Thursday, April 18, 2024

Chicanonautica: Sci-Fi Gonzoing While Chicano in Class

by Ernest Hogan

Once again, I taught a class at (problematic, it was online via good ol’ Zoom) the Palabras del Pueblo writing workshop. I called it “Gonzo Sciene Fiction, Chicano Style” to give myself a excuse to plug my new book, Guerrilla Mural of a Siren’s Song: 15 Gonzo Science Fiction Stories. Self-promotion is important, kids, do it whenever you can get away with it—hell, even when you can’t get away with it!  It’s called professionalism.


There I go, thinking like a teacher again . . .


When introducing themselves, students mentioned the Impostor Syndrome about being writers. I don’t have that problem; my credentials as one of the most successful Chicano writers of my generation are secure. But when it comes to being a teacher, that’s another plate of tacos.


I never wanted to be a teacher. I don't have a degree. I never did like school. All I have is over forty years of bizarre experience.


And there are people out there who like what I write. I guess it all counts for something. 


This was my second time doing this. I may get the hang of it yet.


I presented material from my updated notes. I tend to change my mind about things, and the writing biz keeps a-changing. I wrote a story over the course of the class, all the way sharing my creative process (hiljole! What a pretentious phrase). 


It was strange because I don’t usually think about what I do—I just do it. I find discussing the Art of Writing to be boring and irritating.


Interestingly enough, there were no surprises. I’ve been doing this so long that I know what I’m doing without having to ponder the mysteries of it all. Like I said, experience.


The story is called “Spawn of the New, Improved Tortilla Machine.” I was lucky enough to be inspired by all the craziness going on in the world, combined with the fact that I had promised I would write a story. The process was, and the result is, gonzo.


I’ve never been comfortable in a classroom. I tried hard to make this a non- or even anti-academic experience. Writing is not an academic activity and shouldn’t be.


Once again, I was impressed by the students. They were a diverse group from all parts of the Latinoid continuum. I tend to be Chicano-centric because Aztlán in the second half of siglo XX is where I come from, but I always enjoy other cultures that have been affected by contact with the Hispanic virus. We need to start cooperating on a global level—since we are most of the people in this hemisphere we need to come off as a majority so publishers stop dismissing us as a niche market. We have fantastic ideas coming out of a wide range of cultures—we keep creating new ones—that will make for great fiction that will entertain and enlighten the world.


For the next time—it pays well, often better than the writing itself—I will strive to make it more interactive and focus even more on the wants and needs of the students. Guess I’ll be updating those notes again.


One thing I need to work on is the market—where to send what you write. It’s something I need to do anyway. I’ve been spoiled this century, most of what I publish these days is the result of publishers and editors coming to me—thank Quetzalcoatl and Tezcatlipoca for the interwebs! But lately, I’ve built up a backlog of unpublished stories. I need to do some investigating of the mutating world of publishing. No doubt, there will be some hair-raising adventures.


Also, anybody interested in publishing one or more of these stories, besides this blog and Mondo Ernesto, I’m on Facebook, Twitter, and Instagram.


Another lesson in professionalism.


Ernest Hogan, the Father of Chicano Science Fiction, is the author of Guerrilla Mural of a Siren’s Song: 15 Gonzo Science Fiction Stories, a guidebook for the weirdness to come.

Wednesday, April 17, 2024

Los Angeles Times Festival of Books


From LA Librería 

www.la-libreria.net 

 

The Los Angeles Times Festival of Books is just around the corner. Join us on April 20-21 at the University of Southern California for a weekend packed with books, authors, illustrators, activities, more books :) and, of course, lots of fun! 

 

Come and check our wonderful collection of books in Spanish at the Book Festival!

Board books, picture books, comics, chapter books, young adult books, adult books...

 


Looking for libros? Don't miss our two spots!

 

* Booth #590, across the Children's Stage

Booth #003, next to the Latinidad Stage. We are the official bookseller for the Latinidad Stage.


Besides, there’s a terrific author line-up for all the stages. All outdoor stages and activities are free.




 Storytime and Author Book Signing hosted by LA librería

 

Come and say Hi/Hola!

