style="font-size: x-large;"><b><span class="st"><i></i>(May 25, 1938 – February 15, 1991)</span></b></span></div>
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</script></div>Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-75312103231991684912012-05-07T08:39:00.001-07:002012-05-07T08:44:03.382-07:00Lunes con Lalo: SOUL FOOD: Abelardo Delgado and the Word<meta name="title" content="Lunes con Lalo: SOUL FOOD: Abelardo Delgado and the Word" /> <meta name="description" content="Keynote presentation at the 5th Annual Lalo Delgado Poetry Festival, Metropolitan State University, Denver, Colorado, April 24, 2012." /> <link rel="image_src" href="http://www.plumafronteriza.blogspot.com" />
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<span style="font-family: Cambria,serif;"><span style="font-size: large;"><b>SOUL
FOOD: Abelardo Delgado and the Word</b></span></span></div>
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<span style="font-family: Cambria,serif;"><b>Keynote presentation at the 5</b></span><sup><span style="font-family: Cambria,serif;"><b>th</b></span></sup><span style="font-family: Cambria,serif;"><b>
Annual </b></span><span style="font-family: Cambria,serif;"><i><b>Lalo Delgado
Poetry Festival</b></i></span><span style="font-family: Cambria,serif;"><b>,
Metropolitan State University, Denver, Colorado, April 24, 2012.</b></span><br />
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<div lang="es-CO" style="margin-bottom: 0in;">
<span style="font-family: Cambria,serif;"><span style="font-size: medium;">By
Felipe de Ortego y Gasca</span></span></div>
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<span style="font-family: Cambria,serif;">Scholar
in Residence/Founding Member, Past Chair, and Member of the Executive
Committee (2008-2011), Department of Chicana/Chicano and Hemispheric
Studies, Western New Mexico University, Silver City, New Mexico 88062</span></div>
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<span style="float: left; font-family: 'Cambria', serif; font-size: 300%; font-weight: bold;">W</span><span style="font-family: Cambria,serif;"><span style="font-size: small;">ords
are the poet’s stock-in-trade; no one knows the power of words like
poets and writers. I believe in the power of the word. Lalo Delgado
had an abiding faith in the power of the word. Proof of that faith is
manifest in the thousands of words Lalo Delgado wrote and left for us
in his poetry and prose, much of it still unpublished. I’m reminded
here of the 19</span></span><sup><span style="font-family: Cambria,serif;"><span style="font-size: small;">th</span></span></sup><span style="font-family: Cambria,serif;"><span style="font-size: small;">
century American poet Emily Dickenson who in her lifetimes only had
one poem published and left a trove of unpublished works. </span></span>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">There
is indeed no power greater than the power of language, the medium
that binds speakers of distinct languages together. So powerful and,
perhaps, so fearful was the power of the word that when God said “Let
there be light,” the word created “light.” Does anyone suppose
that when God said “Let there be light” there would be no light?
Of course ordinary mortals today would hardly expect light to be
[appear] just by saying the words “let there be light.” </span></span>
</div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">It
appears that God so understood the power of the word that He
scattered humankind over the face of the earth and separated them by
a diversity of languages so they could not longer work together as
one people. Did humankind speaking one language threaten the eminence
of God? Is that why He diversified humankind by separate languages?
Or was it that God saw in the one language that humans spoke a
narcissistic threat to the human race in their zeal to become like
God? </span></span>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">It
doesn’t matter — we have since then come to understand the power of
language. Palabras are indeed food for the soul. </span></span>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">Abelardo
Delgado was the first poet to whom I applied the sobriquet “Poet
Laureate of Aztlan.” Later I used that sobriquet with Ricardo
Sanchez, not to diminish Abelardo Delgado’s standing as a poet of
Aztlan but to point out that at regular intervals Chicanos ought to
recognize different individuals as Poets Laureate of Aztlan just as
the Poet Laureate of the United States changes regularly. </span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">Nevertheless, Abelardo Delgado holds the distinction of being the
first Poet Laureate of Aztlan.</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">There’s
a popular expression that one doesn’t get a second chance to make a
first impression. I was impressed with Abelardo Delgado from the
moment I first met him in the early 60’s. However, my most
memorable moment of him was when he was doing a reading in South El
Paso during the Cabinet Committee Hearings held there in in October
of 1967 — that was 45 years ago. I was covering the hearings for </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>The
Nation Magazine</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">
in New York (December 11, 1967). By this time, Abelardo was already
committed to the </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>movimiento</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">.
There was something about his poetry </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>que
pegaba</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">
urgently but not roughshod. To me, that perhaps best characterizes
Abelardo Delgado’s poetry and persona. </span></span>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">At
first glance, he appeared larger than he really was, not because of
his girth but because of how he stood and projected himself. I don’t
recall ever seeing Lalo without a smile, a smile that was at once
disarming </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>mientras
que paloteaba</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">.
His poetry is at once both a challenge and an assurance. In </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Stupid
America</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> he
is chiding America while at the same time reaching out to embrace it
in the spirit of confraternity.</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">This
is what is most enduring about Abelardo’s poetry. It invites one to
participate in its unfolding. For example. In </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Stupid
America</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">
the persona of the poem (we may assume it’s Abelardo) starts the
introit to the poem like the Duke in Robert Browning’s </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>My
Last Duchess</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">:</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;"> Stupid
America, see that Chicano</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;"> With
a big knife</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;"> On
his steady hand </span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;"> He
doesn’t want to knife you</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;"> He
wants to sit on a bench</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;"> And
carve christfigures</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;"> But
you won’t let him.</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Enganchado</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">,
the reader is drawn deeper into the poem with another recitation:</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;"> Stupid
America, hear that Chicano </span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;"> Shouting
curses on the street</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;"> He
is a poet</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;"> Without
paper and pencil</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;"> And
since he cannot write</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;"> He
will explode.</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">The
unfolding here starts out like the first recitation but takes an
unexpected tack in its comparison that leaves the reader poised to
draw the inevitable conclusion of the last strophe.</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">Stupid America,</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">Remember that Chicanito</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">Flunking math and English</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">He is the Picasso</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">Of your western states</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">But he will die</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">With one thousand
masterpieces</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">Hanging only from his mind.</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">The
structure of the poem reminds me of the 19</span></span><sup><span style="font-family: Cambria,serif;"><span style="font-size: small;">th</span></span></sup><span style="font-family: Cambria,serif;"><span style="font-size: small;">
century English poet Robert Browning’s </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Rabbi
Ben Ezra</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">
who takes his pupils on a mental journey, saying “Come, grow old
along with me, the best is yet to be; the first for which the last
was made . . .” Except that in Abelardo’s poem “the first”
cannot actuate “the last” because the </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Chicanito</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">
“will die” and we can only imagine his potential as a “Picasso
of your western states.”</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">This
is hardly the work of “archaic” poets as Gary Soto has
characterized Delgado, Sanchez, Alurista, and Gonzalez. That’s like
saying Shakespeare is an archaic poet. He may be of a distant
generation, but he still speaks to the ages as Ben Jonson knew. About
the works of these poets, Soto adds, “they were not very well
written(</span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Partial
Autobiographic Interview with Twenty Chicano Poets,</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">
Wolfgang Binder, ed., Germany: Palm & Erlangen, 1985; 198).
Stupid America strikes me as an extraordinarily well-written poem
with structural integrity in the best tradition of poetics as I have
indicated in my comparison of Delgado and Browning.</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">The
tendency in American poetry has been toward introspective
angst-ridden autobiographic pieces. Chicano Movement poetry of the
60’s, starting with Corky Gonzalez’ epic </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>I
am Joaquin</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">,
deconstructed that tradition while serving as countertexts to dispel
the images of Chicanos in mainstream privileged texts. Chicano
writers, particularly Chicano poets, construed their responsibility:
to identify the enemy, promote the revolution, and praise the people.
Early on, these were the threads Abelardo Delgado established in his
poetry. He was a people’s poet. He carried the fire of their
aspirations in his heart.</span></span></div>
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<span style="float: left; font-family: 'Cambria', serif; font-size: 300%; font-weight: bold;">I</span><span style="font-family: Cambria,serif;"><span style="font-size: small;">t
was a big heart: Abelardo’s. At the end of the 60’s and the early
70’s, Abelardo’s view of Chicanos and mine were identical though
I expressed my view principally in prose. After World War II, during
my studies at the University of Pittsburgh, I had aspirations to be a
poet. I wrote much poetry during the 50’a and in the early to mid
60’s read my works with many El Paso poets including Abelardo
Delgado and Jesus Rafael Gonzalez. And though I joined Cesar Chavez’s
efforts early in the 60’s, I was not a Chicano poet -- I was a Chicano
writing poetry. </span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">In 1964, Paso del Norte Press brought out a chapbook
edition of my poetry entitled </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Sangre
y Cenizas</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">
in Spanish. In 1952, my early work </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>The
Wide Well of Hours</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">
(Pittsburgh: New World Society) was in English. Neither of those
works are movement poetry though the latter deals with the angst of a
larger humanity while the former entails a highly stylized anguish of
recollection.</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">The
first movement poem I essayed was </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Hijos
de la Chingada</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">
published in </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Nosotros
Magazine</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">
in El Paso in 1970. The poem brought upon me the wrath of many
Chicano formidables in the community who, like Plato in his </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Republic</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">,
thought my poem was a corrupting influence on Chicano students at the
University of Texas at El Paso, especially since I was then Director
of the Chicano Studies Program and expected to set the standards of
decorum for the students.</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">Abelardo
Delgado and Ricardo Sanchez came to my rescue. They defended me
publicly as a Chicano and defended my First Amendment right to
express myself as I had. Of course there was nothing subversive or
salacious about the poem. I was simply expressing the case already
proffered by the Mexican poet Octavio Paz that mejicanos (los
mestizos) were the offspring of an indigenous mother and a Spanish
father eiconicized by the historical figure of Malintzin (later
called Doña Marina), the Tlaxcalan woman who became Cortez’s
consort and whose child with him has been historically considered
the “first” Mexican </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>mestizo</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">.
Thus, the word malinche (with the semantic weight of “traitor). </span></span>
</div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">Octavio
Paz posited that ever since, mejicanos have thought of her as </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>la
Chingada</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> — the
violated one (but that she deserved it because of her treason). I
don’t side with Octavio Paz’s rendition of that historical event.
Nevertheless the symbolism of Malintzin and <i>mestizaje</i> is powerful and
closer to the reality of Chicano origins as Malintzin’s children
than Coronado’s children. I made that point in my piece on
“Montezuma’s Children” in 1970 (</span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>The
Center Magazine</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">,
November/December), a scathing piece on the shameful condition of
Chicanos in American education and recommended for a Pulitzer that
year by Senator Ralph Yarbrough of Texas who read the piece into the
</span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Congressional
Record</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">. </span></span>
</div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">In
1971, Abelardo Delgado and Ricardo Sanchez both came to work at
Chicano Studies at UTEP where I was Director of the Program. Even
then, Abelardo had interests in Denver where he was closely allied
with Corky Gonzalez and the Crusade for Justice. Though ostensibly
different from each other poetically, Delgado and Sanchez are really
two sides of the same coin. Their poetic focus is on the people and
their plight. Sanchez is the old-testament voice in the whirlwind;
Delgado is the ole-testament shepherd waiting for the comforting
voice of God.</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;">Just
before he died I sent Lalo a brief note in which I said: </span></span>
</div>
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“<span style="font-family: Cambria,serif;"><span style="font-size: small;">Im sorry you’re ailing,
old friend. At 78 God is not yet through with me and God still has
many things for you to do. </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Todavia
queda mucha lucha</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">.
During a Summer Session at UT Brownsville I used Stupid America in
one of the Sabal Palms Lectures I delivered there. The audience
responded to the poem just as we all did when you first wrote it
almost 40 years ago. Your work in Chicano poetry will stand as a
testament to struggles we’ve endured as Chicanos in proclaiming our
presence in this country; and your poetry will stand as the legacy
you’ve bestowed on our progeny.”</span></span></div>
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<div align="JUSTIFY" style="margin-bottom: 0in; margin-right: 0.01in;">
<span style="font-family: Cambria,serif;"><span style="font-size: small;">In
1971, when I was putting together </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>We
Are Chicanos</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">,
the first critical anthology of Mexican American Literature published
by Washington Square Press, I included four poems by Abelardo —one
of which was </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Stupid
America</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">.
And in my study of <i>Backgrounds of Mexican American Literature</i>,
Abelardo Delgado was featured prominently. </span></span>
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<span style="font-family: Cambria,serif;"><span style="font-size: small;"><span lang="es-CO">Abelardo
Delgado is gone n</span></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><span lang="es-CO">ow.
</span></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">So is
Ricardo Sanchez. Voices of yesterday, sonorous, compelling. Lalo’s
passing brings to mind Milton’s poem about </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Lycidas </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">— gone
but not forgotten. Que viva, Lalo Delgado!</span></span></div>
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<span style="font-family: Cambria,serif;"><span style="font-size: x-small;">Copyright
© 2012 by the author. All rights reserved.</span></span></div>
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<!-- AddThis Button END -->Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-31666207776030013262012-04-20T16:54:00.001-07:002012-04-20T16:54:13.390-07:004-20 Revisits<div dir="ltr" style="text-align: left;" trbidi="on">
<h3 class="post-title entry-title" itemprop="name">
Saving ASARCO's smokestack to create “superjoint” to cost $14M </h3>
<div style="margin-bottom: 0in;">
Preserving ASARCO's smokestack to make a
giant marijuana joint to the benefit of UT El Paso (UTEP) students
would cost $14 million a new study says.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
Last year, the City of El Paso
held public meetings regarding the fate of the old American Smelting and
Refining Company (ASARCO) smelter. City Council later passed a
resolution to burn marijuana in the giant incinerator within the smelter
using the old smokestack as a literal "superjoint.<br />
<br />
<a href="http://plumafronteriza.blogspot.com/2010/10/saving-asarcos-smokestack-to-create.html">http://plumafronteriza.blogspot.com/2010/10/saving-asarcos-smokestack-to-create.html</a><br />
<br />
<span style="font-size: large;"><b>Report: Criminals smuggle up to $39 billion in drugs while CBP and Hudspeth County Sheriff Arrest Willie Nelson</b></span><br />
<br />
<div style="font-family: Georgia,"Times New Roman",serif;">
The
Government Accountability Office is calling for urgent action after
Mexican cartels smuggled up to $39 billion worth of drugs into the
United States, all during Willie Nelson's 4-and-half-hour arrest and
booking in Hudspeth County, TX last month.</div>
<div style="font-family: Georgia,"Times New Roman",serif;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif;">
The
Metro Organization for TexasTea Acquisitions or MOTA, estimates the
while Customs and Border Protection and Hudspeth County Sheriff were
occupied with Nelson, an estimated $39 billion was smuggled through
Hudspeth County alone.</div>
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</div>
<div style="font-family: Georgia,"Times New Roman",serif;">
<a href="http://plumafronteriza.blogspot.com/2010/12/report-criminals-smuggle-up-to-39.html">http://plumafronteriza.blogspot.com/2010/12/report-criminals-smuggle-up-to-39.html</a> </div>
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<h3 class="post-title entry-title" itemprop="name">
</h3>
</div>Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-20936426756664081792012-03-13T13:01:00.001-07:002012-03-13T13:02:33.886-07:00Librotraficante Caravan Stops in El Paso Tomorrow!!!!!<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfZJsbOj7nPrbWpCeoVyib2wwtykZ8LD6EZiKqUAb94xDBy64D5Cpcr7kPRWcgzZUNNhxUgiWEy3NGVy0wBKjrqJvAYrehT4o87S6gtW-5_NeiKAt1MkmEpTjCf-lzgS2meMD2/s1600/Librotraf.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfZJsbOj7nPrbWpCeoVyib2wwtykZ8LD6EZiKqUAb94xDBy64D5Cpcr7kPRWcgzZUNNhxUgiWEy3NGVy0wBKjrqJvAYrehT4o87S6gtW-5_NeiKAt1MkmEpTjCf-lzgS2meMD2/s400/Librotraf.jpg" width="400" /></a></div><br />
</div>Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-71498516097443409352012-03-13T08:38:00.004-07:002012-03-24T23:44:24.945-07:00UT El Paso Student Health Services Prepares for Chipotle Grand Opening<div dir="ltr" style="text-align: left;" trbidi="on"> <link href="http://www.plumafronteriza.blogspot.com" rel="image_src"></link><br />
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<div style="margin-bottom: 0in; text-align: right;"><b><span style="color: red;"><span style="font-size: x-large;">AP</span> Associated Pest </span></b></div><div style="margin-bottom: 0in;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigidAgLEIKZinyENsr1yxXPVMvEWgUEIImVY-BXV7zh2f5OkBzUKcvSCazoxJ39QpSqrz5-St9UGvSmE80PhpRgTohYvh21ijoDEvaggL9kmizCKYY00FCn3pajb5XIHnTBuvz/s1600/Chipolte.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigidAgLEIKZinyENsr1yxXPVMvEWgUEIImVY-BXV7zh2f5OkBzUKcvSCazoxJ39QpSqrz5-St9UGvSmE80PhpRgTohYvh21ijoDEvaggL9kmizCKYY00FCn3pajb5XIHnTBuvz/s320/Chipolte.jpg" width="320" /></a></div><div style="margin-bottom: 0in;"><br />
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</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><span style="font-size: x-large;"><b>UT El Paso (UTEP) Student Health Services Prepares for Chipotle Grand Opening</b></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><i>Cholera Epidemic Imminent</i></span></div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">by Dolores T<span style="font-family: Times New Roman,serif;">ó</span>mago</div><div style="margin-bottom: 0in;"><span id="RDS-site"><span id="divhome"><span id="MNGi Section">Posted: 03/13/2012 12:17:33 AM MDT </span></span></span></div><div style="margin-bottom: 0in;"><a href="http://www.facebook.com/sharer.php" name="fb_share" type="button_count">Share</a><script src="http://static.ak.fbcdn.net/connect.php/js/FB.Share" type="text/javascript">
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</div><div style="margin-bottom: 0in;">UTEP Student Health Services has gone into “Disaster Alert” as El Paso's first Chipotle is set to open this week across from UTEP's Don Haskin's Center. </div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">Chipolte a national chain known for putting everything but the kitchen sink into a burrito will open on North Mesa Street this week, much to the annoyance of the local medical community.</div><div style="margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://gedeoncrossfit.files.wordpress.com/2009/08/chipotle-burrito.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://gedeoncrossfit.files.wordpress.com/2009/08/chipotle-burrito.jpg" width="320" /></a></div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">Culinary expert, Ben B. Rito says Chipotle has not figured out how the Mexican secret to making burritos simple, so they put everything from sour cream, guacamole, rice, beans, salsa, meat, onions, all the ingredients to make the modern Mexican's stomach churn.”</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">“So far we don't know why Chipotle burritos have no effect on gringos,” says El Paso Medical Disaster Director, Endamundo Hoy. “But when Mexicans and Chicanos eat at Chipolte, they can expect several days on the toledo or a full-out Cholora epidemic.”</div><div style="margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://i.walmartimages.com/i/p/00/30/14/90/10/0030149010048_500X500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://i.walmartimages.com/i/p/00/30/14/90/10/0030149010048_500X500.jpg" width="320" /></a></div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">“We had to order quadruple are regular supply of Pepto-Bismol, Imodium, and Keopectate,” said UTEP's health services director Ben Preparado, “We think we are fully prepared for the impending disaster once students return to class next week.”</div><div style="margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://extras.mnginteractive.com/live/media/site525/2012/0217/20120217_124301_cook_300.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="194" src="http://extras.mnginteractive.com/live/media/site525/2012/0217/20120217_124301_cook_300.jpg" width="200" /></a></div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">But rumors that the city may run out of diarrhea medicine has prompted Mayor John Cook to ask Proctor and Gamble, Janssen Pharmaceutica, Chattem, Inc., makers of diarrhea medicine, to double their production.</div><div style="margin-bottom: 0in;"><br />
</div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfcrKzPDqmMf7C8oQqDa5ro14kk2DvhOga9ulP6Gj69bEH-NWphqoro8Rwed5y7Ojyn3f_7-cuBmNaVbsUy0Fs4hrBD17IBdiLbPaW3FBlmDFQw0aJyWnRT5xs0SuwbMfJGhnk/s1600/cots.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfcrKzPDqmMf7C8oQqDa5ro14kk2DvhOga9ulP6Gj69bEH-NWphqoro8Rwed5y7Ojyn3f_7-cuBmNaVbsUy0Fs4hrBD17IBdiLbPaW3FBlmDFQw0aJyWnRT5xs0SuwbMfJGhnk/s320/cots.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">UTEP sets up disaster center</td></tr>