 

We will be across the Children's Stage in Booth #590

 


Bilingual Storytime with Mrs. Angel and Ms. Kimi from Anaheim Public Library. April 20th, 11:00 am




Calling all LA Dodger fans, families, and especially children! Kathy Contreras will be signing copies of her new book “Born to Play Beisbol: The Magical Career of Fernando Valenzuela”. April 20th, 1:30 pm




Isabel Quintero, author of “My Papi Has a Motorcycle” will be signing copies of her brand new book “Mama’s panza”. April 20th, 2:00 pm




Holly Ayala will be signing copies of her fun and unique ABC book “ABC El Salvador”. April 21st, 3:00 pm



 


Meet Jorge Argueta, who will be signing copies of his book “Olita and Manyula The Big Birthday”. April 21st, 3:30 pm



 

Author of bilingual picture books, René Colato Laínez will be joining us and signing copies of his latest books “Do I belong here? / ¿Es este mi lugar?” and “Let's Play in the Park / Juguemos en el parque”. April 21st, 3:30pm

 



 


* Here’s what you can’t miss at the Latinidad Stage:

 

Festival goers will be able to purchase books by the featured authors below in our booth. Authors will participate in book signings following their panels.

 

Hora de cuentos con LAPL. April 20th and 21st, 10:00 am

Recommended for your little ones!

 

 Lil' Libros Storytime with Cindy Montenegro and Hazel Quintanilla. April 20th and 21st, 11:00 am. Recommended for your little ones!

 

* Lectura en español con Luis García, Carla Guelfenbein y Marisol Shulz. April 20th, 12:00 pm

 

Poetry Reading with Yesika Salgado, Angela García, Melania Marte. April 20th and 21st, 1:15 pm

 

* Exploring the latino wealth gap with Gaventura, Linda Garcia and Natalie Torres-Hadad. April 20th, 4:30 pm

  

* De aquí y de Allá: The first gen experience with Julissa Arce, Verónica Benavidez and Alejandra Campoverdi. April 21st, 11:30 am

 

* When Writing is personal: in conversation with Justin Torres. April 21st, 12:25 pm

 

* Oaxacan Influence: How a community has shaped culture in all corners, a conversation with the López Family, Odilia Romero and Mireya Olivera. April 21st, 1:20 pm

 

* Blood in blood out’ with Jimmy Santiago Baca and Taylor Hackford. April 21st, 2:15 pm

 

*Voto Latino with Gustavo Arellano, Angelica Salas, Sonja Francine Diaz y Gustavo Madrid. April 21st, 3:15 pm

 

*Everything Latinidad: Challenging the Myth of the Monolith Mario, Alberto Obando, Valentina, Alan Pelaez Lopez. April 21st, 4:00 pm

 


¡Ahí nos vemos!

 


Tuesday, April 16, 2024

28th Poetry Month, NELA the First

Back in April 1996, the Academy of American Poets declared the first National Poetry Month. Twenty-eight years of growth and having become the world's largest literary celebration, National Poetry Month comes to Northeast Los Angeles with the first annual NELA Poetry Festival. 

 Literary Festivals don't just happen. This initial foray into a large scale event reflects organizing prowess by unnamed members of host VCP SoCal Poets, helmed by Teresa Mei Chuc with James Evert Jones. 

I just returned from the 5th annual San Diego Writers Festival, a one-day event centered around a tent city of vendors. This first NELA Poetry Festival is all about the poets and their work. 

The two day schedule from 11:00 a.m. to 5 p.m. features two readers every twenty minutes. Five- and six-voice collectives read for an hour. 

It's a massive undertaking best appreciated by attending the free event next year. Visit the festival's website (link) where the list of readers with bios and photos likely represents hours of labor and multiple messages to gather such an extensive, yet partial, list of poets. 

The festival site, Los Angeles College Prep Academy, welcomes visitors with an agricultural work area, mural-adorned retaining walls, and a beautiful amphitheater. 

Another mural covers the main entrance to the instructional building. Visit the school website (link) for a more thorough introduction to this unique high school. 

I enjoyed only a short visit to the lively festival, intending to photograph The Rose Poets, Teresa Mei Chuc, Gerda Govine Ituarte, Shahé Mankerian, and Carla Sameth. These poets have work in the upcoming book, Altadena Poetry Review; Anthology 2024, edited by Peter J. Harris. When the anthology launches, I anticipate they will read and I can take their portrait. 
Holding the floor before the veteranas of Southern California poetry are younger voices such as Rhys Langston Podell who read from his unpublished manuscripts.

That big microophone is a vital element of the superb sound system NELA Poetry Festival provides. The speakers emit clean, crisp renditions of what's being said up front in the room's poor acoustics. What poets need to remember is the mic pics up sound in a big three dimensional clover leaf pattern. Lower the mic to chest level. and speak straight ahead. The mic hears you just fine and the photographer is all happy to see faces.
Teresa Mei Chuc 
Carla Sameth
Shahé Mankerian

Gerda Govine Ituarte


Christian Perfas (aka. 'Soul Stuf' within poetry circles) 

Friday, April 12, 2024

Santa Barbara Celebrates National Poetry Month

Melinda Palacio, Santa Barbara Poet Laureate



In Santa Barbara, Mayor Randy Rowse offered a proclamation for National Poetry Month on Tuesday, April 9. Dos Pueblos High School student, Anna Matthews, recited her award-winning performance of “The Listeners” by Robert Frost. She is the regional champion of the Poetry Out Loud Competition. The proclamation is nine days into poetry month and Santa Barbara has already seen at least three poetry events, including the Spirits in the Air Reading on April 1, Poetry Passages launch last week and the Santa Barbara Literary Journal’s launch of issue 10 at Chaucer’s Books on Monday, April 8. It’s been wonderful seeing our town show up for poetry. Chaucer’s was packed at the launch for issue 10, which featured nine Santa Barbara poets laureate. 

 

The Poetry Passages launch last Thursday, April 4, also featured our local poets laureate, but a different crowd showed up for the outdoor event. Santa Barbara is a wonderful town for poetry. Lea Williams said the event was magical: “The wind died down, the rain held off and there was joy and connection,” she said. “The readings and the speeches gave everyone there a lovely picture of how this all came together and why it mattered.” Ride the bus, read a poem.

 

As a co-organizer for Poetry Passages, the project to put poems on our city buses, I was a little worried the day of the event. We hoped for a nice day for our outdoor event, especially since the Santa Barbara Museum of Art offered to host us on the museum’s front terrace. Lea Williams and I were very excited about an outdoor launch party because it meant people celebrating First Thursday might stop and learn about the project and poetry month.

 

Patsy Hicks, Director of Education at the Santa Barbara Museum of Art, said she had a contingency plan for rain. Later that day, there was a bomb threat downtown. Rain? Breeze? Bomb threat? Who would possibly show up? 

 

Some fifty people took seats around the museum’s entrance and on the portable chairs used for events inside the galleries. The museum’s portable microphone did the job and people stopped on State Street to listen to the poems that they can see riding on the buses. As a seasoned poet and event planner, I know that the best laid plans can go awry. Luckily, our event was a success. Patsy Hicks said it was a pleasure to host the Poetry Passages launch. “It had a great feeling of community of a story to be told,” she said, “a story of shared resources amid folks who have a real desire to communicate what it means to ride through and write about Santa Barbara.”

 

The Santa Barbara Museum of Art is also celebrating National Poetry Month with their Post Card Poetry. They are printing postcards that feature excerpts from poems written by a Santa Barbara based poets or facilitators of Writing in the Galleries.. There will be a new postcard each week in April, collect all four. I am honored that my poem, “And Me,” is paired with Keith Mayerson’s, Someday we’ll find it, the Rainbow Connection, the lovers, the dreamers, and me (2023). Sign up for my next Writing in the Galleries session at the Santa Barbara Museum of Art before next week. The workshop is April 18 at 5:30 pm, free with registration. 

 

If you want to hear more poetry from your poet laureate, I will be at the Lompoc Public Library this Saturday, April 13 at 1pm. The following Saturday, thanks to a grant from State Parks, we will have a free poetry celebration downtown. Turns out, our only state park is El Presidio de Santa Barbara State Park. Celebrate National Poetry month with an afternoon of poetry and music at the Alcehama Theatre, Saturday April 20 at 1pm. Poets include Perie Longo, Emma Trelles, Stephanie Barbé Hammer, Monica Mody, Diana Raab, and Takunda Chickowero; musical acts include the Gruntled, UCSB Middle East Ensemble, and Chumash Kiyniw Singers; and a few other surprises at this free event. 

 

*This article was originally published in the Santa Barbara Independent.

 

 

National Poetry Month Events

 

April 1, Spirits in the Air 10th Anniversary Reading 4:30-6:30 pm. The Good Lion 1212 State Street, free admission, no host bar. 

 

April 4, First Thursday, launch party for Poetry Passages 5-6:30 pm on the Terrace of the Santa Barbara Museum of Art, 1130 State Street.

 

April 8, Santa Barbara Literary Journal Volume 10: Reading at Chaucer’s, features seven local poets laureate, Monday from 6-7:45 pm, Chaucer’s Books 3321 State Street, Santa Barbara, CA 93105.

 

April 9, The Mayor’s Proclamation of National Poetry Month, City Hall, 2pm.

 

April 13, Lompoc Library features City of Santa Barbara Poet Laureate, Melinda Palacio at 1pm.

 

April 14, The Poetry Zone, 1:30 pm, back patio of the Karpeles Manuscript Library, open mic and featured poet is Jan Steckel.