</tbody></table><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">“We don't expect many students to be affected this week,” said UTEP president Diana Natalicio, “but once they return to school after Spring Break next week, we may call upon the Red Cross to set up a disaster site in the UTEP Student Union.” </div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">UTEP professor Dr. Wes Studi Shicanos, an expert on Chicano and indigenous eating habits said the opening of Chipotle will have severe repercussion for Westside El Paso. “To date, Westside Chicanos have not seen this much mierda since the elections of City Rep. Cortney Niland and Beto O'Rourke.”</div><br />
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<h3 class="post-title entry-title" style="font-weight: normal;"><a href="http://plumafronteriza.blogspot.com/2010/10/researchers-draw-closer-to-unraveling.html">Researchers draw closer to unraveling the difference between beans and tortillas, and tortillas and beans</a></h3></div></div></div></div>Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-27378281851166796122012-03-06T23:11:00.000-07:002012-03-06T23:11:30.018-07:00Rodolfo F. Acuña: The Tucson-Nogales Trip<meta name="title" content="Rodolfo F. Acuña: The Tucson-Nogales Trip" /> <meta name="description" content="Acuña - Musing on Arizona" /> <link rel="image_src" href="http://www.plumafronteriza.blogspot.com" /><br />
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</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: x-large;"><b><span>The Tucson-Nogales Trip</span></b></span></div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif; text-align: left;"><b><span style="font-size: small;"><span>By</span></span></b></div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif; text-align: left;"><b><span style="font-size: small;"><span>Rodolfo F. Acuña</span></span></b></div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif; text-align: left;"><a name="fb_share" type="button_count" href="http://www.facebook.com/sharer.php">Share</a><script src="http://static.ak.fbcdn.net/connect.php/js/FB.Share" type="text/javascript"></script><br />
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</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">As I mentioned in previous correspondence, CSUN MEChA and students from the Asian American Studies Department visited Tucson-Nogales on February 24-26, 2012. </span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">It was draining because of the distance, size of the group, and the intensity. As always, the Tucsonenses were gracious and made you feel like family. </span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">For me, the highlight was the first night when Sal Baldenegro, Guadalupe Castillo, Raquel Goldsmith and Isabel Garcia gave their testimonies, recounting over forty years of activism, from the campaigns to get Mexican American students into the University of Arizona, the border struggles, to today’s fight against censorship and the attacks on the Tucson Unified School District’s Mexican American Studies. It capped a learning experience that spans three trips to ground zero. </span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">The students interacted with high school students.<span> </span></span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">As Professor Emeritus Christine Sleeter wrote about the Tucson program on February 15, 2012 in <i>Education Week</i>: </span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif; margin-left: 0.5in;"><b><span style="font-size: small;">“Over a 13-year period, the program served 6,438 students (5,726 of whom were Latino, and 712 of whom were not Latino). On Arizona’s achievement tests in reading, writing, and math, its students also outscore students of all racial and ethnic groups in the same schools but not in that program—a remarkable record. As schools nationwide struggle to close racial achievement gaps, Tucson’s Mexican-American studies program should be one from which we are learning.”</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">This data puts to rest the myth that the program was limited to Mexican Americans. It is more startling because 60/70 percent of the district’s students are Latino. </span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">According to Professor Sleeter, the MAS program works. She asks:</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif; margin-left: 0.5in;"><b><span style="font-size: small;">“Then why was the Mexican-American studies program in Tucson terminated? And why did Arizona ban ethnic studies? I believe the core issue is fear of the knowledge Mexican-American students find precious and empowering. Ethnic studies names racism and helps students examine how racism works in their everyday lives, how it was constructed historically, and how it can be challenged. For students of color, ethnic studies draws on knowledge from within racially oppressed communities, and affirms what students know from everyday life, taking the concerns of students seriously and treating them as intellectuals. In so doing, well-designed programs (like Tucson’s), taught by well-prepared teachers who believe in their students, connect students’ ethnic identity with academic learning and a sense of purpose that takes racism into account.”</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">The truth be told, what is happening in Arizona is orchestrated by the special interests of associations such as ALEC – American Legislative Exchange Council, that controls the state legislature, and the Southern Arizona Leadership Council, that controls southern Arizona. They have economic and political stakes in keeping Mexicans and poor people in their place, which today is increasingly in the prisons. </span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">Sadly, educators have been complicit in keeping Mexican Americans and others in their place. At all levels of public education, there is a woeful lack of interest or knowledge of the special needs of Mexican American children.<span> </span>While many classroom teachers can be singled out, the core problem rests on the shoulders of administrators who are paid to give guidance to instructional programs. </span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">At the University of Arizona, there are 58 professors of education; only five of whom have Spanish-surnames. <span> </span>In Adolescent Development, out of eleven not one is Mexican American;<span> </span>AT Risk Students does not have a Spanish-surname instructor; Bilingual Education, two out of ten; Counseling, not one; Early Childhood Education, one of eight; Identity, not one; Language and Cultural Studies, one of six; <span> </span>Language Learning, one of fourteen; Learning and Instruction, one of fourteen; worse of all out of fifteen listed in Teaching, not one has a Spanish surname; and in Teacher Preparation, one of 32 has a Spanish-surname.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">The numbers would tend to support the notion that, although 60 percent of the students in the university’s service area are Latino, the education of Mexican American is not high on the UA’s priorities. This makes it critical that the surrounding districts have strong leadership, which is not the case.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">TUSD Superintendent of Schools John Pedicone has less than two years classroom experience teaching Mexican American students, and this was in a middle-class neighborhood in Tucson. Pedicone served several years as superintendent before retiring, but there is no indication that he was interested in pedagogy for Mexican American students. Pedicone taught part time at the UA, demonstrating no interest in Mexican American students.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">In my fifty-five years of teaching: two years teaching K-12 at a Yeshiva; ten years as a master teacher in the L.A. City Schools; three years at a community college; and the rest in the state university system, I have never met a superintendent so ill prepared as John Pedicone </span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">The tragedy is that he is earning over $300,000 a year for knowing so little about the education of students who are the majority of his district. <span> </span>Pedicone would make a great maître d' at an upscale restaurant, but not one in charge of the education of students who need good teaching and a good curriculum. </span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">Worse Pedicone has brought in underlings with fewer qualifications about Mexican Americans than he has.<span> </span>According to sources in Denton, Houston and San Antonio, who know <strong>Assistant Superintendent of Government Programs and Community Outreach Lupita Cavazos-Garcia</strong>, she has almost no experience in teaching Latinos in any subject but math. They described her as ineffectual and self-serving. I searched the University of Texas Library for her dissertation, there was no listing. I checked her out in the Proquest dissertation data bank, no listing.<span> </span>Based on her surname, not qualifications, Garcia was put in charge of dismantling MAS.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">Garcia called MEChA “anti-American” and “anti-Semitic,” offering no proof. Moreover, Garcia, originally from South Texas, denies the existence of racism. </span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">In this context, KGUN9 reporter Valerie Cavazos asked me whether there could be a compromise.<span> </span>(That is what the letter below is about). </span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">Any compromise has to be based on reason. The starting point has to be what is best for the students, not what an individual or business group wants. Latinos have a history of compromising. From the beginning, bilingual education was bartered away in bits and pieces. Urban renewal took away the barrio land for the public “good.”</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">As long as Pedicone and company do not want to talk about the failure of the Tucson mainstream programs, there can be no compromise. If sixty percent of Toyotas or any other automobile brand had to be junked, that company would be in serious trouble.<span> </span>American education is failing students, and those in power want to compromise? In the case of Tucson, it is like trading in a Mercedes for a jalopy.<span> </span>They want to trade non-functioning schools for a program with proven results.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">The first thing I learned as a teacher trainer is that students have to want to come to school. They have to like you, and value what you are teaching.<span> </span>I think of John Dewey daily, and his dictum that a student failure is a teacher failure. <span> </span>Using that standard, Pedicone and his gaggle of administrators are failures.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">Some Americans would like Mexican Americans and other minorities to admit that racism and inequality is their problem; according to them, it isn’t an American problem. However, foreign visitors from the beginning of the Republic have laid the blame on an inchoate American culture that is easily rattled.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">American xenophobia has its roots in feelings inferiority, and Americans try to justify themselves by thinking they are exceptional.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">The sad part about this struggle is the lack of outrage about what is happening in Arizona: the nullification of the U.S. Constitution, Arizona’s defiance of federal court orders, the assassination of nine year old Brisenia Flores, and the disparate treatment of Mexican Americans. </span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">That is why we are taking our students to ground zero. We don’t want them to forget, so when minorities are the majority in 2050, we won’t be the same as they are. They must remember that just because a Pedicone wears a white shirt and a tie that does not make him intelligent. Racists come in different shapes and colors.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">Like my mother used to say there is a difference between schooling and education, between meanness and altruism.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">I was particularly moved by the reaction of one of my students at the wall between the two Nogales’s. </span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif; margin-left: 0.5in;"><b><span style="font-size: small;">“It was an odd feeling being so close to something that has sparked so many debates,” said Daniel Mulato, 22, a senior double majoring in psychology and Chicana/o studies, about the Nogales border. “It really hit me when I saw a baby shoe left right at the border. This could be someone’s little sister’s shoe,” he said.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">It doesn’t matter what color the child was, it was a child. It is a lesson Pedicone should learn.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">Dear Ms Cavazos [<a href="http://www.kgun9.com/news/local/140510983.html">KGUN9 news segment on Sunday</a>]:</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;"><a href="http://www.kgun9.com/news/local/140510983.html">http://www.kgun9.com/news/local/140510983.html</a> </span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">The written summary of our interview misrepresents what I said.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">First, I did not suggest that the TUSD Mexican American Studies Program compromise. As you know, I do not live in Tucson, so it would be presumptuous for me to recommend a compromise.</span></b></div><div class="wp-caption-text" style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">Rudy interviewed by KGUN9.</span></b></div><div class="wp-caption-text" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">What we discussed was, where does a discussion begin?</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">In my opinion, it would be insane to begin a discussion at the point when the program has been gutted and its books have been banned. Any discussion has to begin with what is best for students.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">For example, Arizona is last in the nation in per capita spending per student. The dropout rate is between 60-70 percent, depending on where the push out begins. Although 43 percent of the students are of Mexican American/Latin ancestry, they are not represented proportionately in the American story. There also has to be a discussion about the qualifications of teachers, and if they are prepared to meet the special needs of Mexican American students.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">Second, we discussed escalating tuition rates in the context of financial inequalities, and how it contributes to the widening gap between rich and poor.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">Third, I did not say or imply that racial issues had disappeared. I said that we have to put more emphasis on the causes of racism. In this context, we discussed the charter schools that are disproportionately white. For example, if the district is 60 percent Mexican it stands to reason that 60 percent of the charter school should reflect this reality. Racial issues have to be put into context as well as the fact that in Arizona the charter schools are owned by interests outside the state of Arizona. In California, charter schools are part of the local school districts that are responsible for their oversight.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">This coupled with the fact that Arizona representatives receive more campaign contributions from sources outside the state than from inside threaten American democracy. Before racism can be abolished we have to deal with inequality. The point was also made that the barriers to getting into college in the 70s differed from today. Today the main obstacle is the refusal of corporations to pay for the cost of social production. This barrier today takes on a class dimension, and at the university level this inequality is threatening every race (although not equally).</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">Fourth, in my opinion a discussion on “integrating” Mexican American Studies into so-called general curriculum could perhaps occur if, let’s say, the TUSD guaranteed that 1) the State of Arizona would contribute as much per student as the top ten states nationally; 2) that it would guarantee that the dropout rate among Mexican American students would not exceed 5 percent; 3) that teachers and counselors specializing in the education of Mexican Americans be hired in proportionate numbers; and 4) that the state guarantee that the contributions of Mexican Americans be taught in all social science, humanities and art classes. Perhaps at this point, a dialogue would be possible. It would be crazy to enter a dialogue based on John Pedicone’s my way or the highway approach–he is not God, although he may think he is.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">We talked at great lengths about reason. Agreements are only fair when there is respect. There can be no agreement if there is a gun pointed at your head. Reason also assumes that the facts be considered. I said that it was unreasonable to dismantle a program with proven results, and trade it for a program that fosters segregation and drops out 60 percent of its students. (Let’s face it, American education has failed)</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">I agreed to the interview because I thought that there could be a reasonable discussion. I was warned by many Tucsonenses not to trust you. But I wanted to break down barriers, and perhaps, not reach an agreement, but know each other’s views. This is not possible if you distort what I say.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">As Mexican Americans we have the duty to be good professionals which is to seek the </span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">truth.</span></b></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">Venceremos,</span></b></div><b style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="color: black;"> </span></span></b><br />
<b style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="color: black;">Rodolfo F. Acuña, PhD<br />
</span></span></b><br />
<b style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="color: black;">Professor Emeritus<br />
California State University Northridge</span></span></b><br />
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<b style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="color: black;">Our thanks to Profe </span></span></b><b style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="color: black;">Acuña for letting us repost is posts!</span></span></b></div>Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-31326849976994089092012-03-03T10:04:00.000-07:002012-03-03T10:04:47.489-07:00New Chicano(a) Titles for January and February 2012: New Books by Saenz, Anaya, Gary Soto<meta name="title" content="New Chicano(a) Titles for January and February 2012: New Books by Saenz, Anaya, Gary Soto" /> <meta name="description" content="Dozens of New Books! Saenz, Anaya, Gary Soto" /> <link rel="image_src" href="http://www.plumafronteriza.blogspot.com" /><br />
<div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: x-large;"><b>New Chican(a) Titles for </b></span><br />
<span style="font-size: x-large;"><b>January and February 2012</b></span><br />
<span style="font-size: large;"><i><b>New Books by Anaya, Saenz, Gary Soto!</b></i></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://covers.openlibrary.org/w/id/1223159-M.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://covers.openlibrary.org/w/id/1223159-M.jpg" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><span style="font-size: large;"><b><i>Critical Race Counterstories Along the Chicana/Chicano Educational Pipeline </i></b></span></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Hardcover Routledge; 2 edition (January 2012) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">ISBN-10: 0415874548 ISBN-13: 978-0415874540 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="" name="contributorNameTriggerB001IXPQZC"></a> Tara J. Yosso</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Chicanas/os are part of the youngest, largest, and fastest growing racial/ethnic 'minority' population in the United States, yet at every schooling level, they suffer the lowest educational outcomes of any racial/ethnic group. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Using a 'counterstorytelling' methodology, Tara Yosso debunks racialized myths that blame the victims for these unequal educational outcomes and redirects our focus toward historical patterns of institutional neglect. She artfully interweaves empirical data and theoretical arguments with engaging narratives that expose and analyse racism as it functions to limit access and opportunity for Chicana/o students. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">By humanising the need to transform our educational system, Yosso offers an accessible tool for teaching and learning about the problems and possibilities present along the Chicano/a educational pipeline. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHEmhaXfiUlGLVquIpYAZyhehyxM24q8lRS8f_Dm_agjn304IxAPxVNBWvuV1Xk4qNlwRrzDo07-rcp5U9y-csJxzVLPbxF3lgghkQoHBCySNVMLpdpilXLPz2Ibz7eVB6MENb/s1600/Struggle+in+Black+and+Brown.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHEmhaXfiUlGLVquIpYAZyhehyxM24q8lRS8f_Dm_agjn304IxAPxVNBWvuV1Xk4qNlwRrzDo07-rcp5U9y-csJxzVLPbxF3lgghkQoHBCySNVMLpdpilXLPz2Ibz7eVB6MENb/s320/Struggle+in+Black+and+Brown.jpg" width="320" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div dir="LTR" id="outer_postBodyPS" style="font-family: Arial,Helvetica,sans-serif;"> <div dir="LTR" id="postBodyPS"> <div style="margin-bottom: 0in;"><a href="" name="btAsinTitle1"></a><span style="font-size: large;"><b><i>The Struggle in Black and Brown: African American and Mexican American Relations during the Civil Rights Era (Justice and Social Inquiry)</i></b></span></div><div style="margin-bottom: 0in;">Paperback University of Nebraska Press (January 1, 2012) </div><div style="margin-bottom: 0in;">ISBN-10: 080326271X ISBN-13: 978-0803262713 </div><div style="margin-bottom: 0in;"><a href="" name="contributorNameTriggerB004EHL7O8"></a> Brian D Behnken (Editor, Introduction) </div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">It might seem that African Americans and Mexican Americans would have common cause in matters of civil rights. This volume, which considers relations between blacks and browns during the civil rights era, carefully examines the complex and multifaceted realities that complicate such assumptions—and that revise our view of both the civil rights struggle and black-brown relations in recent history. </div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">Unique in its focus, innovative in its methods, and broad in its approach to various locales and time periods, the book provides key perspectives to understanding the development of America’s ethnic and sociopolitical landscape.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">These essays focus chiefly on the Southwest, where Mexican Americans and African Americans have had a long history of civil rights activism. Among the cases the authors take up are the unification of black and Chicano civil rights and labor groups in California; divisions between Mexican Americans and African Americans generated by the War on Poverty; and cultural connections established by black and Chicano musicians during the period. </div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">Together these cases present the first truly nuanced picture of the conflict and cooperation, goodwill and animosity, unity and disunity that played a critical role in the history of both black-brown relations and the battle for civil rights. Their insights are especially timely, as black-brown relations occupy an increasingly important role in the nation’s public life.</div><div style="margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://encrypted-tbn0.google.com/images?q=tbn:ANd9GcQWus_RgCrrrmZXsZJM33772eVKAHmdX30tH2s9ok3R1JRWoejB" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://encrypted-tbn0.google.com/images?q=tbn:ANd9GcQWus_RgCrrrmZXsZJM33772eVKAHmdX30tH2s9ok3R1JRWoejB" /></a></div><div style="margin-bottom: 0in;"><br />
</div></div></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="" name="btAsinTitle2"></a><span style="font-size: large;"><b><i>No Undocumented Child Left Behind: Plyler v. Doe and the Education of Undocumented Schoolchildren (Citizenship and Migration in T) </i></b></span> </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Hardcover NYU Press (January 1, 2012) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">ISBN-10: 0814762441 ISBN-13: 978-0814762448 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="" name="contributorNameTriggerB001JOYMM8"></a> Michael A. Olivas (Author) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">The 1982 U. S. Supreme Court case of <i>Plyler v. Doe</i>, which made it possible for undocumented children to enroll in Texas public schools, was a watershed moment for immigrant rights in the United States. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">The Court struck down both a state statute denying funding for education to undocumented children and a municipal school district's attempt to charge an annual $1,000 tuition fee for each undocumented student to compensate for the lost state funding. Yet while this case has not returned to the Supreme Court, it is frequently contested at the state and local level.<br />
<br />