 

April 18, Writing in the Galleries, write poetry at the Santa Barbara Museum of Art with SBPL Melinda Palacio, Thursday, 5:30-7pm, free with registration. 

 

April 20, Poetry in the Parks, an afternoon of poetry and music at the Alhecama Theatre, poets include Perie Longo, Emma Trelles, Stephanie Barbé Hammer, Monica Mody, Takunda Chickowero and Diana Raab; musical acts include the Gruntled, UCSB Middle East Ensemble, and Chumash Kiyniw Singers and host Melinda Palacio.

 

April 30, Amanda Gorman in Conversation with Pico Iyer, Tuesday 7:30 pm at the Arlington Theatre.  

Thursday, April 11, 2024

One History Seen through a Different Mirror

 

 by Daniel Cano                                                                           

Book sitting in a neighbor's box, just waiting....

     
As I gave my dog, Phoebe, her evening stroll, I noticed a box of books on the sidewalk. Most were throwaways, except for one, Ron Takaki’s book, A Different Mirror, a History of Multicultural America (1993). The book was practically new.

     Professor Ron Takaki, a Japanese Californian, by way of Hawaii, died in 2009. He was a preeminent scholar in the field of Ethnic Studies at UC Berkeley. I’d read Takaki’s book, Strangers from a Different Shore (1989), his book about Asian migration to the U.S., a topic few Americans, including me, knew, other than generalities, even though my family was from the West Coast, home to most Asian Americans in the U.S. Our neighbors were Japanese.

     In 1990, or thereabouts, I heard Dr. Takaki speak in an auditorium filled with faculty at Santa Monica College, where I was teaching at the time. Takaki 's work, his writing and lecturing, was accessible to the public, edifying, engaging, and entertaining, something snobbish scholars avoided, preferring to couch their work in oblique academic jargon and complex concepts, I think so they can get away with calling their discipline a “science,” an old argument in higher education.

     Takaki began his lecture by asking, “How many of you know about Ellis Island.?” 

     Of course, nearly every hand in the auditorium shot up. 

     “Good,” Takaki said, and laughed, something of a cackle, like setting up a good joke. He then asked, in a serious tone, “How many of you have heard of Angel Island?” 

     Slowly, as if needing to think about it, only a smattering of hands went up. The majority of educators sat silent. Professor Takaki went on to explain Angel Island, adjacent to San Francisco, was the West Coast Port of Entry for Asian immigrants, mostly Chinese and Japanese, in the mid-19th century, "strangers from a different shore." He then asked, “As educators, if we know about Ellis Island, why don't we also know about Angel Island?” Silence.

     After an invigorating and inspiring lecture on his book about Asian America, Takaki made a bold pronouncement. He said something like, “If university students don’t know the real history of the U.S., and about all the people who contributed to its creation,” here he raised his voice, “I believe they are not worthy of a university degree.”

     Well, that got the attention of the erudite crowd. I remember hearing more than a few murmurs pass through the audience. As the only Chicano professor ever hired by the English department at SMC, about a 70-year-old institution at the time, I knew exactly what Takaki meant.

     In the late 1980s, early 1990s, “Ethnic Studies,” as a discipline, was just taking hold in the academy. In American higher education, the study of other U.S. cultures wasn’t new, but it hadn't yet been organized into a coherent program, department, or discipline. Educators like John Dewey, Howard Zinn, Edward Said, Bell Hooks, Noam Chomsky, Cornel West, Gloria Anzaldua, and others had begun looking at U.S. history beyond our mythical borders, yet, somehow, it threatened many traditional educators who wanted to believe the U.S. was solely a European construct.

     When Takaki opened his talk to a rousing Q&A session, I remember one professor standing and, subtly, accusing Takaki of introducing an illegitimate field of study into the curriculum, even hinting at the flimsiness of Takaki’s scholarly credentials, maybe assuming Takaki had received a degree in Ethnic Studies, of which some traditional scholars, like classicist Allan Bloom, were critical. The crowd quieted, waited, uncertainty creeping in. Takaki remained cool. It wasn’t his first time under verbal assault, having led the cultural wars at UC Berkeley. 

     He thanked the man for his comment, clarified his doctorate was in American history, and described the rigorous curricula students needed to study to pass courses in Ethnic Studies or to receive degrees in the field. Once again, he had the crowd behind him.

     Somewhere towards the end of his talk, Takaki said, “Even ‘Whites’ need to take back their history.” He was suggesting Americans, whose ancestors had emigrated from Europe, to be considered “educated” should know their own cultural backgrounds, whether English, Dutch, Irish, Pole, French, etc., why their ancestors emigrated and settled here, especially since we live in a global world.