In <i>No Undocumented Child Left Behind</i>, Michael A. Olivas tells a fascinating history of the landmark case, examining how, 30 years later, Plyler v. Doe continues to suffer from implementation issues and requires additional litigation and vigilance to enforce the ruling. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">He takes a comprehensive look at the legal regime it established regarding the education of undocumented school children, moves up through its implementation, including direct and indirect attacks on it, and closes with the ongoing, highly charged debates over the Development, Relief, and Education for Minors (DREAM) Act, which aims to give conditional citizenship to undocumented college students who graduated from US high schools and have been in the country for at least five years. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://img2.imagesbn.com/images/149360000/149363037.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://img2.imagesbn.com/images/149360000/149363037.JPG" width="211" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="" name="btAsinTitle3"></a><span style="font-size: large;"><b><i>War along the Border: The Mexican Revolution and Tejano Communities</i></b></span> </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">University of Houston Series in Mexican American Studies, Sponsored by the Cente - </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">TAMU Press (January 13, 2012) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">ISBN-10: 1603445250 ISBN-13: 978-1603445252 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Scholars contributing to this volume consider topics ranging from the effects of the Mexican Revolution on Tejano and African American communities to its impact on Texas’ economy and agriculture. Other essays consider the ways that Mexican Americans north of the border affected the course of the revolution itself. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://ecx.images-amazon.com/images/I/318ZhREJgvL._SL500_AA300_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://ecx.images-amazon.com/images/I/318ZhREJgvL._SL500_AA300_.jpg" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="" name="btAsinTitle4"></a><span style="font-size: large;"><b><i>The Mexican-American War (Living Through) </i></b></span> </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Paperback Heinemann-Raintree (January 1, 2012) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">ISBN-10: 1432960075 ISBN-13: 978-1432960070 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">John DiConsiglio </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Why was the Mexican American War so important in the formation of the modern United States? Could Texas have survived as an independent nation or part of Mexico? This book seeks to relate the overall events and chronology of the war and shows its impact on everyday lives. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://encrypted-tbn2.google.com/images?q=tbn:ANd9GcTg1Y2M5ZOogQU6PC-WTIRYcI_gbLmKgqy2e4Ddy7a3VuYQLDBaZg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://encrypted-tbn2.google.com/images?q=tbn:ANd9GcTg1Y2M5ZOogQU6PC-WTIRYcI_gbLmKgqy2e4Ddy7a3VuYQLDBaZg" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="" name="btAsinTitle5"></a><span style="font-size: large;"><i><b>Mexican American Fertility Patterns </b></i></span> </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Paperback University of Texas Press (January 18, 2012) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">ISBN-10: 0292739834 ISBN-13: 978-0292739833 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Frank D. Bean (Author), Gray Swicegood (Author) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="" name="outer_postBodyPS"></a><br />
</div><div dir="LTR" id="Section1" style="font-family: Arial,Helvetica,sans-serif;"> <div dir="LTR" id="Section2"> <div style="margin-bottom: 0in;"><a href="" name="postBodyPS"></a>The Mexican American population is the fastest growing major racial/ethnic group in the United States. During the decade 1970–1980, the Mexican origin population increased from 4.5 million to 8.7 million persons. High fertility, not immigration, was responsible for nearly two-thirds of this growth.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">Recent and historical evidence shows that women of Mexican origin or descent bear significantly more children than other white women in the United States. Mexican American Fertility Patterns clarifies the nature and magnitude of these fertility differences by analyzing patterns of childbearing both across ethnic groups and within the Mexican American population.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">Using data from the 1970 and 1980 U.S. Censuses and from the 1976 Survey of Income and Education, the authors evaluate various hypotheses of cultural, social, demographic, and/or economic factors as determinants of fertility differences. Empirical analyses center on the interrelationships between fertility and generational status, language usage and proficiency, and female education. </div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">This timely report concludes that Mexican American fertility is closest to that of other whites under conditions of greater access to the opportunity structures of the society.</div></div></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://ebooks-imgs.connect.com/product/400/000/000/000/000/257/150/400000000000000257150_s4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://ebooks-imgs.connect.com/product/400/000/000/000/000/257/150/400000000000000257150_s4.png" width="240" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="" name="btAsinTitle6"></a><span style="font-size: large;"><i><b>Facts of Life: Stories </b></i></span> </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Paperback Graphia; Reprint edition (January 17, 2012) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">ISBN-10: 0547577346 ISBN-13: 978-0547577340 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="" name="contributorNameTriggerB001IGUQJK"></a> Gary Soto </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="" name="outer_postBodyPS1"></a><br />
</div><div dir="LTR" id="Section3" style="font-family: Arial,Helvetica,sans-serif;"> <div dir="LTR" id="Section4"> <div style="margin-bottom: 0in;"><a href="" name="postBodyPS1"></a>What do Gaby Lopez, Michael Robles, and Cynthia Rodriguez have in common? These three kids join other teens and tweens in Gary Soto's new short story collection, in which the hard-knock facts of growing up are captured with humor and poignance. </div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">Filled with annoying siblings, difficult parents, and first loves, these stories are a masterful reminder of why adolescence is one of the most frustrating and fascinating times of life.</div></div></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://ecx.images-amazon.com/images/I/51whsBrCJ8L._SS500_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://ecx.images-amazon.com/images/I/51whsBrCJ8L._SS500_.jpg" width="320" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><span style="font-size: large;"><i><b>Integrating the 40 Acres: The Fifty-Year Struggle for Racial Equality at the University of Texas </b></i></span></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Paperback University of Georgia Press (January 15, 2012) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">ISBN-10: 0820340855 ISBN-13: 978-0820340852 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Dwonna Goldstone (Author) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">You name it, we can't do it. That was how one African American student at the University of Texas at Austin summed up his experiences in a 1960 newspaper article--some ten years after the beginning of court-mandated desegregation at the school. In this first full-length history of the university's desegregation, Dwonna Goldstone examines how, for decades, administrators only gradually undid the most visible signs of formal segregation while putting their greatest efforts into preventing true racial integration. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">In response to the 1956 Board of Regents decision to admit African American undergraduates, for example, the dean of students and the director of the student activities center stopped scheduling dances to prevent racial intermingling in a social setting.</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Goldstone's coverage ranges from the 1950 U.S. Supreme Court ruling that the University of Texas School of Law had to admit Heman Sweatt, an African American, through the 1994 Hopwood v. Texas decision, which ended affirmative action in the state's public institutions of higher education. She draws on oral histories, university documents, and newspaper accounts to detail how the university moved from open discrimination to foot-dragging acceptance to mixed successes in the integration of athletics, classrooms, dormitories, extracurricular activities, and student recruitment. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Goldstone incorporates not only the perspectives of university administrators, students, alumni, and donors, but also voices from all sides of the civil rights movement at the local and national level. This instructive story of power, race, money, and politics remains relevant to the modern university and the continuing question about what it means to be integrated.</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://bks5.books.google.com/books?id=pDOGZwEACAAJ&printsec=frontcover&img=1&zoom=1&source=gbs_gdata" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://bks5.books.google.com/books?id=pDOGZwEACAAJ&printsec=frontcover&img=1&zoom=1&source=gbs_gdata" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="" name="btAsinTitle8"></a><span style="font-size: large;"><i><b>Marginal Workers: How Legal Fault Lines Divide Workers and Leave Them without Protection </b></i></span> </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">(Citizenship and Migration in the Americas) Hardcover</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="" name="contributorNameTriggerB005F1MEBW"></a> Ruben J. Garcia </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Undocumented and authorized immigrant laborers, female workers, workers of color, guest workers, and unionized workers together compose an enormous and diverse part of the labor force in America. Labor and employment laws are supposed to protect employees from various workplace threats, such as poor wages, bad working conditions, and unfair dismissal. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Yet as members of individual groups with minority status, the rights of many of these individuals are often dictated by other types of law, such as constitutional and immigration laws. Worse still, the groups who fall into these cracks in the legal system often do not have the political power necessary to change the laws for better protection.<br />
<br />
In <i>Marginal Workers</i>, Ruben J. Garcia demonstrates that when it comes to these marginal workers, the sum of the law is less than its parts, and, despite what appears to be a plethora of applicable statutes, marginal workers are frequently lacking in protection. To ameliorate the status of marginal workers, he argues for a new paradigm in worker protection, one based on human freedom and rights, and points to a number of examples in which marginal workers have organized for greater justice on the job in spite of the weakness of the law. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://ecx.images-amazon.com/images/I/71UwKSGRM6L._SL500_AA300_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://ecx.images-amazon.com/images/I/71UwKSGRM6L._SL500_AA300_.jpg" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><span style="font-size: large;"><i><b>Chicano Satire: A Study in Literary Culture </b></i></span> </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Paperback University of Texas Press (February 8, 2012) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">ISBN-10: 029274112X ISBN-13: 978-0292741126 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Guillermo Hernandez (Author) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="" name="outer_postBodyPS2"></a><br />
</div><div dir="LTR" id="Section5" style="font-family: Arial,Helvetica,sans-serif;"> <div dir="LTR" id="Section6"> <div style="margin-bottom: 0in;"><a href="" name="postBodyPS2"></a>Geographically close to Mexico, but surrounded by Anglo-American culture in the United States, Chicanos experience many cultural tensions and contradictions. Their lifeways are no longer identical with Mexican norms, nor are they fully assimilated to Anglo-American patterns. Coping with these tensions — knowing how much to let go of, how much to keep — is a common concern of Chicano writers, who frequently use satire as a means of testing norms and deviations from acceptable community standards. In this groundbreaking study, Guillermo Hernández focuses on the uses of satire in the works of three authors — Luis Valdez, Rolando Hinojosa, and José Montoya — and on the larger context of Chicano culture in which satire operates.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">Hernández looks specifically at the figures of the pocho (the assimilated Chicano) and the pachuco (the zoot-suiter, or urbanized youth). He shows how changes in their literary treatment—from simple ridicule to more understanding and respect — reflect the culture's changes in attitude toward the process of assimilation.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">Hernández also offers many important insights into the process of cultural definition that engaged Chicano writers during the 1960s and 1970s. He shows how the writers imaginatively and syncretically formed new norms for the Chicano experience, based on elements from both Mexican and United States culture but congruent with the historical reality of Chicanos.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">With its emphasis on culture change and creation, Chicano Satire will be of interest across a range of human sciences.</div></div></div><div dir="LTR" id="psGradient" style="font-family: Arial,Helvetica,sans-serif;"> <div style="margin-bottom: 0in;"><br />
</div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://encrypted-tbn2.google.com/images?q=tbn:ANd9GcSTdxdVT8eF2yu4KuxjiiXMRC9VapgI_YwUMgMBb-Qo4ekcz1zP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://encrypted-tbn2.google.com/images?q=tbn:ANd9GcSTdxdVT8eF2yu4KuxjiiXMRC9VapgI_YwUMgMBb-Qo4ekcz1zP" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="" name="btAsinTitle10"></a><span style="font-size: large;"><i><b>Aging, Health, and Longevity in the Mexican-Origin Population </b></i></span> </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">(Social Disparities in Health and Health Care) Hardcover</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Springer; 2012 edition (February 9, 2012) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">ISBN-10: 1461418666 ISBN-13: 978-1461418665 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Jacqueline L. Angel (Editor), Fernando Torres-Gil (Editor), Kyriakos Markides (Editor) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">As the nation’s largest Latino group, the Mexican-origin population will play a major role as America grows older: their situation is vital to understanding our aging, diverse society as national health care policy comes into a new era of analysis and revision. <i>Aging, Health, and Longevity in the Mexican Origin Population</i> identifies current and emerging health issues affecting this demographic, from health care disparities to changing family dynamics to the health implications of the United States’ relationship with Mexico. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Contributors test the Hispanic Paradox — that Latinos live longer than other Americans despite socioeconomic stresses — as it relates to various aspects of aging. Disability is discussed in social context, in terms of acculturation, family coping measures, access to care, and other key factors. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">And concluding chapters offer strategies for bringing the Mexican-American elder experience into the ongoing debate over health care. Throughout, coverage balances the heterogeneity of the community with its status as emblematic of minority aging and as a microcosm of aging in general. Included among the topics: · </div><ul style="text-align: left;"><li>Immigration, economics, and family: contextualizing disability. · </li>
<li>Diabetes and employment productivity. · </li>
<li>The “healthy immigrant effect” and cognitive aging. · </li>
<li>Nursing home care: separate and unequal. · </li>
<li>Challenges of aging in place. · </li>
<li>Estimating the demand for long-term care. </li>
</ul>This book issues, answers, and a clear direction to those studying and working with this dynamic group, including policymakers, social workers, gerontologists, the academic and research communities, and health care professionals. <div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://covers.powells.com/9780826351753.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://covers.powells.com/9780826351753.jpg" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="" name="btAsinTitle11"></a><span style="font-size: large;"><i><b>Lord of the Dawn: The Legend of Quetzalcóatl </b></i></span> </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Paperback University of New Mexico Press (February 15, 2012) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">ISBN-10: 0826351751 ISBN-13: 978-0826351753 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Rudolfo Anaya (Author), David M. Johnson (Introduction) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="" name="outer_postBodyPS3"></a><br />
</div><div dir="LTR" id="Section7" style="font-family: Arial,Helvetica,sans-serif;"> <div dir="LTR" id="Section8"> <div style="margin-bottom: 0in;"><a href="" name="postBodyPS3"></a>The legend of Quetzalcóatl is the enduring epic myth of Mesoamerica. The gods create the universe, but man must carefully tend to the harmony of the world. Without spiritual attention to harmony, chaos may reign, destroying the universe and civilization.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">The ancient Mexicans, like other peoples throughout the world, wrestled with ideas and metaphors by which to know the Godhead and developed their own concepts about their relationship to the universe. Quetzalcóatl came to the Toltecs to teach them art, agriculture, peace, and knowledge. He was a redeemer god, and his story inspires, instructs, and entertains, as do all the great myths of the world.</div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">Now available in paperback, the <i>Lord of the Dawn</i> is Anaya's exploration of the cosmology and the rich and complex spiritual thought of his Native American ancestors. The story depicts the daily world of man, the struggle between the peacemakers and the warmongers, and the world of the gods and their role in the life of mankind.</div></div></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://img2.imagesbn.com/images/157520000/157529508.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://img2.imagesbn.com/images/157520000/157529508.JPG" width="212" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><span style="font-size: large;"><b><i>Mexican Folk Narrative from the Los Angeles Area: Introduction, Notes, and Classification </i> </b></span></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">(English and Spanish Edition) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Paperback University of Texas Press; Bilingual edition (February 8, 2012) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Language: English, Spanish </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">ISBN-10: 029274143X ISBN-13: 978-0292741430 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Elaine K. Miller (Author) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Urban Los Angeles is the setting in which Elaine Miller has collected her narratives from Mexican-Americans. The Mexican folk tradition, varied and richly expressive of the inner life not only of a people but also of the individual as each lives it and personalizes it, is abundantly present in the United States. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Since it is in the urban centers that most Mexican-Americans have lived, this collection represents an important contribution to the study of that tradition and to the study of the changes urban life effects on traditional folklore.</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">The collection includes sixty-two legendary narratives and twenty traditional tales. The legendary narratives deal with the virgins and saints as well as with such familiar characters as the vanishing hitchhiker, the headless horseman, and the llorona. Familiar characters appear in the traditional tales — Juan del Oso, Blancaflor, Pedro de Ordimalas, and others. Elaine Miller concludes that the traditional tales are dying out in the city because tale telling itself is not suited to the fast pace of modern urban life, and the situations and characters in the tales are not perceived by the people to be meaningfully related to the everyday challenges and concerns of that life. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">The legendary tales survive longer in an urban setting because, although containing fantastic elements, they are related to the beliefs and hopes of the narrator — even in the city one may be led to buried treasure on some dark night by a mysterious woman.</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://photo.goodreads.com/books/1328320260l/12000020.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://photo.goodreads.com/books/1328320260l/12000020.jpg" width="212" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><span style="font-size: large;"><i><b><a href="" name="btAsinTitle13"></a>Aristotle and Dante Discover the Secrets of the Universe </b></i></span></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Hardcover Simon & Schuster Books For Young Readers (February 21, 2012) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">ISBN-10: 1442408928 ISBN-13: 978-1442408920 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Benjamin Alire Saenz (Author) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Aristotle is an angry teen with a brother in prison. Dante is a know-it-all who has an unusual way of looking at the world. When the two meet at the swimming pool, they seem to have nothing in common. But as the loners start spending time together, they discover that they share a special friendship — the kind that changes lives and lasts a lifetime. And it is through this friendship that Ari and Dante will learn the most important truths about themselves and the kind of people they want to be. </div></div><!-- AddThis Button BEGIN --><br />
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<script type="text/javascript" src="http://s7.addthis.com/js/250/addthis_widget.js#username=xa-4c089301018c383f"></script></div><!-- AddThis Button END -->Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-83585807550106872632012-03-01T15:31:00.000-07:002012-03-01T15:31:43.029-07:00Felipe Ortego y Gasca: If George Washington Was My Father, Why Wasn't He CHICANO?<meta name="title" content="Felipe Ortego y Gasca: If George Washington Was My Father, Why Wasn't He CHICANO?" /> <meta name="description" content="Reflections on the Arizona Ethnic Studies Controversy" /> <link rel="image_src" href="http://www.plumafronteriza.blogspot.com" /><br />
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</div><div style="margin-bottom: 0in;"><span style="font-family: Cambria,serif; font-size: x-large;"><b>IF GEORGE WASHINGTON’S MY FATHER, </b></span></div><div style="margin-bottom: 0in;"><span style="font-family: Cambria,serif; font-size: x-large;"><b>WHY WASN’T HE CHICANO?</b></span></div><div style="margin-bottom: 0in;"></div><div style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: x-small;"><b>Presented at the Forum on Confronting Race and Ethnicity, Western New Mexico University, February 21, 2012.</b></span></span></div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;"></div><div lang="es-CO" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: medium;"><b>By Felipe de Ortego y Gasca</b></span></span></div><div style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: x-small;">Scholar in Residence, Department of Chicana/Chicano and Hemispheric Studies, Western New Mexico University</span></span></div><a href="http://www.facebook.com/sharer.php" name="fb_share" type="button_count">Share</a><script src="http://static.ak.fbcdn.net/connect.php/js/FB.Share" type="text/javascript">
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<div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;">The title of this piece are the last lines of a poem by Richard Olivas penned some years ago. Sitting in his history class, Olivas asked: “If George Washington’s, my father, why wasn’t he Chicano? The question raised in the poem embodies the reason for the emergence of Mexican American/Chicano Studies.</span></span></div><div align="JUSTIFY" style="line-height: 100%; margin-bottom: 0in;"><br />
</div><div align="JUSTIFY" style="line-height: 100%; margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;">Indeed, the White Studies curriculum of American schools indoctrinates students in American classrooms in the apodictive historical perspective of the nation—myths and all. Until the advent of the Chicano Movement Mexican Americans knew little about their history in the United States as a colonized people. </span></span> </div><div style="line-height: 100%; margin-bottom: 0in;"><br />
</div><div style="line-height: 100%; margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><b>Mexican America as an internal American colony</b></span></span></div><div style="line-height: 50%; margin-bottom: 0in;"><br />
</div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;">Blame it on Manifest Destiny! By hook or crook, the United States was determined to extend its domain from sea to shining sea. But Mexico was standing in the way. In 1846, President James K. Polk declared war on Mexico on the pretext that Mexico had invaded the United States by crossing into Brownsville, Texas, with armed troops. Only the year before, the United States had admitted Texas into the union even though Mexico had never acknowledged the break-away independence of its Texas province. Despite this international state of affairs with Texas, dead-set on adding Texas to the union, the United States annexed Texas in 1845. </span></span> </div><div align="JUSTIFY" style="line-height: 100%; margin-bottom: 0in;"><br />
</div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;">The U.S. War against Mexico lasted less than 2 years, after which per the Treaty of Guadalupe Hidalgo signed on February 2, 1848, the United States dismembered Mexico and annexed more than half of its territory, permitting Mexicans (by choice) to remain in the American acquired territory of Mexico or to relocate to the new boundaries of Mexico. My father’s family chose to relocate to Guanajuato, Mexico; while my mother’s family chose to remain in San Antonio, Texas, where they had settled in 1731, some 45 years before the break-away American colonies of England in 1776. Most Mexicans opted to stay with what they considered their homeland. </span></span> </div><div align="JUSTIFY" style="line-height: 100%; margin-bottom: 0in;"><br />
</div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;">As an internally colonized people, Mexicans—now Americans by fiat—had to learn English, how to navigate the American political system, and how to survive the American schools. I wrote about that survival in 1970 in a piece entitled “Montezuma’s Children,” published as a cover story by </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>The Center Magazine</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> of the John Maynard Hutchins Center for the Study of Democratic Institutions. The piece was read into the Congressional Record by Senator Ralph Yarbrough of Texas in 1970 and was recommended for a Pulitzer. </span></span></div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"> </span></span> </div><div align="JUSTIFY" style="line-height: 100%; margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"> </span></span></div><div align="JUSTIFY" style="line-height: 100%; margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><b>Mexican America comes of Age</b></span></span></div><div align="JUSTIFY" style="line-height: 50%; margin-bottom: 0in;"><br />
</div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;">For 162 years—from 1848 to 1960—Mexican Americans sought to become the citizens the United States expected them to be: They fought in every American war since then, distinguishing themselves in World War II as the only group to win more Medals of Honor than any other group. Of the 16 million Americans who served in that conflict, 1 million were Mexican Americans. When the United States called on Americans to defend the nation, Mexican Americans have responded overwhelmingly. </span></span> </div><div align="JUSTIFY" style="margin-bottom: 0in;"><br />
</div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;">Mexican American loyalty and allegiance to the American flag has not waned. What changed was Mexican American expectations of equality for their service to the nation. Those expectations surfaced in 1960 with the Chicano Movement—a groundswell of patriotism in search of recognition. Out of that groundswell emerged the Chicano Renaissance: a literary recognition of their evolution in the American mosaic. In the Fall of 1969 I taught the first course in Mexican American/ Chicano literature at the University of New Mexico. In 1971 I completed </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Backgrounds of Mexican American Literature</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (University of New Mexico, 1971), first historical and taxonomic study in the field. In 1960, only 10 novels by Mexican Americans had been published in the United States. Since then, the count has swelled to hundreds. Overall, the count of books by Mexican Americans in the American publishing arena is in the thousands. Mexican Americans realized that if America is to know who Mexican Americans are, then Mexican Americans must write their own stories. Mexican Americans are not who mainstream America says they are; Mexican Americans are the only ones who can say who they are. </span></span> </div><div align="JUSTIFY" style="margin-bottom: 0in;"><br />
</div><div align="JUSTIFY" lang="en-US" style="line-height: 115%; margin-bottom: 0in; orphans: 2; widows: 2;"><span style="color: black;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-family: Cambria,serif;">Today, the most egregious example of prejudice and discrimination based on ethnicity and ancestry is the situation in the Tucson Independent School District where Mexican American Studies has been eliminated as a program of study and a list of particular books bans their use in classrooms. These are books by eminent Chicano and Native American scholars. Banned also are </span><span style="font-family: Cambria,serif;"><i>Civil Disobedience</i></span><span style="font-family: Cambria,serif;">, </span><span style="font-family: Cambria,serif;"><i>Brave New World</i></span><span style="font-family: Cambria,serif;"> and </span><span style="font-family: Cambria,serif;">Shakespeare's </span><span style="font-family: Cambria,serif;"><i>The Tempest</i></span><span style="font-family: Cambria,serif;">. The logic defies understanding except that it seems to be based on ethnicity and ancestry.</span></span></span></span></div><div align="JUSTIFY" lang="en-US" style="line-height: 115%; margin-bottom: 0in; orphans: 2; widows: 2;"><br />
</div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;">All of this hullaballoo is the result of Arizona House Bill 2281 signed by Governor Jan Brewer banning Ethnic Studies Programs (which includes Chicano Studies) on the grounds that these Programs advocate ethnic separatism and encourages Latinos to rise up and create a new territory out of the southwestern region of the United States. Perhaps those Xenophobes need a history lesson on how the Hispanic Southwest came into the American fold. They also need to look at school textbooks to see how under-represented Asian Americans, African Americans, Native Americans, and Mexican Americans are in those textbooks. Which is why we need Asian American Studies, African American Studies, Native American Studies, and Mexican American Studies. What are white Arizonans really afraid of? HB 2281 has come to the attention of the United Nations which condemns the Bill, citing Arizona’s rage against immigration and ethnic minorities as “a disturbing pattern of hostile legislative activity.” The better word would be “racism.”</span></span></div><div align="JUSTIFY" style="margin-bottom: 0in;"><br />
</div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><b>Chicano Studies as the Voice of Chicanos</b></span></span></div><div align="JUSTIFY" style="line-height: 50%; margin-bottom: 0in;"><br />
</div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;">Forty-eight years ago when I began university teaching after some years as a high school teacher of French, there was no Chicano Studies. That is, no Chicano Studies as an organized field of study. To be sure, there were Mexican American scholars working on various aspects of Mexican American life and its cultural productions, scholars like Aurelio Espinosa, Juan Rael, Arturo Campa, Fray Angelico Chaves, George I. Sanchez, Americo Paredes, and others. Important as this scholarship was, it emerged amorphously, reflecting independent intellectual interests rather than a scholarship reflecting a field of study. This is not to say that some of these scholars may not have considered their work as part of a field of study conceptualized as Mexican American Studies. Despite its lack of an under-pinning, it </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>was</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> a field of Mexican American Studies, its constituent parts subsumed as American folklore. </span></span></div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"> </span></span> </div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;">This situation created a critical barrier to the public discussion and dissemination of information about the presence of Mexican Americans in the United States and their contributions to American society. Until 1960 and the emergence of the Chicano Movement, Mexican Americans were characterized by mainstream American scholars–-principally anthropologists and social workers–-in terms of the </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>queer</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">, the </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>curious</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">, and the </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>quaint</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">. That is, Mexican Americans were categorized as just another item in the flora and fauna of Americana. </span></span> </div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;">The Chicano Movement–that wave of </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>concientizacion</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> that came to bloom among Mexican Americans in the 60's transforming them into Chicanos– helped to change American perceptions about Mexican Americans. While Mexican Americans knew much about Anglo Americans, Anglo Americans knew little about Mexican Americans.</span></span></div><div align="JUSTIFY" style="margin-bottom: 0in;"><br />
</div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;">In 1970 I was recruited to be founding director of the Chicano Studies Program at the University of Texas at El Paso, first such program in the state (and still there). By this time, I had become “conscientized” as a Chicano. From 1967 on, I had become identified as a Quinto Sol Writer, that is, among the first wave of Chicano writers of the Chicano Renaissance which had its beginning in 1966 with the creation of Quinto Sol Publications.</span></span></div><div align="JUSTIFY" style="margin-bottom: 0in;"><br />
</div><div align="JUSTIFY" style="margin-bottom: 0in;"></div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><b>The Arizona Challenge</b></span></span></div><div align="JUSTIFY" style="line-height: 50%; margin-bottom: 0in;"><br />
</div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;">Mexican American accounts of who they are are being challenged in Arizona. The Tucson Unified School District in Arizona made headlines in recent weeks when it eliminated its Mexican American Studies program. John Huppenthal, the Arizona Superintendent of Public Instruction, declared the program illegal under a state law that bans racially-divisive classes. </span></span><span style="color: black;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><a href="http://www.tusd1.org/contents/news/press1112/01-17-12.html">Books by Mexican American authors have been yanked from TUSD classrooms</a>: </span></span></span><a href="http://www.latinoteca.com/code/artePublicoPress/Publications/showBookDetails?code=3316"><span style="color: black;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Message to Aztlán</i></span></span></span></a><span style="color: black;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"> by Rodolfo Corky Gonzales (2001) and </span></span></span><a href="http://www.latinoteca.com/code/artePublicoPress/Publications/showBookDetails?code=2018"><span style="color: black;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Chicano! A History of the Mexican Civil Rights Movement</i></span></span></span></a><span style="font-family: Cambria,serif;"><span style="font-size: small;"> by Arturo Rosales (1997). </span></span> </div><div align="JUSTIFY" style="margin-bottom: 0in;"><br />
</div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;">Everywhere, there are xenophobic and fascist forces that threaten the existence of Chicano Studies. Mainstream suspicions about the ideological agenda of Chicano Studies has become paranoiac. In Arizona there are legislative initiatives to remove from the schools programs deemed to be seditious, programs that promote divisiveness and breed revolution, programs like Chicano Studies–any ethnic studies program that challenges Western values. One Arizona legislator believes that such an initiative will restore the image of the United States as a “melting pot”—that relic salvaged from the reliquary of dystopic America.</span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i> </i></span></span> </div><div align="JUSTIFY" style="margin-bottom: 0in;"><br />
</div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;">Tony Diaz, founder of the literary nonprofit </span></span><a href="http://www.nuestrapalabra.org/"><span style="color: black;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Nuestra Palabra: Latino Writers Having Their Say</i></span></span></span></a><span style="color: black;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"> is organizing a caravan from Houston to Tucson over spring break to raise awareness about the situation and taking Hispanic books to Tucson <a href="http://blog.chron.com/bookish/2012/02/hispanic-books-from-houston-press-yanked-from-arizona-classrooms/?utm_source=February+General+Blast&utm_campaign=Feb+blast&utm_medium=email">students</a>. He calls it the </span></span></span><a href="http://librotraficante.com/"><span style="color: black;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Librotraficante</i></span></span></span></a><span style="color: black;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"> </span></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">movement. It begins in Houston on Monday, March 12 and ends in Tucson on Saturday, March 17. Along the way, the caravan will stop in San Antonio, El Paso and Albuquerque, for read-ins and other activities. The caravan will be filled with authors and activists, accruing people as it proceeds toward Tucson.</span></span></div><div align="JUSTIFY" style="margin-bottom: 0in;"><br />
</div><div align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><span lang="es-CO"><i>Como una hija querida, tenemos que defender Chicano Studies porque si no, perderemos nue</i></span></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><span lang="es-CO"><i>stro futuro</i></span></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><span lang="es-CO">. </span></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">That’s too important a future to lose, too exacting a price to pay. This is the exact moment of history for Chicanos to rise to the occasion. Inaction sustains the status quo. Now, more than ever, we must band together in common cause. Chicano Studies deserves no less. Actually, all Americans must stand up to this current wave of xenophobia.</span></span></div><br />
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<div style="line-height: 100%; margin-bottom: 0.19in; margin-top: 0.19in;"></div><div style="line-height: 100%; margin-bottom: 0.19in; margin-top: 0.19in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><b>WORKS CENSORED OR BANNED BY THE TUCSON SCHOOL DISTRICT PER SB 2281</b></span></span></div><div style="line-height: 100%; margin-bottom: 0.19in; margin-top: 0.19in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><b>American Government/Social Justice/<a href="http://americanindiansinchildrensliterature.blogspot.com/2012/01/mexican-american-studies-department.html" target="_blank">Education</a> </b></span></span> </div><ul><li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Rethinking Columbus: The Next 500 Years</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1998) by B. Bigelow and B. Peterson </span></span> </div></li>
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<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>The Anaya Reader </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(1995) by R. Anaya </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>The American Vision</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (2008) by J. Appleby et el. </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Rethinking Columbus: The Next 500 Years</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1998) by B. Bigelow and B. Peterson </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Drink Cultura: Chicanismo </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(1992) by J. A. Burciaga </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Message to Aztlán: Selected Writings </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(1997) by R. Gonzales </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>De Colores Means All of Us: Latina Views Multi-Colored Century </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(1998) by E. S. Martínez </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>500 Años Del Pueblo Chicano/500 Years of Chicano History in Pictures </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(1990) by E. S. Martínez </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Codex Tamuanchan: On Becoming Human</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1998) by R. Rodríguez </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>The X in La Raza II</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1996) by R. Rodríguez </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Dictionary of Latino Civil Rights History </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(2006) by F. A. Rosales </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0.19in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>A People's History of the United States: 1492 to Present </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(2003) by H. Zinn</span></span></div></li>
</ul><div style="line-height: 100%; margin-bottom: 0.19in; margin-top: 0.19in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><b>English/Latino Literature </b></span></span> </div><ul><li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Ten Little Indians</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (2004) by S. Alexie </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i><span style="background: none repeat scroll 0% 0% rgb(255, 255, 0);">The Fire Next Time </span></i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><span style="background: none repeat scroll 0% 0% rgb(255, 255, 0);">(1990) by J. Baldwin </span></span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Loverboys </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(2008) by A. Castillo </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Women Hollering Creek</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1992) by S. Cisneros </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><span lang="es-MX"><i>Mexican White Boy </i></span></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><span lang="es-MX">(2008) by M. de la Pena</span></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><span lang="es-CO"> </span></span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Drown</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1997) by J. Díaz </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Woodcuts of Women </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(2000) by D. Gilb </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>At the Afro-Asian Conference in Algeria</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1965) by E. Guevara </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Color Lines: "Does Anti-War Have to Be Anti-Racist Too?" </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(2003) by E. Martínez </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Culture Clash: Life, Death and Revolutionary Comedy </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(1998) by R. Montoya </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>et al.</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Let Their Spirits Dance</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (2003) by S. Pope Duarte </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Two Badges: The Lives of Mona Ruiz </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(1997) by M. Ruiz </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i><span style="background: none repeat scroll 0% 0% rgb(255, 255, 0);">The Tempest</span></i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><span style="background: none repeat scroll 0% 0% rgb(255, 255, 0);"> (1994) by W. Shakespeare </span></span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>A Different Mirror: A History of Multicultural America</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1993) by R. Takaki </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>The Devil's Highway</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (2004) by L. A. Urrea </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Puro Teatro: A Latino Anthology</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1999) by A. Sandoval-Sanchez & N. Saporta Sternbach </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Twelve Impossible Things before Breakfast: Stories</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1997) by J. Yolen </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Voices of a People's History of the United States</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (2004) by H. Zinn</span></span></div></li>
</ul><ul><li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Live from Death Row</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1996) by J. Abu-Jamal </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>The Lone Ranger and Tonto Fist Fight in Heaven</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1994) by S. Alexie </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Zorro</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (2005) by I. Allende </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Borderlands La Frontera: The New Mestiza</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1999) by G. Anzaldua </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>A Place to Stand</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (2002), by J. S. Baca </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>C-Train and Thirteen Mexicans</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (2002), by J. S. Baca </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Healing Earthquakes: Poems</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (2001) by J. S. Baca </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Immigrants in Our Own Land and Selected Early Poems</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1990) by J. S. Baca </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Black Mesa Poems </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(1989) by J. S. Baca </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Martin & Mediations on the South Valley </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(1987) by J. S. Baca </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>The Manufactured Crisis: Myths, Fraud, and the Attack on America's Public Schools</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1995) by D. C. Berliner and B. J. Biddle </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Drink Cultura: Chicanismo</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1992) by J. A Burciaga </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Red Hot Salsa: Bilingual Poems on Being Young and Latino in the United States </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(2005) by L. Carlson & O. Hijuielos </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Cool Salsa: Bilingual Poems on Growing up Latino in the United States</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1995) by L. Carlson & O. Hijuelos </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>So Far From God</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1993) by A. Castillo </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Address to the Commonwealth Club of California</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1985) by C. E. Chávez </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Women Hollering Creek</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1992) by S. Cisneros </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>House on Mango Street</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1991), by S. Cisneros </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Drown</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1997) by J. Díaz </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Suffer Smoke</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (2001) by E. Diaz Bjorkquist </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Zapata's Discipline: Essays </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(1998) by M. Espada </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Like Water for Chocolate </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(1995) by L. Esquievel </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>When Living was a Labor Camp </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(2000) by D. García </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>La Llorona: Our Lady of Deformities</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (2000), by R. Garcia </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Cantos Al Sexto Sol: An Anthology of Aztlanahuac Writing </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(2003) by C. García-Camarilo </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>et al.</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>The Magic of Blood</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1994) by D. Gilb </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Message to Aztlan: Selected Writings</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (2001) by Rodolfo "Corky" Gonzales </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Saving Our Schools: The Case for Public Education, Saying No to "No Child Left Behind" </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(2004) by Goodman </span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>et al.</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Feminism is for Everybody</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (2000) by b hooks </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>The Circuit: Stories from the Life of a Migrant Child</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1999) by F. Jiménez </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Savage Inequalities: Children in America's Schools</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1991) by J. Kozol </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Zigzagger</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (2003) by M. Muñoz </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Infinite Divisions: An Anthology of Chicana Literature</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1993) by T. D. Rebolledo & E. S. Rivero </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>...y no se lo trago la tierra/And the Earth Did Not Devour Him</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1995) by T. Rivera </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Always Running - La Vida Loca: Gang Days in L.A. </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">(2005) by L. Rodriguez </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Justice: A Question of Race</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1997) by R. Rodríguez </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>The X in La Raza II</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1996) by R. Rodríguez </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Crisis in American Institutions</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (2006) by S. H. Skolnick & E. Currie </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Los Tucsonenses: The Mexican Community in Tucson, 1854-1941</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1986) by T. Sheridan </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Curandera</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1993) by Carmen Tafolla </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Mexican American Literature</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1990) by C. M. Tatum </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>New Chicana/Chicano Writing</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1993) by C. M. Tatum </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i><span style="background: none repeat scroll 0% 0% rgb(255, 255, 0);">Civil Disobedience </span></i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"><span style="background: none repeat scroll 0% 0% rgb(255, 255, 0);">(1993) by H. D. Thoreau </span></span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>By the Lake of Sleeping Children</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1996) by L. A. Urrea </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Nobody's Son: Notes from an American Life</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (2002) by L. A. Urrea </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Zoot Suit and Other Plays</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1992) by L. Valdez </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Ocean Power: Poems from the Desert</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> (1995) by O. Zepeda</span></span></div></li>
</ul><div style="line-height: 100%; margin-bottom: 0.19in; margin-top: 0.19in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><b>UPDATE, Monday, January 16, 2012</b></span></span></div><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0.19in; text-indent: 0.5in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Bless Me Ultima</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> by Rudolfo Anaya </span></span> </div><ul><li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Yo Soy Joaquin/I Am Joaquin </i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;">by Rodolfo Gonzales </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>Into the Beautiful North</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> by Luis Alberto Urrea </span></span> </div></li>
<li><div style="line-height: 100%; margin-bottom: 0in; margin-top: 0in;"><span style="font-family: Cambria,serif;"><span style="font-size: small;"><i>The Devil's Highway</i></span></span><span style="font-family: Cambria,serif;"><span style="font-size: small;"> by Luis Alberto Urrea </span></span> </div></li>
</ul><br />
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</div></div>Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-89882240236097109572012-02-25T01:31:00.000-07:002012-02-25T01:31:46.970-07:00El Paso Writers Update, Sat, Feb. 25, 2012<meta name="title" content="El Paso Writers Update, Sat, Feb. 25, 2012" /> <meta name="description" content="News on Dagoberto Gilb, John Rechy, Matt Mendez, Ruben Salazar, Miguel Juarez, and more" /> <link rel="image_src" href="http://www.plumafronteriza.blogspot.com" /><br />
<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeimrc3kJIksWDPq_YzP_ljdcH4i7m0xVdNOY9CoY5vam6uwisJVZ08JJcfu9Ku1b3UX8-tnBSoTf-vyGBSXjMyw5hkbXKrmnh5AN47wmXcg_tSYTwiX3d_OEpQniRwT0efM9w/s1600/city+of+night.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br />
</a></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b><span style="font-size: x-large;">El Paso Writers Update, Sat, Feb. 25, 2012</span></b> </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><a name="fb_share" type="button_count" href="http://www.facebook.com/sharer.php">Share</a><script src="http://static.ak.fbcdn.net/connect.php/js/FB.Share" type="text/javascript"></script><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>Barnet Lee Rosset</b> </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">There was a lot of coverage of the death of Barnet Lee "Barney" Rosset, Jr. the founder of Grove Press. Grove Press of course has published many Chicano(a) authors throught the years, but most notable for publishing John Rechy's City of Night. See <a href="http://www.thedailybeast.com/newsweek/2008/12/05/the-most-dangerous-man-in-publishing.html">The Most Dangerous Man in Publishing</a>.</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeimrc3kJIksWDPq_YzP_ljdcH4i7m0xVdNOY9CoY5vam6uwisJVZ08JJcfu9Ku1b3UX8-tnBSoTf-vyGBSXjMyw5hkbXKrmnh5AN47wmXcg_tSYTwiX3d_OEpQniRwT0efM9w/s1600/city+of+night.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeimrc3kJIksWDPq_YzP_ljdcH4i7m0xVdNOY9CoY5vam6uwisJVZ08JJcfu9Ku1b3UX8-tnBSoTf-vyGBSXjMyw5hkbXKrmnh5AN47wmXcg_tSYTwiX3d_OEpQniRwT0efM9w/s320/city+of+night.jpg" width="202" /></a></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">On Rechy, there is a small reference to City of Night in American Songwriter, <a href="http://www.americansongwriter.com/2012/02/the-doors-l-a-woman/">The Doors, “L.A. Woman” .</a></span></div><div style="font-family: Arial,Helvetica,sans-serif;"> </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyHIltjmsQ9QAlFGBy0RY2_MEdf7dUkoqYZjqI_yh2urFk1t564xjIkLFs-T3N0qSQLchxOOj8UY2D4exbIQR2jyDbCEXY4RKml1AWt1CMLmFwOMlQAA6sYEQwzimR0Ky2Pm1n/s1600/Ruben+Salazar.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyHIltjmsQ9QAlFGBy0RY2_MEdf7dUkoqYZjqI_yh2urFk1t564xjIkLFs-T3N0qSQLchxOOj8UY2D4exbIQR2jyDbCEXY4RKml1AWt1CMLmFwOMlQAA6sYEQwzimR0Ky2Pm1n/s1600/Ruben+Salazar.jpg" /></a></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>Ruben Salazar</b> </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">A nice remembrance of Ruben Salazar on egpnews.com: </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">"Pioneering Latino journalist Ruben Salazar died at the hands of Los Angeles Sheriff’s as they broke up the August 29, 1970 Chicano Moratorium against the Vietnam War. Today, his story is an inspiration to the Latino community, and to all those seeking social justice. That’s why we should celebrate his birthday, and not just remember his death." <a href="http://egpnews.com/2012/02/remembering-ruben-salazar%E2%80%99s-life-not-just-his-death/">READ MORE.</a></span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVw_-Ezz_gNcSPzxEBgNj4YJ7K3-nmRF7MfKPQWO7Z0gZHG1d9yn-CVDPZ_443KFZhFCCynY6uLOp2zashvFCErIMp_D-3YxTGF_5-fhEQmTLT2TdnKmB127Ka87jF8xDFDnBt/s1600/Aristotle+and+Dante.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVw_-Ezz_gNcSPzxEBgNj4YJ7K3-nmRF7MfKPQWO7Z0gZHG1d9yn-CVDPZ_443KFZhFCCynY6uLOp2zashvFCErIMp_D-3YxTGF_5-fhEQmTLT2TdnKmB127Ka87jF8xDFDnBt/s320/Aristotle+and+Dante.jpg" width="212" /></a></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">Benjamin Alire Saenz</span></b></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"> </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Coming out this week: the young adult novel <em><a href="http://www.amazon.com/Aristotle-Dante-Discover-Secrets-Universe/dp/1442408928">Aristotle and Dante Discover the Secrets of Universe</a> </em>by <strong>Benjamin Alire Sáenz</strong>, about the friendship between two teenage boys.</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPVT5db8mbud7Ra3v4bPC9WRyjrNswVvBH6HJDGGV_OqAHXVMDne4xN0oC4R9pMATYmNF5dhae0iIcYqQzy37dgabao4pbcSjVVY4v0OayUD4fOAdPDdJiujbgRglOu8lQ-p8J/s1600/Dagoberto+Gilb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPVT5db8mbud7Ra3v4bPC9WRyjrNswVvBH6HJDGGV_OqAHXVMDne4xN0oC4R9pMATYmNF5dhae0iIcYqQzy37dgabao4pbcSjVVY4v0OayUD4fOAdPDdJiujbgRglOu8lQ-p8J/s1600/Dagoberto+Gilb.jpg" /></a></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>Dagoberto Gilb</b> </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Dagoberto Gilb is mentioned in this interesting article by Krys Lee: Should We Still Be Using The Term 'Ethnic Literature'?: "Writers such as Susan Choi retreat from the label "ethnic" for the very reason that Le's story suggests: A term originally intended to empower those traditionally marginalized can be used to dismiss minority writers. The range of books being published today are remarkable, and writers of color are coming out of the best MFA programs, earning rave critical reviews, and most notably, writing about such diverse social and political backgrounds that makes it difficult to lump them into one category." (Huttington Post). <a href="http://www.huffingtonpost.com/krys-lee/should-we-still-be-using-_b_1291861.html">Read more</a>.</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Gilb will read at DePaul University. The event takes place February 29 at 6 p.m. in Program Room 115 of the John T. Richardson Library located just inside the 2350 North Kenmore entrance from Kelly Hall. <a href="http://news.library.depaul.edu/news/post/2012/02/Author-Event-Dagoberto-Gilb-2.aspx">More info.</a></span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.msmc.la.edu/student-websites/la-literature/acosta-revolt-cockroach/images/oscar_s_acosta.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.msmc.la.edu/student-websites/la-literature/acosta-revolt-cockroach/images/oscar_s_acosta.jpg" /></a></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>Oscar "Zeta" Acosta </b></span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Check out<span> <a href="http://www.nbcmiami.com/blogs/niteside/NiteTalk--Cog-Nomens-Buffalo-Brown-Gives-Us-the-Lowdown-139831863.html">NiteTalk: Cog Nomen's Buffalo Brown Gives Us the Lowdown</a> for some lowdown on Oscar Zeta Acosta. </span> "...one of God's own prototypes. A high-powered mutant of some kind never even considered for mass production. Too weird to live, and too rare to die." That is Hunter S.Thompson's quote. Check out this GQ UK interview: <a href="http://www.gq-magazine.co.uk/entertainment/articles/2012-02/20/hunter-thompson-rolling-stone-paul-scanlon-interview">Gonzo management</a>.</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXdroJC_RWJmLoKIJd5pe-GvVBCdjqQFL-l6b-dwG16U-qO9J_RFncJblrxz6QCmCWUJ25aMzZ611SkFnWbca4EA5Ba230Fc997FJYvdUCkOnbYSMbgy1Z3Pou4oRk4WwHOUAZ/s1600/Los+Lagartos+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXdroJC_RWJmLoKIJd5pe-GvVBCdjqQFL-l6b-dwG16U-qO9J_RFncJblrxz6QCmCWUJ25aMzZ611SkFnWbca4EA5Ba230Fc997FJYvdUCkOnbYSMbgy1Z3Pou4oRk4WwHOUAZ/s1600/Los+Lagartos+3.jpg" /></a></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>Miguel Juarez</b> </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Miguel Juarez is interviewed about Luis Jimenez' "Los Lagartos" sculpture and the victory the El Paso community realized in getting the city of keep the sculpture center in San Jacinto Plaza. Check out: <a href="http://www.kvia.com/news/30478530/detail.html">San Jacinto Concept Plans Finalized, Foster Out Of Project</a>.</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://latinorebels.com/wp-content/uploads/2012/02/216857_1575061510895_1666297726_1087071_3573281_n.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="297" src="http://latinorebels.com/wp-content/uploads/2012/02/216857_1575061510895_1666297726_1087071_3573281_n.jpeg" width="320" /></a></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>Matt Mendez</b> </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">On Latino Rebels, check out Matt Mendez article <a href="http://latinorebels.com/2012/02/14/marjorie-ann-mendez-is-coming-to-arizona-a-guest-post-by-matt-mendez-librotraficante/">Marjorie Ann Mendez is Coming to Arizona: A Guest Post by Matt Mendez #Librotraficante.</a></span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">"I find it hard to believe that either Huppenthal or Horne actually believe an armed rebellion is marching their way. Instead what Huppenthal and Horne really fear is democratic change. Tom Horne, now Arizona’s attorney general, has been a hardliner against immigrants and immigration for years, accusing “Illegals” of voter fraud and accusing the Obama administration of pursuing the “illegal” vote when the justice department challenged Arizona’s voter ID law. <em>“I think the motive is that the more illegals that vote, the better the Obama administration thinks it will do.”</em> Huppenthal and Horne are not working to stave off revolution but cynically fomenting a culture of fear in Arizona, fear of immigrants and, as Sherman Alexie accurately points out, of an educated underclass in the hopes of keeping their political power." <a href="http://latinorebels.com/2012/02/14/marjorie-ann-mendez-is-coming-to-arizona-a-guest-post-by-matt-mendez-librotraficante/">Read More. </a></span></div><div style="font-family: Arial,Helvetica,sans-serif;"> </div><div style="font-family: Arial,Helvetica,sans-serif;"> </div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span class="post_label_tag"></span></span></div><h1 class="title" style="font-family: Arial,Helvetica,sans-serif;"> </h1><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>Luis J. Rodriguez</b> </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">A good update of Luis J. Rodriguez comings and goings: Check out:<a href="http://luisjrodriguez.com/blog/2012/02/updates-since-the-new-year.html" title="Updates since the New Year"> Updates since the New Year.</a></span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>Librotraficante</b> </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">There's a lot of pub on the Librotraficante tour which will include our own Dagoberto Gilb. Check out: <a href="http://blogs.houstonpress.com/hairballs/2012/02/librotraficante_caravan_arizona.php">Free the Books: Librotraficante Caravan Heads to Arizona to Create "Underground Libraries"</a></span></div><br />
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<script type="text/javascript" src="http://s7.addthis.com/js/250/addthis_widget.js#username=xa-4c089301018c383f"></script></div><!-- AddThis Button END -->Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-47705037344473723752012-02-23T10:35:00.000-07:002012-02-23T10:35:12.986-07:00Rodolfo F. Acuña: Arizona The End of the Stairway<meta name="title" content="Rodolfo F. Acuña: Arizona The End of the Stairway" /> <meta name="description" content="Abandonment of the Barrio" /> <link rel="image_src" href="http://www.plumafronteriza.blogspot.com" /><br />
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</div><div class="MsoNormal" style="text-align: left;"><span style="font-size: x-large;"><b>Arizona: The End of the Stairway</b></span></div><div class="MsoNormal" style="text-align: left;"><i><span style="font-size: large;"><b>The Abandonment of the Barrio</b></span></i></div><div class="MsoNormal" style="text-align: left;"><b>By</b></div><div class="MsoNormal" style="text-align: left;"><b>Rodolfo F. Acuña</b></div><div align="center" class="MsoNormal" style="text-align: center;"><a name="fb_share" type="button_count" href="http://www.facebook.com/sharer.php">Share</a><script src="http://static.ak.fbcdn.net/connect.php/js/FB.Share" type="text/javascript"></script><br />
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</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">Throughout the history of Mexican Americans, education has been considered the stairway to the middle-class. Education meant security and basics such as health insurance. This heaven meant better jobs and a small house or two for old age. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">As with the European immigrant, the stairway was built in stages. Those with limited education could often get union jobs. After a generation or two in factories, Mexican Americans accumulated sufficient capital to keep their children in school, and a few sent them to college. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">To build the stairway, workers and their families fought for compulsory education,<span style="mso-spacerun: yes;"> </span>they petitioned school boards, and led walkouts protesting de jure and de facto school segregation. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">Mutalistas,<span style="mso-spacerun: yes;"> </span>el Congreso Mexicanista, Alianza Hispano-Americano, La Liga Protectora Latina, League of United Latin American Citizens (LULAC), led campaigns for better schools. George I. Sánchez was a giant in advocating for this stairway.</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://blogging.la/archives/walkouts.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="194" src="http://blogging.la/archives/walkouts.JPG" width="320" /></a></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">However, it was not the 1960s that Chicano youth forced major breakthroughs. The Mexican American Youth Organization (MAYO) walkouts, the East LA School Walkouts, and small walkouts throughout the southwest and elsewhere had similar themes -- better education, more college prep classes, more Mexican American teachers, and the teaching of Mexican American Studies. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">As a result Mexican Americans went to college in greater numbers. In 1968 there were about 100 Latino PhDs – a decade later they were an identifiable mass. In the intervening years at Cal State Northridge the Latino student population exploded from about 50 in 1969 to some 11,000 today. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">Despite the gains the Latino dropout rate remains at about 60 percent; most barrio schools still offer a limited number of college prep classes.<span style="mso-spacerun: yes;"> </span>A larger portion of Latino students are being recruited and admitted from parochial, magnet and schools on the fringes of the barrio.<span style="mso-spacerun: yes;"> </span>Few males are enrolling.<span style="mso-spacerun: yes;"> </span>In some universities the ratio of Latino female/male is 65/35. <span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">Like the nation’s roads, the Mexican American stairway to the middle-class heaven has fallen into disrepair. There are potholes everywhere. Outreach and special programs have become expendable and are under attack. The excuse is the budget. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">Many Latino students could only afford college through financial assistance. However, early on financial aid was diluted by expanding the eligibility for assistance while shrinking funding. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">The straw that broke the camel’s back was the rising tuition. Without financial aid and loans, the bridge is beginning to tumble. At the California State Universities tuition will rise to $10,000 a year, which will put education out of the reach of students from barrio schools. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">Putting this in perspective, I paid about $10 a year at Los Angeles State in the late 1950s; in 1969 fees amounted to about $50 a semester. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">American corporations simply refuse to pay for the cost of social production. The baby boom generation that benefited from free education, the GI Bill, low interest housing, low gas and food prices, selfishly do not want to pay for the education of the young. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">Mexico graduates more engineering students than the United States. Among sixteen 16 First World nations, the United State ranks number 13<sup>th</sup> in affordability.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">At the beginning of the last century, Mexican workers were excluded from unions and relied on self-help organizations. This became more difficult as the nation became highly urbanized. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">The Americans consider themselves a generous people, and certain Americans are. However, this generosity does not extend to the poor. A few will give to the homeless on Christmas and feel somewhat less guilty, as long as it does not interfere with their Christmas meal. <span style="mso-spacerun: yes;"> </span>They give through organizations that qualify them for tax exemptions.</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">Historically Latinos have had a small middle-class. They are generous to family members. However, there is not a tradition of contributing to philanthropic organizations. Selected immigrant groups send money back to their communities, such as the <span class="tl"><span style="mso-bidi-font-weight: bold;">Clubes</span> Unidos <span style="mso-bidi-font-weight: bold;">Zacatecanos</span></span> that remit billions of dollars annually to Zacatecas. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">Latinos usually give through their churches. But, philanthropy is seen as foreign to most Latinos, especially Mexican Americans. They are concentrated in the working class. At the turn of this century, 25.8 percent of Mexican-born immigrants lived in poverty, over double the rate for natives. <span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">According to one report, “[c]urrently, 53 percent of Latino households make charitable contributions to charities as opposed to 72 percent of all U.S. households.” It could be argued that comparisons are not fair. Poverty plays a role, as does the tax code where the middle-class get write offs. The reason Mexicans give for not contributing more is that they are not asked. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">Let’s face it; we all owe our careers to the stairway. Without that stairway we would not have a middle-class to broker our gains in population into political and economic power. National Latino and Hispanic organizations cater to the middle class.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">Keeping the stairway somewhat operable will be the greatest challenge for Latinos. Let us not be naïve and believe that everything will return to as it was in 1970 or 80. Tuition will continue to spiral. In California, fifty percent of the professors’ salaries and operational costs are derived from student tuition. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">Surely administrators are blame for the inflation with university presidents earning in excess of $300,000 annually with perks. The bureaucracies in the university makes navigating them near impossible, and professor salaries at the top are near $100,000 annually and more.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">I will not argue that professor salaries are not justified, just that they are part of the problem. <span style="mso-spacerun: yes;"> </span>I ask myself, would most teacher unions oppose plans to begin alternative institutions that did not include teacher contracts?</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">After long deliberation I have come to the conclusion that whether teacher unions or others like it or not, we have to find our own solutions. The maintenance of the stairway should be our first priority. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">Presently Latino education is not very high on the priority list of progressives in this country. Perhaps they have seen too many movies on the Alamo. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">I am under attack for a statement that I made in the early 1990s when educational access was again being limited. I said that we would not allow ourselves to be pushed into the intellectual ovens of ignorance and lack of opportunity. Education is a basic right, and we who are active with youth know the consequences of not being able to read. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">The stairway represents the only hope for many. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">In the near future we will be making a call for Latinos and others to come to a meeting to explore the possibility of starting a non-profit university that would keep the costs under $1,000 a year. <span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">It is criminal how many for profit schools have sprung up in the past decade. Full-time students at for-profit schools paid an average of $30,900 annually in the 2007-2008 academic year. This was almost double the $15,600 average paid at public universities. The average cost of attending a private nonprofit college was $26,600.</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">If the government can allow such outlandish costs to be handed down to students then it can sanction real non-profit universities. The truth be told, universities and colleges have become as predatory as the loan sharks and Wall Street. </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">We will outline a plan which we will telecast throughout the nation in an effort to get retired teachers and professors to put together a non-profit institution. This is imperative because public education today is being privatized. Even at the California State Universities which were once called the “people’s college” there are for profit entities where students can get an alternative education – at a cost. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
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<script type="text/javascript" src="http://s7.addthis.com/js/250/addthis_widget.js#username=xa-4c089301018c383f"></script></div><!-- AddThis Button END -->Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-71136080853706180322012-02-23T09:24:00.001-07:002012-02-23T09:31:11.173-07:00En nuestro mexico febrero 23 - dejo carranza pasar los hijos de Reagan<meta name="title" content="En nuestro mexico febrero 23 - dejo carranza pasar los hijos de Reagan" /> <meta name="description" content="Qué se creían los soldados de Tejas,
Que combatir era un baile de Calquís" /> <link rel="image_src" href="http://www.plumafronteriza.blogspot.com" /><br />
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<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-large;"><b>En nuestro mexico febrero 23</b></span></div><pre style="font-family: Verdana,sans-serif;"><span style="font-size: large;"><i><span style="font-family: arial,tahoma,verdana; line-height: 20px;">dejo carranza pasar esos de alla del norte, los hijos de Reagan</span></i></span></pre><br />
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<pre><span style="font-family: arial,tahoma,verdana; font-size: 14px; line-height: 20px;"> </span></pre><pre><span style="font-family: arial,tahoma,verdana; font-size: 14px; line-height: 20px;"> </span></pre><pre><span style="font-family: arial,tahoma,verdana; font-size: 14px; line-height: 20px;">En nuestro mexico febrero 23
dejo carranza pasar americanos
diez mil soldados
seicientos hay airoplanos
buscando a villa por todo el pais
comenzaron a hechar expediciones
los airoplanos comenzaron a volar
por distintas y varias direcciones
buscando a villa
queriendolo matar
los soldados que vinieron desde texas
a pancho villa no podian encontrar
muy fatigados de 20 horas de camino
los pobres hombres se querian regresar
los de a caballo no se podian sentar
y los de a pie no podian caminar
entonces villa les pasa en su airoplano
y desde arriba les dijo good bay
comenzaron a lanzar los airoplanos
entonces villa un gran plan les formo
se vistio de soldado americano
y a sus tropas tambien las transformo
en nuestro mexico febrero 23
dejo carranza pasar americanos
diez mil soldados
seicientos hay airoplanos
buscando a villa por todo el pais</span></pre><pre style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 14px; line-height: 20px;"> </span></pre><pre><span style="font-family: Arial,Helvetica,sans-serif;">Qué se creían los soldados de Tejas,</span>
<span style="font-family: Arial,Helvetica,sans-serif;">
Que combatir era un baile de Calquís,</span>
<span style="font-family: Arial,Helvetica,sans-serif;">
Con la cara llena de vergüenza</span>
<span style="font-family: Arial,Helvetica,sans-serif;">
Se regresaron todos a su país.</span><span style="font-family: arial,tahoma,verdana; font-size: 14px; line-height: 20px;"> </span></pre><br />
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</div>Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-35788250506073467012012-02-22T00:46:00.000-07:002012-02-22T00:46:18.305-07:00Recent and Recommended Books of Note<meta name="title" content="Recent and Recommended Books of Note" /> <meta name="description" content="Mapuches, Rasquaches, and more" /> <link rel="image_src" href="http://www.plumafronteriza.blogspot.com" /><br />
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<h2 class="western"><span style="font-size: x-large;">Recent and Recommended Books of Note </span></h2><a name="fb_share" type="button_count" href="http://www.facebook.com/sharer.php">Share</a><script src="http://static.ak.fbcdn.net/connect.php/js/FB.Share" type="text/javascript"></script><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.press.uillinois.edu/books/images/9780252032301.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.press.uillinois.edu/books/images/9780252032301.jpg" /></a></div><h2 class="western"> </h2><h2 class="western" style="font-family: Arial,Helvetica,sans-serif;"><i>A Power among Them: Bessie Abramowitz Hillman and the Making of the Amalgamated Clothing Workers of America</i></h2><div style="font-family: Arial,Helvetica,sans-serif;">University of Illinois 978-0-252-03230-1 </div><div dir="LTR" id="wrapper" style="font-family: Arial,Helvetica,sans-serif;"> <div dir="LTR" id="sidebar"> <div dir="LTR" id="meta"><br />
<dl><dd style="margin-left: 0in;">Karen Pastorello </dd>
<dt> <br />
</dt>
</dl></div></div></div><div style="font-family: Arial,Helvetica,sans-serif;">The extraordinary life of labor activist, immigrant, and feminist, Bessie Abramowitz Hillman</div><div style="font-family: Arial,Helvetica,sans-serif;">Karen Pastorello's pathbreaking biography of Bessie Abramowitz Hillman places Hillman at the center of events that marked the founding of Amalgamated Clothing Workers of America (ACWA). Born in Tsarist Russia to an educated family, the teenaged Bessie Abramowitz immigrated alone to Chicago to escape an arranged marriage. </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">Empowered by her connection to the social feminist reform movement centered at Hull-House, she was one of the first to walk off the job as a button sewer in September 1910 in protest of an arbitrary reduction of wages. Within weeks, more than thirty-five thousand workers followed the lead of Abramowitz and her cohorts. A massive strike resulted, paralyzing men's clothing manufacturers in Chicago and paving the way for the organization of the men's garment industry under the United Garment Workers (UGW). </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">In 1914 Bessie Abramowitz Hillman led a breakaway group from the exclusionary UGW to reorganize as the Amalgamated Clothing Workers of America and was the first woman appointed to the general executive board of the new union. While married to Sidney Hillman (the ACWA's first president) and raising two children, she traveled throughout the rural Northeast, organizing workers in sweatshops that had relocated from unionized metropolitan areas. </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">In the 1930s she worked to bring black laundry workers into ACWA, and during World War II she established child-care centers and recreational facilities for the children of war workers. After the war, she served on numerous federal commissions on women and labor, seeking to end race and class injustice and improve the quality of life for working women. </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">The description of Hillman's career as a feminist in the labor movement indicates the prominence of women labor activists in that movement during the early and middle twentieth century. Drawing from newly discovered, official union records and valuable interviews of family members, Pastorello traces the life of a key female labor activist whose sixty-year career spanned Progressive Era social feminism and the feminism of the postwar labor movement.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6el9fg-72I1blQkGVnD9PEeEKZghwn8u-NG-Zl8XnHHb4KnUXphoq8AL1it7EL_-HMhPynMqK5sbkna7wz18IgwIu50ECBGLlmWFuZWLdrHdviea9dJ-eLorL0GvnxWkcRwsf/s1600/Demanding+Child+Care.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6el9fg-72I1blQkGVnD9PEeEKZghwn8u-NG-Zl8XnHHb4KnUXphoq8AL1it7EL_-HMhPynMqK5sbkna7wz18IgwIu50ECBGLlmWFuZWLdrHdviea9dJ-eLorL0GvnxWkcRwsf/s320/Demanding+Child+Care.JPG" width="211" /></a></div><h2 class="western" style="font-family: Arial,Helvetica,sans-serif;"><i> Demanding Child Care: Women’s Activism and the Politics of Welfare, 1940-1971</i></h2><div style="font-family: Arial,Helvetica,sans-serif;">Univ of Illinois 978-0-252-03625-5 </div><dl style="font-family: Arial,Helvetica,sans-serif;"><dd style="margin-left: 0in;">Natalie M. Fousekis </dd></dl><div style="font-family: Arial,Helvetica,sans-serif;"> A revealing study of early child care political action and advocates in California</div><div style="font-family: Arial,Helvetica,sans-serif;">During World War II, as women stepped in to fill jobs vacated by men in the armed services, the federal government established public child care centers in local communities for the first time. When the government announced plans to withdraw funding and terminate its child care services at the end of the war, women in California protested and lobbied to keep their centers open, even as these services rapidly vanished in other states. </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">Analyzing the informal networks of cross-class and cross-race reformers, policymakers, and educators, <i>Demanding Child Care: Women's Activism and the Politics of Welfare, 1940–1971</i> traces the rapidly changing alliances among these groups. During the early stages of the childcare movement, feminists, Communists, and labor activists banded together, only to have these alliances dissolve by the 1950s as the movement welcomed new leadership composed of working-class mothers and early childhood educators. In the 1960s, when federal policymakers earmarked child care funds for children of women on welfare and children described as culturally deprived, it expanded child care services available to these groups but eventually eliminated public child care for the working poor. </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">Deftly exploring the possibilities for partnership and the limitations among these key parties as well as the structural forces impeding government support for broadly distributed child care, Fousekis helps to explain the barriers to a publicly funded comprehensive child care program in the United States.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">"A gripping tale of California politics, working women's activism, and the welfare state. Fousekis introduces readers to a remarkable cast of characters: ordinary women who recognized that to support their families they needed the peace of mind that quality child care could provide; visionary educators and teachers who understood child care as part of public education, and not social assistance; and male allies in the legislature and public service who were instrumental in policymaking."--Eileen Boris, coeditor of <i>The Practice of U.S. Women's History: Narratives, Dialogues, and Intersections</i> <br />
<br />
"A delightful book of interest to students and scholars of the welfare state, second-wave feminism, social reformers, the history of education, and the anti-Communist movement. Fousekis does an exemplary job of integrating women's personal stories into the childcare movement."--Robyn Muncy, author of <i>Creating a Female Dominion in American Reform, 1890–1935</i></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><a href="" name="content_LETTER.BLOCK4"></a><b>Natalie M. Fousekis</b> is an associate professor of history and the director of the Center for Oral and Public History at California State University, </div><table border="0" cellpadding="5" cellspacing="0" style="font-family: Arial,Helvetica,sans-serif;"><colgroup><col width="256*"></col> </colgroup><tbody>
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<tr> <td width="100%"> <div class="separator" style="clear: both; text-align: center;"><a href="http://images.borders.com.au/images/bau/97808165/9780816529834/0/0/plain/rascuache-lawyer-toward-a-theory-of-ordinary-litigation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://images.borders.com.au/images/bau/97808165/9780816529834/0/0/plain/rascuache-lawyer-toward-a-theory-of-ordinary-litigation.jpg" width="201" /></a></div><div align="LEFT"><br />
</div><div align="LEFT"><span style="font-size: large;"><i><strong><span style="color: black;">Rascuache Layers:</span></strong></i></span><span id="btAsinTitle"><strong><span style="color: black;"><span style="font-size: large;"><i> </i></span></span></strong><span style="font-size: large;"><b><i>Toward a Theory of Ordinary Litigation</i></b></span></span></div><div style="margin-bottom: 0.2in; text-align: left;"> University of Arizona Press (September 1, 2011)<b> </b></div><div style="margin-bottom: 0.2in; text-align: left;"><b>ISBN-10:</b> 08<span style="font-size: small;">16529833<b> ISBN-13:</b> 978-0816529834</span></div><div align="RIGHT" style="margin-bottom: 0.2in;"> </div><div align="LEFT"><span style="color: #333333; font-size: small;">Alfredo Mirandé, a sociology professor, Stanford Law graduate, and part-time pro bono attorney, represents clients who are rascuache---a Spanish word for "poor" or even "wretched"---and on the margins of society. For Mirandé, however, rascuache means to be "down but not out," an underdog who is still holding its ground. </span><span style="font-size: small;"><em><a href="http://r20.rs6.net/tn.jsp?llr=l7xam6fab&et=1107891292642&s=494&e=0015EwLQxLWLKxbKUtB9jch87uhx8QfCRikZOnha6BnUja3GF_Jr9km0oWGuIz7yX7rZutCniKDAYQ2u-pcIbsnoalrqTkrDaKOIEFkQJpP47c15rm6QJz8oRdATx6mEg8tQ2lhpJSIyFDh8SNVIrrvwg==" target="_blank"><span style="color: blue;"><u>Rascuache Lawyer</u></span></a></em></span><span style="color: #333333; font-size: small;"> offers a unique perspective on providing legal services to poor, usually minority, folks who are often just one short step from jail. Not only a passionate argument for rascuache lawyering, it is also a thoughtful, practical attempt to apply and test critical race theory---particularly Latino critical race theory---in day-to-day legal practice.<br />
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Every chapter presents an actual case from Mirandé's experience (only the names and places have been changed). His clients have been charged with everything from carrying a concealed weapon, indecent exposure, and trespassing to attempted murder, domestic violence, and child abuse. Among them are recent Mexican immigrants, drug addicts, gang members, and the homeless. All of them are destitute, and many are victims of racial profiling. Some "pay" Mirandé with bartered services such as painting, home repairs, or mechanical work on his car. And Mirandé doesn't always win their cases. But, as he recounts, he certainly works tirelessly to pursue all legal remedies. </span></div><div align="LEFT"><span style="color: #333333; font-size: small;"><br />
Each case is presented as a letter to a fascinating (fictional) "Super Chicana" named Fermina Gabriel, who we are told is an accomplished lawyer, author, and singer. This narrative device allows the author to present his cases as if he were recounting them to a friend, drawing in the reader as a friend as well.<br />
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Bookending the individual cases, Mirandé's introductions and conclusions offer a compelling vision of progressive legal practice grounded in rascuache lawyering. </span></div><div align="LEFT"><br />
</div><div align="LEFT"><span style="font-size: small;"><strong><span style="color: #333333;">This is an important volume for anyone---practicing or teaching---involved in the legal defense of Latinas and Latinos.</span></strong></span></div></td> </tr>
</tbody></table><div class="separator" style="clear: both; text-align: center;"><a href="http://ecx.images-amazon.com/images/I/51y9ZtTmRgL._SL500_AA300_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://ecx.images-amazon.com/images/I/51y9ZtTmRgL._SL500_AA300_.jpg" /></a></div><h2 class="western" style="font-family: Arial,Helvetica,sans-serif;"><i> Becoming Mapuche: Person and Ritual in Indigenous Chile</i></h2><div style="font-family: Arial,Helvetica,sans-serif;">University of Illinois, 978-0-252-07823-1 Pub Date: 2011 </div><dl style="font-family: Arial,Helvetica,sans-serif;"><dd style="margin-left: 0in;">Magnus Course </dd>
<dt> <br />
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</dl><div style="font-family: Arial,Helvetica,sans-serif;"> A nuanced exploration of one of the largest and least understood indigenous peoples</div><div style="font-family: Arial,Helvetica,sans-serif;">Magnus Course blends convincing historical analysis with sophisticated contemporary theory in this superb ethnography of the Mapuche people of southern Chile. Based on many years of ethnographic fieldwork, <i>Becoming Mapuche</i> takes readers to the indigenous reserves where many Mapuche have been forced to live since the beginning of the twentieth century. Exploring their way of life, the book situates the Mapuche within broader anthropological debates about indigenous peoples in South America. </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">Comprising around 10 percent of the Chilean population, the Mapuche are one of the largest indigenous groups in the Americas. Despite increasing social and political marginalization, the Mapuche remain a distinct presence within Chilean society, giving rise to the burgeoning Mapuche political movement and holding on to their traditional language of Mapundungun, their religion, and their theory of self-creation.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"> In addition to accounts of the intimacies of everyday kinship and friendship, Course also offers the first complete ethnographic analyses of the major social events of contemporary rural Mapuche life--<i>eluwün</i> funerals, the ritual sport of <i>palin</i>, and the great <i>ngillatun</i> fertility ritual. The volume includes a glossary of terms in Mapudungun.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">"In <i>Becoming Mapuche,</i> Magnus Course asks a question at once anthropological and Mapuche: what does it mean to be a 'true person'? On a theoretical level, this question allows the author to skillfully traverse back and forth across the abandoned terrain between the categories of classical modernist anthropology and those of its postmodern critique. In choosing this analytical strategy, the author has produced a remarkably rich ethnography of a rural Mapuche community, one that touches on the themes of both phases of anthropological thought in a rich synthesis of themes. </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">Further, in finding this systhesis, Course has surely begun to fulfill his own hope expressed herein, that of freeing Mapuche ethnography from its sub-disciplinary isolation and showing the way to comparisons with Andean and Amazonian societies and far beyond."--Peter Gow, author of <i>An Amazonian Myth and Its History</i> <br />
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"<i>Becoming Mapuche</i> makes significant contributions to South American ethnology by providing ethnographically based explorations of Mapuche concepts. Magnus Course also greatly contributes to more general theoretical concerns in anthropology such as social personhood, theories of exchange, and kinship studies. Written in a clear style, the book is both accessible to general readers and stimulating for anthropologists."--Jonathan D. Hill, author of <i>Made-from-Bone: Trickster Myths, Music, and History from the Amazon</i> <br />
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"An insightful ethnographic account of the way the rural Mapuche person is constituted through different modes of men's sociality and how the centrifugal expansion of relations across time and space gives rise to collective social events. Course presents the stunning new political possibilities that emerge from a rural Mapuche class-based identity that challenges the ethnic perspectives held by urban Mapuche intellectuals and indigenous rights activists."--Ana Mariella Bacigalupo, author of <i>Shamans of the Foye Tree: Gender, Power, and Healing among Chilean Mapuche</i></div><div style="font-family: Arial,Helvetica,sans-serif;"><b>Magnus Course</b> is a lecturer in social anthropology at the University of Edinburgh.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://ecx.images-amazon.com/images/I/411dcRyOUnL._SL500_AA300_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://ecx.images-amazon.com/images/I/411dcRyOUnL._SL500_AA300_.jpg" /></a></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><h1 class="western" style="font-family: Arial,Helvetica,sans-serif;"></h1><h1 class="western" style="font-family: Arial,Helvetica,sans-serif;"></h1><h1 class="western" style="font-family: Arial,Helvetica,sans-serif;"></h1><h1 class="western" style="font-family: Arial,Helvetica,sans-serif;"></h1><h1 class="western" style="font-family: Arial,Helvetica,sans-serif;"><a href="" name="btAsinTitle"></a><span style="font-size: x-small;"><span style="font-size: large;"><i>I'm Neither Here nor There: Mexicans’ Quotidian Struggles with Migration and Poverty </i></span> </span></h1><h1 class="western" style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;">Paperback Duke University Press Books (June 13, 2011) <b> </b></span></h1><h1 class="western" style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;"><b>ISBN-10:</b> 0822350351 <b>ISBN-13:</b> 978-0822350354 </span> </h1><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in; margin-left: 0.05in;"><a href="" name="contributorNameTriggerB004K319G2"></a> <span style="font-size: x-small;"><a href="http://www.amazon.com/Patricia-Zavella/e/B004K319G2/ref=ntt_athr_dp_pel_1">Patricia Zavella</a> (Author) </span> </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div dir="LTR" id="outer_postBodyPS" style="font-family: Arial,Helvetica,sans-serif;"> <div dir="LTR" id="postBodyPS"> <div style="margin-bottom: 0.2in;"><i>I’m Neither Here nor There</i> explores how immigration influences the construction of family, identity, and community among Mexican Americans and migrants from Mexico. Based on long-term ethnographic research, Patricia Zavella describes how poor and working-class Mexican Americans and migrants to California’s central coast struggle for agency amid the region’s deteriorating economic conditions and the rise of racial nativism in the United States. </div><div style="margin-bottom: 0.2in;">Zavella also examines tensions within the Mexican diaspora based on differences in legal status, generation, gender, sexuality, and language. She proposes “peripheral vision” to describe the sense of displacement and instability felt by Mexican Americans and Mexicans who migrate to the United States as well as by their family members in Mexico.</div>Drawing on close interactions with Mexicans on both sides of the border, Zavella examines migrant journeys to and within the United States, gendered racialization, and exploitation at workplaces, and the challenges that migrants face in forming and maintaining families. As she demonstrates, the desires of migrants to express their identities publicly and to establish a sense of cultural memory are realized partly through Latin American and Chicano protest music, and Mexican and indigenous folks songs played by musicians and cultural activists.<br />
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<script type="text/javascript" src="http://s7.addthis.com/js/250/addthis_widget.js#username=xa-4c089301018c383f"></script></div><!-- AddThis Button END -->Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-74242593102305740192012-02-20T09:27:00.000-07:002012-02-20T09:27:50.978-07:00Lunes con Lalo: Focus Groups<meta name="title" content="Lunes con Lalo: Focus Groups" /> <meta name="description" content="Poetic Wisdom for Your Week" /> <link rel="image_src" href="http://www.plumafronteriza.blogspot.com" /><br />
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</div><div style="margin-bottom: 0in; page-break-before: always;"><span style="font-size: x-large;"><b>Lunes con Lalo</b></span></div><div style="margin-bottom: 0in; page-break-before: always;"><i><span style="font-size: large;"><b>Poetic Wisdom for Your Week</b></span></i></div><div style="margin-bottom: 0in; page-break-before: always;">by Abelardo B. Delgado <b><br />
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</div><div style="margin-bottom: 0in; page-break-before: always;"><b>Focus Groups</b></div><div style="margin-bottom: 0in;"><br />
</div><div style="margin-bottom: 0in;">Hocus pocus,</div><div style="margin-bottom: 0in;">out of focus</div><div style="margin-bottom: 0in;">focus groups,</div><div style="margin-bottom: 0in;">a few months</div><div style="margin-bottom: 0in;">end up dictating </div><div style="margin-bottom: 0in;">what must be done,</div><div style="margin-bottom: 0in;">outlining health needs</div><div style="margin-bottom: 0in;">shared by an entire community.</div><div style="margin-bottom: 0in;">The vocal ones</div><div style="margin-bottom: 0in;"> even dare</div><div style="margin-bottom: 0in;">prioritize and program</div><div style="margin-bottom: 0in;">for those needs.</div><div style="margin-bottom: 0in;">Those who best articulate</div><div style="margin-bottom: 0in;">concerns and issues</div><div style="margin-bottom: 0in;">determine the future</div><div style="margin-bottom: 0in;">of the many who won't speak out.</div><div style="margin-bottom: 0in;">Humans are consistently </div><div style="margin-bottom: 0in;">misrepresented, politically,</div><div style="margin-bottom: 0in;">ethnic and racial wise</div><div style="margin-bottom: 0in;">and geographically as well.</div><div style="margin-bottom: 0in;">Some go to heaven, others to hell.</div><div style="margin-bottom: 0in;"><!-- AddThis Button BEGIN --><br />
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</div><div style="margin-bottom: 0in;">from La Llorona: 43 Loronas of Abelardo</div><div style="margin-bottom: 0in;">(c) Abelardo B. Delgado</div><div style="margin-bottom: 0in;">Published with permision of the Delgado family. </div></div>Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-67327589130143605582012-02-20T09:12:00.000-07:002012-02-20T09:12:49.547-07:00Rodolfo F. Acuña: Why Not Enjoy Yourself? Let the Younger People Take Over You Have Paid Your Dues<meta name="title" content="Why Not Enjoy Yourself?" /> <meta name="description" content=" Let the Younger People Take Over You Have Paid Your Dues" /> <link rel="image_src" href="http://www.plumafronteriza.blogspot.com" /><br />
<div dir="ltr" style="text-align: left;" trbidi="on"><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: x-large;"><b>Why Not Enjoy Yourself?</b></span></div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif; text-align: left;"><i><span style="font-size: large;"><b>Let the Younger People Take Over</b></span></i></div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif; text-align: left;"><i><span style="font-size: large;"><b>You Have Paid Your Dues</b></span></i></div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif; text-align: left;">By</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif; text-align: left;">Rodolfo F. Acuña</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><a name="fb_share" type="button_count" href="http://www.facebook.com/sharer.php">Share</a><script src="http://static.ak.fbcdn.net/connect.php/js/FB.Share" type="text/javascript"></script><br />
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</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">Chicana/o Studies at Cal State Northridge will be taking close to sixty Latinos and Asians students to Tucson later this month. It will be our third trip as a group within a year. Friends keep saying, “That is a big responsibility; you have paid your dues; why don’t you slow down and enjoy life?” <span style="mso-spacerun: yes;"> </span>In other words, take it easy, and let the young people clean up our mess.</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">Some make ridiculous statements such as that you must enjoy the pressure. What is probably meant to be a compliment is an insult. Only someone who is nuts enjoys constant stress and sleepless nights. </div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">Frankly, I would be delighted if others would step up. No one enjoys constantly working as if there were no more tomorrows.<span style="mso-spacerun: yes;"> </span>No one enjoys sandwiching in writing and teaching, and never having enough time to edit and reflect – the tension of being constantly on stage gets to you. </div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">I often wish that I would have become a monk. But, as a member of a community – a husband, father, grandfather, and teacher – I have no choice but to fight.<span style="mso-spacerun: yes;"> </span>The bottom line is that I care about the kind of world we leave behind.</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">Many of my Latino friends tell me not to worry; the Latino population is booming, and we are the future. Today Latinos are just over 15 percent of the population – over 50 million. If we were a nation, we would be the second largest Spanish-speaking country in the world. By 2050 Latinos will be almost a third of the U.S. But will it really make a difference?</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">Knowing history I realize that what we do today will affect 2050. Population is not a silver bullet, and this growth is precisely what worries me. </div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">In the 1970s I had a conversation with the late Willie Velásquez, the founder of the Southwest Voter Registration Project, who was at the time leading a drive to register more Mexican Americans. I asked Willie if he were not being overly optimistic about the importance of registering and voting Mexican Americans. We could register more Latinos, but what was being done about the quality of representation once we turned out the voters? </div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">Willie responded that everything went in cycles, and we first had to register our people. Over the years I have thought about this conversation. Looking at the outcome, I think Willie is probably turning over in his grave when he sees the quality of our political representatives, especially the trend of some Latinos running as Republicans. <span style="mso-spacerun: yes;"> </span>Who would have thought in the 1970s that Mexicans and other Spanish-speaking people would today be Hispanics? </div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">As a group Latino politicos have not been especially progressive. Indeed, they have been less than courageous when it comes to police brutality and capital punishment. Latino politicos have been invisible during the escalation of tuition that is killing access to higher education for most.<span style="mso-spacerun: yes;"> </span>Few have spoken out on the Middle Eastern wars thus empowering President Barack Obama as he wags the dog’s tail.</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">In 2050, the Latino population will reach 30 percent. Surely, the gene pool will get darker; today in Los Angeles the probability of a first grade male marrying or partnering up with a Latina is about fifty percent. The only factors slowing down this process are where people live, go to school and economic class.</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">Has the political awareness of Latinos and Mexican Americans grown proportionately?<span style="mso-spacerun: yes;"> </span>I don’t think so! Political consciousness is like vocabulary -- it is learned and acquired, and it is not cultivated through the use of third grade clichés such as the Decade of the Hispanic or Chicana/o power. It is learned through political education and awareness.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">The growth or development of political consciousness depends on individual and group experiences. The media has a lot to do with this socialization process.</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">However, when we look at the content of most programs Latinos have access to, it is disastrous.<span style="mso-spacerun: yes;"> </span>Univision, the largest of the Spanish language networks, is run by conservative investors, and its content is heavily influenced by right wing Cuban Americans in Miami. <span style="mso-spacerun: yes;"> </span>Consequent to this, the most informative pundit is Jorge Ramos, a Mexican transplant who is progressive on immigration but to right of center on Latin American and domestic issues. This begets programs such as <i style="mso-bidi-font-style: normal;">Don</i> Francisco that features contests such as Señorita Colita (Miss “Little Tail”).</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">The Democratic Party and the left have done very little to fill the vacuum in the Latino’s political education, although it is becoming its largest bloc of voters. It takes Latinos for granted because they have no other place to go, given the racism of the Republican Party.</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">Truth be told, the left media like poverty has fed off the Latino’s misery while reaping the benefits of their votes. It sheds tears over racism and inequality, theorizing about it and doing little more. </div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">Aside from “Democracy Now,” there is not a prominent Latino writer nurtured by this gaggle of left media that includes The Nation, Mother Jones as well as others. The tragedy is that, if and when the Latino community votes Republican, there will be expressions of shock and blaming the victim.</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">What I have learned during my years of struggle is that I don’t have enough money, or <span style="mso-spacerun: yes;"> </span>prestige to change the group. I probably would have even less influence if I were at a a pampered professor at a prominent university, so I make changes through teaching working class students and by example. </div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">At the moment I am concentrating on Mexican American and Central American students, a sector that includes most Latinos. According to the 2010 Census, Mexican Americans are officially 63 percent, and could be as high as 70 percent of the total Latino population. The Mexican origin population will grow the fastest during the next forty years due to Mexico’s proximity to the United States and the median age of Mexican women.</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">U.S. births are disproportionately Latino, accounting for one-in-four of the nation’s newborns in 2008. The growth is driven by Mexican Americans women who account anywhere from about 20 percent to 50 percent more children than non-Mexican Latinas.</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">The median age of Mexican origin women in the U.S. is 25, compared with 30 for non-Mexican-origin Latinas, 32 for blacks, 35 for Asians and 41 for whites. The typical Mexican American woman, ages 40 to 44, gives birth to 2.5 children versus 1.9 non-Mexican-Latinas.</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">Demographers predict that most future growth in the U.S. among Latinas will come from women with documents.<span style="mso-spacerun: yes;"> </span>Most of the growth within the Mexican American community will be poorer, less educated and concentrated in the working class sector. </div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">The reality is simply that it is becoming more hazardous and costly for working class Latin Americans to migrate to the U.S. through the Mexican corridor that has been closed to them by drug gangs spawned by U.S. policy that has channeled the drug trade through Mexico.</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">In this scenario, the Mexican American middle-class plays an exceedingly important role. Necessarily they have to advocate for the civil rights of those not enjoying their privileges. However, the increase in tuition is threatening the stairway we built in the late 1960s for more Mexican Americans and Latinos going to college. There are also class divisions that occur among people of all color.</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">The only factors slowing this down assimilation are food and group consciousness, which lasts only so long. </div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">Arizona as in the case of California Proposition 187 (1994) reminds the group that racism still exists. It defines who the bad guys are. However, this political education has to go much further. </div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">In the past couple of years I have been writing pieces on Arizona to educate a small circle on the importance of that struggle. <span style="mso-spacerun: yes;"> </span>Good education is often a case of redundancy. It is the practice of constantly deducing and then applying lessons – much like the conjugation for verbs in Latin.</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;">That is why we are taking students to Arizona. We want to educate them, and the best way is for them to experience it. In the last two trips, we have also been taking Asian students with us because we live in a multi-racial society, and we have to learn to work together. We share humanity. </div><div class="MsoNormal" style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><span style="color: black; font-family: Arial,Helvetica,sans-serif;">Many of the students who have gone on the trips had never been out of California, some had never been out of LA.<span style="mso-spacerun: yes;"> </span>This effort will pay off because they in turn will use a more sophisticated political vocabulary, which they will teach their family members and eventually their children.<span style="mso-spacerun: yes;"> </span></span><br />
<br />
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<span style="color: black; font-family: Arial,Helvetica,sans-serif;"><span>(c) </span></span>Rodolfo F. Acuña<span style="color: black; font-family: Arial,Helvetica,sans-serif;"><span> 2012 </span></span></div><!-- AddThis Button BEGIN --><br />
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<script type="text/javascript" src="http://s7.addthis.com/js/250/addthis_widget.js#username=xa-4c089301018c383f"></script></div><!-- AddThis Button END -->Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-82740009485930642102012-02-12T23:45:00.000-07:002012-02-12T23:45:51.438-07:00Recent Releases<meta name="title" content="Recent Releases" /> <meta name="description" content="Billy the Kid, The Aztecs, and more" /> <link rel="image_src" href="http://www.plumafronteriza.blogspot.com" /><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://ecx.images-amazon.com/images/I/414hCq3YAUL._SL500_AA300_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://ecx.images-amazon.com/images/I/414hCq3YAUL._SL500_AA300_.jpg" /></a></div><div style="margin-bottom: 0in;"><br />
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</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><span style="font-size: large;"><b><i>Billy the Kid and Other Plays </i></b></span></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">(Chicana and Chicano Visions of the Americas series) [Paperback] </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">University of Oklahoma Press (December 10, 2011) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Language: English ISBN-10: 0806142251 ISBN-13: 978-0806142258 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Rudolfo Anaya (Author), Cecilia J. Aragon (Afterword), Robert Con Davis-Undiano (Afterword) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">While award-winning author Rudolfo Anaya is known primarily as a novelist, his genius is also evident in dramatic works performed regularly in his native New Mexico and throughout the world. Billy the Kid and Other Plays collects seven of these works and offers them together for the first time.</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Like his novels, many of Anaya’s plays are built from the folklore of the Southwest. This volume opens with The Season of La Llorona, in which Anaya fuses the Mexican legend of the dreaded “crying woman” with that of La Malinche, mistress and adviser to Hernán Cortés. Southwestern lore also shapes the title play, which provides a Mexican American perspective on the Kid—or Bilito, as he is known in</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">New Mexico—along with keen insight into the slipperiness of history. The Farolitos of Christmas and Matachines uncover both the sweet and the sinister in stories behind seasonal New Mexican rituals.</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; font-family: Arial,Helvetica,sans-serif; text-align: center;"><a href="http://ecx.images-amazon.com/images/I/51CUimxWx4L._SL500_AA300_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://ecx.images-amazon.com/images/I/51CUimxWx4L._SL500_AA300_.jpg" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
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</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="http://www.blogger.com/post-create.g?blogID=14543969" name="btAsinTitle1"></a><span style="font-size: large;"><i><b>Oscar Castillo Papers and Photograph Collection</b></i></span></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">[Paperback] </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">UCLA Chicano Studies Research Center Press (December 2, 2011) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Language: English ISBN-10: 0895511401 ISBN-13: 978-0895511409 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Colin Gunckel (Editor) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Since the late 1960s, photographer Oscar Castillo has documented the Chicano community in Los Angeles and South Texas, from major political events to cultural practices to the work of muralists and painters. His photographs explore major themes (social movement, cultural heritage, urban environment, and everyday barrio life) and approaches (photojournalism, portraiture, art photography).<br />
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The Oscar Castillo Photograph Collection includes over 3,000 images by the photographer that are available through an online digital archive at UCLA. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
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Colin Gunckel brings together essays by scholars and artists who consider the social, political, historical, and aesthetic dimensions of Castillo's work. An illustrated section features selections from the digital archive. The book includes illustrations from the digital archive, a detailed finding aid for the Oscar Castillo Papers, a small collection of correspondence and other documents housed at the UCLA Chicano Studies Research Center, and a collection-level description of the digital archive. A selected bibliography completes the volume.</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
This book is made possible in part with support from The Getty Foundation.</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; font-family: Arial,Helvetica,sans-serif; text-align: center;"><a href="http://ecx.images-amazon.com/images/I/51KETJ2-7yL._SL500_AA300_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://ecx.images-amazon.com/images/I/51KETJ2-7yL._SL500_AA300_.jpg" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="http://www.blogger.com/post-create.g?blogID=14543969" name="btAsinTitle2"></a><span style="font-size: large;"><i><b>Trans-Americanity: Subaltern Modernities, Global Coloniality, and the Cultures of Greater Mexico (New Americanists) </b></i></span></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">[Paperback] </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Duke University Press Books (December 21, 2011) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">ISBN-10: 0822350831 ISBN-13: 978-0822350835 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">José David Saldívar (Author) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">A founder of U.S.-Mexico border studies, José David Saldívar is a leading figure in efforts to expand the scope of American studies. In Trans-Americanity, he advances that critical project by arguing for a transnational, antinational, and "outernational" paradigm for American studies. Saldívar urges Americanists to adopt a world-system scale of analysis.<br />
<br />
"Americanity as a Concept," an essay by the Peruvian sociologist Aníbal Quijano and Immanuel Wallerstein, the architect of world-systems analysis, serves as a theoretical touchstone for Trans-Americanity. In conversation not only with Quijano and Wallerstein, but also with the theorists Gloria Anzaldúa, John Beverley, Ranajit Guha, Walter D. Mignolo, and Gayatri Chakravorty Spivak, Saldívar explores questions of the subaltern and the coloniality of power, emphasizing their location within postcolonial studies.<br />
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Analyzing the work of José Martí, Sandra Cisneros, Toni Morrison, Arundhati Roy, and many other writers, he addresses concerns such as the "unspeakable" in subalternized African American, U.S. Latino and Latina, Cuban, and South Asian literature; the rhetorical form of postcolonial narratives; and constructions of subalternized identities. In Trans-Americanity, Saldívar demonstrates and makes the case for Americanist critique based on a globalized study of the Américas. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; font-family: Arial,Helvetica,sans-serif; text-align: center;"><a href="http://img2.imagesbn.com/images/133950000/133956535.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://img2.imagesbn.com/images/133950000/133956535.JPG" width="211" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="http://www.blogger.com/post-create.g?blogID=14543969" name="btAsinTitle3"></a>Gangland: The Rise of the Mexican Drug Cartels from El Paso to Vancouver </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">[Paperback] Paperback: 288 pagesWiley; 1 edition (December 13, 2011)<br />
ISBN-10: 1118008057 ISBN-13: 978-1118008058</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="http://www.blogger.com/post-create.g?blogID=14543969" name="contributorNameTriggerB001IU0FDI"></a> Jerry Langton (Author) </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div dir="LTR" id="Section1" style="font-family: Arial,Helvetica,sans-serif;"><div style="margin-bottom: 0in;">The members of Mexico's drug cartels are among the criminal underworld's most ambitious and ruthless entrepreneurs. Supplanting the once dominant Colombian cartels, the Mexican drug cartels are now the major distributor of heroin and cocaine to the U.S. and Canada. Not only have their drugs crossed north of the border, so have the cartels (in 2009, 230 active Mexican drug cartels have been reported in U.S. cities).<br />
<br />
In Gangland, bestselling author Jerry Langton details their frightening stranglehold on the economy and daily life of Mexico today—and what it portends for the future of Mexico and its neighbours.</div><div style="margin-bottom: 0in;"><br />
<br />
Offering a firsthand look from members of law enforcement, politicians, journalists, and people involved in the drug trade in Mexico and Canada, Gangland sheds a harsh light on the multibillion dollar industry that is the drug trade, the territorial wars, and the on-the-street reality for the United States, with the importation of narco-terrorists. With the unstinting realism and keen analysis that have made him an internationally respected journalist, Langton offers the bleak prospects of what a collapsed government in Mexico might lead to—a new Mexican warlord state not unlike Somalia.<br />
<br />
Details the emergence of the Mexican drug cartels—the transformation of middlemen who ferried drugs from Bolivia and Colombia to the U.S. and Canada into self-styled entrepreneurs<br />
<br />
Describes how the growth of the cartels led to violent territorial wars—with Felipe Calderon declaring war on the cartels in 2006</div><ul></ul><div style="margin-bottom: 0in;">An unflinching examination of the world's most lucrative—and deadliest—drug cartel, Gangland lets readers explore, with brutal clarity, the newest front on America's latest war.</div></div><div dir="LTR" id="Section2" style="font-family: Arial,Helvetica,sans-serif;"><div style="margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.bibliovault.org/thumbs/978-0-8223-5152-8-frontcover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.bibliovault.org/thumbs/978-0-8223-5152-8-frontcover.jpg" width="211" /></a></div><div style="margin-bottom: 0in;"><br />
</div></div><div dir="LTR" id="Section3" style="font-family: Arial,Helvetica,sans-serif;"><div style="margin-bottom: 0in;"><a href="http://www.blogger.com/post-create.g?blogID=14543969" name="btAsinTitle4"></a><span style="font-size: large;"><i><b>Decolonizing Native Histories: Collaboration, Knowledge, and Language in the Americas </b></i></span><br />
(Narrating Native Histories) [Paperback] Paperback: 272 pages<br />
Publisher: Duke University Press Books (December 30, 2011)<br />
ISBN-10: 0822351528ISBN-13: 978-0822351528 </div><div style="margin-bottom: 0in;"><a href="http://www.blogger.com/post-create.g?blogID=14543969" name="contributorNameTriggerB001IXS2XU"></a> Florencia E. Mallon (Author)<br />
</div><div style="margin-bottom: 0in;"><a href="http://www.blogger.com/post-create.g?blogID=14543969" name="outer_postBodyPS"></a></div></div><div dir="LTR" id="Section4" style="font-family: Arial,Helvetica,sans-serif;"><div style="margin-bottom: 0in;"><a href="http://www.blogger.com/post-create.g?blogID=14543969" name="postBodyPS"></a>Decolonizing Native Histories is an interdisciplinary collection that grapples with the racial and ethnic politics of knowledge production and indigenous activism in the Americas. It analyzes the relationship of language to power and empowerment, and advocates for collaborations between community members, scholars, and activists that prioritize the rights of Native peoples to decide how their knowledge is used.<br />
<br />
The contributors—academics and activists, indigenous and nonindigenous, from disciplines including history, anthropology, linguistics, and political science—explore the challenges of decolonization.</div><div style="margin-bottom: 0in;"><br />
<br />
These wide-ranging case studies consider how language, the law, and the archive have historically served as instruments of colonialism and how they can be creatively transformed in constructing autonomy. The collection highlights points of commonality and solidarity across geographical, cultural, and linguistic boundaries and also reflects deep distinctions between North and South.<br />
<br />
Decolonizing Native Histories looks at Native histories and narratives in an internationally comparative context, with the hope that international collaboration and understanding of local histories will foster new possibilities for indigenous mobilization and an increasingly decolonized future.</div><div style="margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://img2.imagesbn.com/images/150620000/150622565.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://img2.imagesbn.com/images/150620000/150622565.JPG" width="207" /></a></div><div style="margin-bottom: 0in;"><br />
</div></div><div dir="LTR" id="Section5" style="font-family: Arial,Helvetica,sans-serif;"><div style="margin-bottom: 0in;"><a href="http://www.blogger.com/post-create.g?blogID=14543969" name="btAsinTitle5"></a><span style="font-size: large;"><b><i>Proud Americans: Growing Up as Children of Immigrants </i></b></span><br />
[Paperback] Paperback: 258 pagesPublisher: CreateSpace (December 3, 2011<br />
ISBN-10: 1466294566 ISBN-13: 978-1466294561 </div><div style="margin-bottom: 0in;">Judie Fertig Panneton (Author)<br />
</div><div style="margin-bottom: 0in;"><a href="http://www.blogger.com/post-create.g?blogID=14543969" name="outer_postBodyPS1"></a></div></div><div dir="LTR" id="Section6" style="font-family: Arial,Helvetica,sans-serif;"><div style="margin-bottom: 0in;"><a href="http://www.blogger.com/post-create.g?blogID=14543969" name="postBodyPS1"></a>Children of immigrants are different. They are their parents' guides to American ways. PROUD AMERICANS: GROWING UP AS CHILDREN OF IMMIGRANTS includes a collection of inspirational stories about approximately 50 people’s joys and struggles while coming of age in the United States as children of immigrants.<br />
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Included are Hollywood stars, high-profile media and business people, award-winning athletes, members of the President’s cabinet, elected officials and those whose names may not be recognizable but whose stories are certain to be memorable. You’ll meet people like Tony Xiong, whose dream is to become a police officer. Who would have guessed that's what he would want to become after growing up with two gang-member brothers who were often in trouble with the law? Then, there’s Natalia Estrada, a hair stylist who is the daughter of Mexican immigrants who were farm workers.<br />
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Estrada’s coming-of-age wisdom shows how she dreamed of a different heritage but grew to become a proud Mexican American. Dorothy Takeuchi remembers growing up as the child of Japanese immigrants and the time her family was forced to live in internment camps in the United States. In spite of the hatred and discrimination she witnessed, Takeuchi harbors no resentment and is proud to be an American. Hani and Maher Ahmad know what it’s like to have people call you names because of the color of your skin or the sound of your last name. They both lead productive lives and work against discrimination. U.S. Defense Secretary Leon Panetta mentions he's the son of Italian immigrants in every speech he gives. Panetta remembers his parents' reminders that they came to America to give him and his brother better opportunities. "Make us proud," they would tell him.<br />
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PROUD AMERICANS' author Judie Fertig Panneton is a child of immigrants, who are Holocaust survivors. This is her second book based on a collection of stories. Her first was THE BREAST CANCER BOOK OF STRENGTH & COURAGE. She is an award-winning journalist with experience as a print, TV, and radio reporter. Also featured, based on research, are individuals including: Hines Ward, Dr. Mehemet Oz, Jay Leno, Ann Curry, George Stephanopoulos, Dr. Sanjay Gupta, Leonardo DiCaprio, Rahm Emanuel, Jennifer Aniston, Christina Aguilera, Michael Savage, IvankaTrump,Apolo Ohno, Maria Menounos, Maurice Sendak, Timothy Geithner, Michael Dukakis, and Margaret Cho</div></div><div class="separator" style="clear: both; font-family: Arial,Helvetica,sans-serif; text-align: center;"><a href="http://dguides.com/losangeles/files/2011/11/MEX-LA-MEXICAN-MODERNISMS-IN-LOS-ANGELES-500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="234" src="http://dguides.com/losangeles/files/2011/11/MEX-LA-MEXICAN-MODERNISMS-IN-LOS-ANGELES-500.jpg" width="320" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="http://www.blogger.com/post-create.g?blogID=14543969" name="btAsinTitle6"></a>MEX/LA: Mexican Modernisms in Los Angeles 1930-1985<br />
[Hardcover] Hardcover: 224 pages<br />
Publisher: Hatje Cantz; Bilingual edition (December 31, 2011)<br />
ISBN-10: 3775731334ISBN-13: 978-3775731331 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Mariana Botey (Author), Harry Gamboa (Author), Ana Elena Mallet (Author), Catha Paquette (Author)<br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">The years from 1945 to 1985 are often identified as the moment in which Los Angeles established itself as a leading cultural center in America. However, this conception of its history entirely excludes the very controversial presence of the Mexican muralists, as well as the work of other artists who were influenced by them and responded to their ideas.<br />
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It is likewise often thought that Los Angeles' Mexican culture arrived full formed from outside it, when in fact that culture originated within the city--it was in Los Angeles and Southern California that José Vasconcelos, Ricardo Flores Magón, Octavio Paz and other intellectuals developed the iconography of modern Mexico, while Anglos and Chicanos were developing their own. David Alfaro Siqueiros, Clemente Orozco, Alfredo Ramos Martínez and Jean Charlot made some of their earliest murals in Los Angeles, influencing the Mexican, Mexican-American and Chicano artists of the 1970s and 80s. MEX/LA: Mexican Modernism(s) in Los Angeles 1930-1985 focuses on the construction of different notions of "Mexicanidad" within modernist and contemporary art created in Los Angeles. From the Olvera Street mural by Siqueiros, to the Golden Age of Mexican cinema and the Disney silver-screen productions, to the revitalization of the street mural, up to the performance art of Guillermo Gómez-Peña, MEX/LA explores the bi-national and hybrid forms of artistic practices, popular culture and mass-media arts that have so uniquely shaped LoThe years from 1945 to 1985 are often identified as the moment in which Los Angeles established itself as a leading cultural center in America. However, this conception of its history entirely excludes the very controversial presence of the Mexican muralists, as well as the work of other artists who were influenced by them and responded to their ideas. It is likewise often thought that Los Angeles' Mexican culture arrived full formed from outside it, when in fact that culture originated within the city--it was in Los Angeles and Southern California that José Vasconcelos, Ricardo Flores Magón, Octavio Paz and other intellectuals developed the iconography of modern Mexico, while Anglos and Chicanos were developing their own.<br />
<br />
David Alfaro Siqueiros, Clemente Orozco, Alfredo Ramos Martínez and Jean Charlot made some of their earliest murals in Los Angeles, influencing the Mexican, Mexican-American and Chicano artists of the 1970s and 80s. MEX/LA: Mexican Modernism(s) in Los Angeles 1930-1985 focuses on the construction of different notions of "Mexicanidad" within modernist and contemporary art created in Los Angeles.<br />
<br />
From the Olvera Street mural by Siqueiros, to the Golden Age of Mexican cinema and the Disney silver-screen productions, to the revitalization of the street mural, up to the performance art of Guillermo Gómez-Peña, MEX/LA explores the bi-national and hybrid forms of artistic practices, popular culture and mass-media arts that have so uniquely shaped Los Angeles' cultural panorama. s Angeles' cultural panorama. </div><div class="separator" style="clear: both; font-family: Arial,Helvetica,sans-serif; text-align: center;"><a href="http://img.hotbooksale.com/books/9780195379389/1/The-Aztecs-A-Very-Short-Introduction.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://img.hotbooksale.com/books/9780195379389/1/The-Aztecs-A-Very-Short-Introduction.jpg" width="224" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="http://www.blogger.com/post-create.g?blogID=14543969" name="btAsinTitle7"></a><span style="font-size: large;"><i><b>The Aztecs: A Very Short Introduction</b></i></span><br />
(Very Short Introductions) Paperback<br />
Publisher: Oxford University Press, USA (December 14, 2011<br />
ISBN-10: 0195379381ISBN-13: 978-0195379389 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="http://www.blogger.com/post-create.g?blogID=14543969" name="contributorNameTriggerB001HD00ZE"></a> David Carrasco (Author)<br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">This Very Short Introduction employs the disciplines of history, religious studies, and anthropology as it illuminates the complexities of Aztec life. Readers meet a people highly skilled in sculpture, astronomy, city planning, poetry, and philosophy, who were also profoundly committed to cosmic regeneration through the thrust of the ceremonial knife and through warfare.<br />
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Davïd Carrasco looks beyond Spanish accounts that have colored much of the Western narrative to let Aztec voices speak about their origin stories, the cosmic significance of their capital city, their methods of child rearing, and the contributions women made to daily life and the empire. Carrasco discusses the arrival of the Spaniards, contrasts Aztec mythical traditions about the origins of their city with actual urban life in Mesoamerica, and outlines the rise of the Aztec empire.<br />
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He also explores Aztec religion, which provided both justification for and alternatives to warfare, sacrifice, and imperialism, and he sheds light on Aztec poetry, philosophy, painting, and especially monumental sculpture and architecture. He concludes by looking at how the Aztecs have been portrayed in Western thought, art, film, and literature as well as in Latino culture and arts. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; font-family: Arial,Helvetica,sans-serif; text-align: center;"><a href="http://ecx.images-amazon.com/images/I/41GXM1ULguL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://ecx.images-amazon.com/images/I/41GXM1ULguL.jpg" width="215" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="http://www.blogger.com/post-create.g?blogID=14543969" name="btAsinTitle8"></a>Billy the Kid's Last Ride<br />
[Paperback] Publisher: Sunstone Press (December 20, 2011)<br />
ISBN-10: 0865348472ISBN-13: 978-0865348479 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><a href="http://www.blogger.com/post-create.g?blogID=14543969" name="contributorNameTriggerB006ILINFE"></a> John A. Aragon (Author)<br />
</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">The orphaned, bucktoothed, New York Irish boy speaks Spanish and wears a Mexican sombrero. He claims his name is William Bonney. His amigos call him ''Kid.'' To newspapers in the New Mexico Territory and across America, he is ''Billy the Kid.''<br />
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William was among the bravest of the McSween alliance in the Lincoln County War. He was lucky, too--lucky enough to shoot his way out when the rest of his faction was cornered and slaughtered in battle. He was later captured and condemned to hang, but he killed his guards and escaped. Now, William has one last chance. He heads into Old Mexico with his lover, the fierce Apache maiden Tzoeh.<br />
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There he hopes to start a new life, live in peace and obscurity, and be forgotten. But powerful Anglo ranchers plot to use William's hot temper, unmatched courage, consummate loyalty to his amigos, and superb skill with a six-gun for their own ends. </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div class="separator" style="clear: both; font-family: Arial,Helvetica,sans-serif; text-align: center;"><a href="http://img2.imagesbn.com/images/109710000/109713627.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://img2.imagesbn.com/images/109710000/109713627.JPG" width="211" /></a></div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><i><b><a href="http://uncpress.unc.edu/browse/book_detail?title_id=2592">Blurred Borders</a>: Transnational Migration between the Hispanic Caribbean and the United States</b></i></span> </div><div style="font-family: Arial,Helvetica,sans-serif;">(UNC Press ISBN 978-0-8078-3497-8 </div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">Published: September 2011</div><div style="font-family: Arial,Helvetica,sans-serif;"><a href="http://uncpress.unc.edu/browse/search?person_id=1411">Jorge Duany</a></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><b>In this comprehensive comparative study, Jorge Duany explores how migrants to the United States from Cuba, the Dominican Republic, and Puerto Rico maintain multiple ties to their countries of origin</b>. </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">Chronicling these diasporas from the end of World War II to the present, Duany argues that each sending country's relationship to the United States shapes the transnational experience for each migrant group, from legal status and migratory patterns to work activities and the connections migrants retain with their home countries. </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">Blending extensive ethnographic, archival, and survey research, Duany proposes that contemporary migration challenges the traditional concept of the nation-state. Increasing numbers of immigrants and their descendants lead what Duany calls "bifocal" lives, bridging two or more states, markets, languages, and cultures throughout their lives. </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">Even as nations attempt to draw their boundaries more clearly, the ceaseless movement of transnational migrants, Duany argues, requires the rethinking of conventional equations between birthplace and residence, identity and citizenship, borders and boundaries.</div><div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;"><br />
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<script type="text/javascript" src="http://s7.addthis.com/js/250/addthis_widget.js#username=xa-4c089301018c383f"></script></div><!-- AddThis Button END -->Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-45082770088734867612012-02-11T12:15:00.000-07:002012-02-11T12:15:08.059-07:00Banned Books Decade<meta name="title" content="Banned in the USA/Arizona: Books Decade" /> <meta name="description" content="From Bad to Worse in Banning Chicano(a) Titles)" /> <link rel="image_src" href="http://www.plumafronteriza.blogspot.com" /><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaPLzOiI4yppa-39fawY1VLnRgHKeJ6GOZuCxkL5wBsRYsTi9Mi9LA_0WKbvmeUhygSWk9ac9UR3yh8JGVFs_EvxEP8abA31yNcRx0DduldfxGT0hPvwWikLGi2w100MGbmWzl/s1600/Banned.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaPLzOiI4yppa-39fawY1VLnRgHKeJ6GOZuCxkL5wBsRYsTi9Mi9LA_0WKbvmeUhygSWk9ac9UR3yh8JGVFs_EvxEP8abA31yNcRx0DduldfxGT0hPvwWikLGi2w100MGbmWzl/s320/Banned.jpg" width="302" /></a></div>A year or two again when we did a Banned Books Week Series on Chicano Literature we never know it could get any worse. Check out our Series:<br />
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<ul style="text-align: left;"><li><ul><li><h3 class="post-title entry-title"><a href="http://plumafronteriza.blogspot.com/2010/09/lunes-con-lalo-delgado-national-jefes.html">Lunes con Lalo Delgado: National Jefes - Some Not Too Objective Observations Part III, Banned Books Week, and New Book Titles in September 2010</a></h3></li>
<li><h3 class="post-title entry-title"><a href="http://plumafronteriza.blogspot.com/2010/09/banned-book-2-always-running-and-visit.html">Banned Book #2: Always Running and a Visit with Don Luis and the Idenfication of Chicano Literature</a></h3></li>
<li><h3 class="post-title entry-title"> <a href="http://plumafronteriza.blogspot.com/2010/09/chicano-banned-book-3-bless-me-ultima.html">Chicano Banned Book #3: Bless Me, Ultima - Felipe Ortego</a></h3></li>
<li><h3 class="post-title entry-title"><a href="http://plumafronteriza.blogspot.com/2010/09/tommy-stands-alone-banned-book-4-and.html">Tommy Stands Alone - Banned Book #4 </a></h3></li>
<li><h3 class="post-title entry-title"><a href="http://plumafronteriza.blogspot.com/2010/10/antonios-card-banned-book-5-new-books.html">Antonio's Card: Banned Book #5</a></h3></li>
</ul><h3 class="post-title entry-title"> </h3><h3 class="post-title entry-title"> </h3><h3 class="post-title entry-title"> Also see <a href="http://plumafronteriza.blogspot.com/2010/05/chicano-writers-ecstatic-about-new.html">"Chicano writers ecstatic about new ethnic studies ban in Arizona"</a> </h3></li>
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</script></div></div>Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-29445192923492079072012-02-11T11:17:00.001-07:002012-02-22T11:20:05.518-07:00Rough Notes on Arizona<div dir="ltr" style="text-align: left;" trbidi="on"><div class="MsoNormal" style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMWNNPXimo8tV6RJio1sb2h49AA2b24V7mfxYWsJ-F8meRbZrnlWVWXzYuwzeUvQrIyRve-A-wIcfpozKUe-k0fTXBx-H9SvVYInZIT3cU8pFe2jRyZij6U1vc0QdrVBHsaE6Q/s1600/Arizona.GIF" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMWNNPXimo8tV6RJio1sb2h49AA2b24V7mfxYWsJ-F8meRbZrnlWVWXzYuwzeUvQrIyRve-A-wIcfpozKUe-k0fTXBx-H9SvVYInZIT3cU8pFe2jRyZij6U1vc0QdrVBHsaE6Q/s320/Arizona.GIF" width="248" /></a></div><br />
<span style="font-size: x-large;"><b>Rough Notes on Arizona</b></span></div><div class="MsoNormal" style="text-align: left;">Rodolfo F. Acuña </div><div class="MsoNormal"><a href="http://www.facebook.com/sharer.php" name="fb_share" type="button_count">Share</a><script src="http://static.ak.fbcdn.net/connect.php/js/FB.Share" type="text/javascript">
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</div><div class="MsoNormal">In the now infamous Watergate scandal Bob Woodward and Carl Bernstein were told by deep throat that to "Follow The Money" in order to find those culpable for the Watergate break-in. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">In the 1990s Jean Stefancic and Richard Delgado in <u>No Mercy:how conservative think tanks and foundations changed America's social agenda </u> follow this advice and trace the role of family foundations in destroying bilingual education, in anti-affirmative action and eugenics scholarship. <u>No Mercy</u> is a fascinating account how right wing extremists and think tanks are funded by billionaire zealots who want to protect their tax privileges and power. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The involvement of the Tea Party and neo-fascist organization has been well documented in the Republican Party's political takeover of Arizona as well as their war on Mexicans. These groups are bonded by a community interests with the prison industry and gun dealers and manufacturers. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Many articles have drawn direct ties between the Tea Party and Charles and David Koch who fund this eliminate the Mexican drive. The strategy is to use race and lies to undermine school integration as well as programs that have improved the educational performance of not only Mexican American students but others in special classes.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">A case in point is the Mexican American Studies program of the Tucson Unified School District that has had incredible results. Failed businessmen and politicos Tom Horne and John Huppenthan have ridden this anti-Mexican wave by sowing racism and outright lies. Horne and Hupenthal are the present and past Arizona superintendents of public instruction. Nowhere else but in Arizona would these two gentlemen have been elected to statewide office. In the case of Huppenthal, he has taken mendacity to new heights. He ordered a study of the Tucson program, squandered $170,000 on a study that contradicted his conclusions. In order to be vindicated he is now holding hearings at the state capital; this time goes too far and shows his hand as well as who is pulling his strings. Using deep throats insight of "follow the money;" the connections appear clear.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">One of his last expert witnesses is Susan Stotsky, a mathematics professor at the University of Arkansas, who has made a career as an expert on multicultural education of which she knows nothing about. She is heavily funded by right wing organizations and has served on various commissions under Republican presidents. Like my lawyer Moe Vasquez would say, she has biases and is a paid gun, she’ll say anthing. Stotsky is part of that right conspiracy to kill multicultural studies. If these were not just hearings this case could be made in just following the money, who has funded her research? What are her qualifications? However, Huppenthal controls the hearings and has not allowed for this type of vetting. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">What do we know about Stotsky? The thing that came leaping out that she in on the board of directors of the National Association of Scholars. Founded in 1987 the NAS was spearheaded by Stephen Balch who believed that Western Civilization was under siege and he has to defend it. From the beginning the NAS attacked anything that advocates critical thinking. Among the funders are the Sarah Scaife Foundation, the Olin Foundation, the Bradley Foundation, Koch brothers, and the Earhart, and Coors foundations. The Koch have become major players on the right since the mid-90s when it funded the Cato Institute. </div><div class="MsoNormal"><br />
</div>Stotsky’s testimony will come as no surprise. Unlike the Cambium National Academic Educational Partners <a href="http://saveethnicstudies.org/assets/docs/state_audit/Cambium_Audit.pdf">http://saveethnicstudies.org/assets/docs/state_audit/Cambium_Audit.pdf</a> she does not a commitment to the truth and objectivity but a bias and opinion that has been paid for. Only in Arizona could a person who knows nothing about Mexican American children, never taught them, and has a well-documented prejudice against Mexican American Studies testify as an expert witness. But it is a blind leading the blind scenario with Horne and Huppenthal serving as superintendents of public instruction and knowing nothing about education. In turn their bias is being affirmed by bought witness. Only in Arizona, or is it?<br />
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<div style="font-family: Arial,Helvetica,sans-serif;"><b>Bert Corona</b> </div><div style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.facebook.com/sharer.php" name="fb_share" type="button_count"></a><script src="http://static.ak.fbcdn.net/connect.php/js/FB.Share" type="text/javascript">
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</div><div style="font-family: Arial,Helvetica,sans-serif;">Burt Corona is mentioned in David Bacon's article Criminalizing Immigrants for Profit on Truth-out.org. "In 1947, after reading a newspaper article about the crash of a plane carrying a group of Mexican contract workers back to the border, Woody Guthrie wrote a poem, later set to music by Martin Hoffman. In haunting lyrics Guthrie describes how it caught fire as it flew low over Los Gatos Canyon, near the farming town of Coalinga, at the edge of California’s San Joaquin Valley. Observers below saw people and belongings flung out of the aircraft before it hit the ground – falling, as Guthrie sang, like leaves." <a href="http://www.truth-out.org/illegal-people-not-enough-workers/1328302691">Read more.</a></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="separator" style="clear: both; font-family: Arial,Helvetica,sans-serif; text-align: center;"><a href="http://2.bp.blogspot.com/-SMC6duidAAk/Tn6PDKxvuKI/AAAAAAAAE2Y/iHpLBk31oBs/s1600/iread-banned-books-green-circle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-SMC6duidAAk/Tn6PDKxvuKI/AAAAAAAAE2Y/iHpLBk31oBs/s1600/iread-banned-books-green-circle.jpg" /></a></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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</div><div style="font-family: Arial,Helvetica,sans-serif;">Check out this article on going behind the ban as books by many Chicano authors are banned, including Dagoberto Gilb. Read <a href="http://www.huffingtonpost.com/paula-beltr/guess-whos-coming-to-dinn_3_b_1258887.html">"The Librotraficante Behind the Movement to Smuggle "Wetbooks" Back Into Arizona.":</a></div><div style="font-family: Arial,Helvetica,sans-serif;">"Manuel Muñoz's book, <i>Zigzagger</i>, is banned at the high school right across from the University of Arizona campus where he is a professor of creative writing. Munoz graduated from Harvard, received his MFA from Cornell University, and is the recipient of a fellowship from the National Endowment from the Arts. Apparently, the Tucson Unified School District (TUSD) has found that all of that literary pedigree only led him to <a href="http://www.azleg.gov/FormatDocument.asp?inDoc=/ars/15/00112.htm&Title=15&DocType=ARS" target="_hplink">'promote the overthrow of the United States government.'</a>" </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="separator" style="clear: both; font-family: Arial,Helvetica,sans-serif; text-align: center;"><a href="http://blogs.ocmetro.com/files/2012/02/artwork_2012.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://blogs.ocmetro.com/files/2012/02/artwork_2012.jpg" /></a></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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</div><div style="font-family: Arial,Helvetica,sans-serif;">Check out this OC Metro article on Rafael Lopez with some mention of Pat Mora: </div><h3 class="storytitle" id="post-6276" style="font-family: Arial,Helvetica,sans-serif; font-weight: normal;"><span style="font-size: small;"><a href="http://blogs.ocmetro.com/2012/02/03/rafael-lopez-a-visual-journeyman/">Rafael Lopez: a visual journeyman</a>.</span></h3><div class="separator" style="clear: both; font-family: Arial,Helvetica,sans-serif; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvl1cJw55LeRl_8x_tF0UFZKGtu5uvxyj0_bTjWxKK0aB4i2mVDizZed41Sudlrk6bZPHZ9olX00HhV83Xp8IqKPW2_KE3LSzM4j4PeqCqzGu5B9bRgdzubXrLaJHFMt_nergInA/s400/Rechy1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvl1cJw55LeRl_8x_tF0UFZKGtu5uvxyj0_bTjWxKK0aB4i2mVDizZed41Sudlrk6bZPHZ9olX00HhV83Xp8IqKPW2_KE3LSzM4j4PeqCqzGu5B9bRgdzubXrLaJHFMt_nergInA/s320/Rechy1.jpg" width="172" /></a></div><h3 class="storytitle" id="post-6276" style="font-family: Arial,Helvetica,sans-serif; font-weight: normal;"><span style="font-size: small;"> </span></h3><h3 class="storytitle" id="post-6276" style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small; font-weight: normal;">A small mention of John Rechy is in <a href="http://www.huffingtonpost.com/dora-levy-mossanen/the-last-romanov_b_1245654.html">Dora Levy Mossanen's look at The Last Romanov. (Huffington Post)</a></span></h3><div class="separator" style="clear: both; font-family: Arial,Helvetica,sans-serif; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCk1Ney1c2ztbk1FxNJK15tggL-5SSnJM2M1ugj5ViKbbUIXDrhRHDmH3sElBKs5bMU92PzVsG-ZkOOiRcp_wI8pLEuhH3oJPZiGwhg-UoKkYbje3Lwb0FUzQmaE6-ecx29Avt/s1600/cmmayo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCk1Ney1c2ztbk1FxNJK15tggL-5SSnJM2M1ugj5ViKbbUIXDrhRHDmH3sElBKs5bMU92PzVsG-ZkOOiRcp_wI8pLEuhH3oJPZiGwhg-UoKkYbje3Lwb0FUzQmaE6-ecx29Avt/s1600/cmmayo.jpg" /></a></div><h3 class="storytitle" id="post-6276" style="font-family: Arial,Helvetica,sans-serif;"><br />
</h3><h3 class="storytitle" id="post-6276" style="font-family: Arial,Helvetica,sans-serif; font-weight: normal;"><span style="font-size: small;"><span class="Apple-style-span"><a href="http://www.cmmayo.com/SPIRITISTMANUAL/spiritist-m-download-ebook.html">Francisco I. Madero's <i>Spiritist Manual</i></a></span><span class="Apple-style-span">. You bet, check out this </span></span></h3><h3 class="post-title entry-title" style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small; font-weight: normal;">A Conversation with C.M. Mayo After Translating Madero´s Spiritist Manual on the Literal, Latin American Voices Blog: "<span class="Apple-style-span">You decided to translate </span><span class="Apple-style-span"><a href="http://www.cmmayo.com/SPIRITISTMANUAL/spiritist-m-download-ebook.html">Francisco I. Madero's <i>Spiritist Manual</i></a></span></span><span class="Apple-style-span"><span style="font-size: small; font-weight: normal;"> 100 years after it first was published. What triggered your desire to work on this project when, even at the time the book was released, he was mocked in newspapers as a crazy man who talked until he was blue on the face?" <a href="http://literalmagazine.blogspot.com/2012/01/conversation-with-cm-mayo-after.html">Read More</a>.</span></span></h3><h3 class="post-title entry-title" style="font-family: Arial,Helvetica,sans-serif;"><span class="Apple-style-span"><span style="font-size: small; font-weight: normal;"> </span></span></h3><h3 class="post-title entry-title"><span class="Apple-style-span" style="font-family: Arial;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small; font-weight: normal;"> </span></span></h3><br />
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</script></div></div>Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0tag:blogger.com,1999:blog-14543969.post-58924334004756313662012-02-10T10:46:00.002-07:002012-02-10T10:46:21.910-07:00THE LIBROTRAFICANTES CARAVAN COMING TO MESILLA<div dir="ltr" style="text-align: left;" trbidi="on"><pre wrap="">PRESS RELEASE
Contact:
Denise Chávez
Border Book Festival
<a class="moz-txt-link-abbreviated" href="mailto:bbf@borderbookfestival.com">bbf@borderbookfestival.com</a><a class="moz-txt-link-rfc2396E" href="mailto:bbf@borderbookfestival.com"><mailto:bbf@borderbookfestival.com></mailto:bbf@borderbookfestival.com></a>
575-523-3988<tel:575-523-3988>
Tony Diaz
<a class="moz-txt-link-abbreviated" href="mailto:AztecMuse@aol.com">AztecMuse@aol.com</a><a class="moz-txt-link-rfc2396E" href="mailto:AztecMuse@aol.com"><mailto:aztecmuse@aol.com></mailto:aztecmuse@aol.com></a>
(713) 867-8943<tel:%28713%29%20867-8943>
Websites: <a class="moz-txt-link-abbreviated" href="http://www.librotraficante.com/">www.librotraficante.com</a><a class="moz-txt-link-rfc2396E" href="http://www.librotraficante.com/"><http: www.librotraficante.com=""></http:></a>, <a class="moz-txt-link-abbreviated" href="http://www.nuestrapalabra.org/">www.nuestrapalabra.org</a><a class="moz-txt-link-rfc2396E" href="http://www.nuestrapalabra.org/"><http: www.nuestrapalabra.org=""></http:></a>
FOR IMMEDIATE RELEASE
February 2, 2012
THE LIBROTRAFICANTES CARAVAN COMING TO MESILLA
Latino Studies has been banned in Arizona.
But writers and activists are organizing a caravan to Tucson to smuggle =anned Latino books back into Arizona!
The Librotraficantes Banned Book Caravan will leave Houston on Monday, M=rch 12 arriving in Tucson, Arizona Saturday, March 17.
A stop at the Cultural Center de Mesilla, home base of the Border Book F=stival will take place on Thursday, March 15 at ten a.m. Librotrafican=e organizer Tony Díaz, and various writers will be present for a pres= conference and a Quick Lit Throw Down and reading.
The caravan will headed to Albuquerque that evening for a Librotraficant= Banned Book Bash at a location to be announced.
The caravan will be filled with authors and activists who will be taking=anned books back into Arizona, to give away. The bus will be filled wi=h authors who were banned, new authors, as well as other advocates conc=rned with preserving First Amendment rights of Equal Protection and Fre=dom of Speech.
The Caravan will be making stops in Texas, New Mexico, and, of course, A=izona. More stops will be listed as they are finalized. More will be ad=ed as funding permits.
Banned authors have embraced the caravan and will participate throughout=he week, including Sandra Cisneros, Dagoberto Gilb, Luis Alberto Urrea= and others.
Donations can be given to Nuestra Palabra: Latino Writers Having Their S=y by visiting the website <a class="moz-txt-link-abbreviated" href="http://www.librotraficante.com/">www.librotraficante.com</a><a class="moz-txt-link-rfc2396E" href="http://www.librotraficante.com/"><http: www.librotraficante.com=""></http:></a>
The caravan is intended to:
1. Raise awareness of the issue. Some people still do not now that Latin= Studies is being banned in Arizona.
2. P well enough. This is a chance to bring attention to their work.
3. Celebrate many cultures: Children of the American Dream must unite to=reserve the civil rights of all Americans.
For more information, contact the BBF at 575-523-3988<tel:575-523-3988>, <a class="moz-txt-link-abbreviated" href="mailto:bbf@borderbookfes=ival.com">bbf@borderbookfes=ival.com</a><a class="moz-txt-link-rfc2396E" href="http://ival.com/"><http: ival.com=""></http:></a>
</tel:575-523-3988></tel:%28713%29%20867-8943></tel:575-523-3988></pre></div>Raymundo Eli Rojashttp://www.blogger.com/profile/13735199812113933107noreply@blogger.com0