     I’m nearly half-way through Takaki’s book, a fascinating read. I wish I’d read it earlier, years earlier. It’s storytelling based on historical research, referencing Shakespeare's Tempest, a play about the "other" and moving from the early days of the United States, starting with the relationship between the colonists and indigenous inhabitants, citing journals and early writings, and moving on to Irish and indentured servitude then shifting to early African migration in the Northern colonies, before slavery was even institutionalized, explaining why and how it became an institution and affected labor in the United States.

     In the early chapters, Takaki focuses on the founding fathers, from a different perspective. He’s always respectful, but he doesn’t hold back regarding their “real” views of slavery, forced labor, or their treatment of the Indians, especially, men like Thomas Jefferson, who suffered a moral dilemma, introducing laws to outlaw slavery, yet, at the same, time, building his fortune on the backs of African labor, while passing laws to take native American lands.

     Takaki includes much about early august Americans that many historians choose to avoid, or completely ignore, especially harsh language leading to the detriment of those they considered outsiders, but, understanding, even the outsiders were here to stay, a part of the complex American tapestry.

     I’m looking forward to the next chapters, where Takaki describes Mexican and Asian immigrants and how they became American, and the unique challenges they faced. Where Africans were forced to come to America to work, often under hellish conditions, the Irish out of starvation and desperation, Mexicans were already here. Later, others chose to cross the border, for whatever reason, much like the Chinese and Japanese, who emigrated to Gold Mountain, only to learn the gold belonged to someone else.

     I’ve always known about Takaki’s, A Different Mirror, but never took the time to read it, until now, imagine, after finding it outside a neighbor’s house. Coincidentally, I’ve been working my way through biographies of the founding fathers, to get a better grasp of this country’s foundation. In today's discourse, I hear so many people say, “The founding fathers this and the founding fathers that…,” many of them, clearly, understanding little about the men who founded the country. 

     Some of the early composers and signers of the Declaration of Independence, Constitution, and Bill of Rights were outright atheists and agnostics, lechers and philanderers, brilliant and progressive, some siding with flamboyant France and others with cold, dark England. 

     Takaki’s book provides that conceptual foundation, and not in a dry, analytical scholarly way, but, as I said earlier, wrapped up in engaging stories about people, based on historical research, often in the words of the historical figures themselves, documented in diaries and letters, as uncomfortable and disconcerting as those words might be. 

     They are part of our history, the history that makes us all Americans, even if there are those who will never accept us, those who choose to muddy up basic historical study with complex concepts, like Critical Race Theory (CRT), a study that has no bearing on ethnic studies. 

     For me, I’ll keep my eye out for books in boxes outside neighbors' homes, especially now that we have so few bookstores in town, and no "used bookstores" at all, another way, I guess, to keep us all uniformed and ignorant.

Daniel Cano is author of the novels Pepe Rios, Shifting Loyalties (Arte Publico Press, University of Houston), and the award-winning, Death and the American Dream (Bilingual Press, Arizona State University).

Wednesday, April 10, 2024

MACONDO CELEBRATES NATIONAL POETRY MONTH


  

From Macondo Writers, https://macondowriters.com

 

 

We are thrilled to announce our partnership with Northern Arizona Book Festival in celebrating National Poetry Month! As in the past, we will be hosting an online Zoom webinar reading, MACONDO CELEBRATES NATIONAL POETRY MONTH SCHOLARSHIP FUNDRAISER, on Sunday, April 14th at 5PM MST / 6 PM CST / 7PM EST, featuring a wonderful lineup of poets including: Rigoberto González, Diana Marie Delgado, Sherwin Bitsui, Yaccaira Salvatierra, Saúl Hernández, and hosted by Josslyn Luckett. We invite all members of the Macondo community to please join us for this special event. Register to attend by clicking 

https://nau.zoom.us/meeting/register/tZIqf-ivpz4qH9KkvnIntYFCgG9q_JWRS6Ro#/registration

 

Please share the link to this event with your network. Macondo would not be what it is without the support of Macondistas and those who believe in our mission. We encourage you, to urge your friends and family as well as your social network to donate to this summer’s scholarship fund for the Macondo Writers Workshop. Your generosity helps us provide a nurturing space for creativity to flourish, benefiting both emerging and established writers working for social change in their community. Since its inception, the workshop has been sustained by the generosity of our membership and supporters. Your donation, whether it's $25, $250, or even $2,500, or a gift of any amount will go directly to support full and partial scholarships for this year’s workshop participants. Our goal is to match 100% of the need-based scholarship requests. 

 

Help us achieve this by making a tax-deductible contribution, here today.

https://securelb.imodules.com/s/1599/giving19/giving.aspx?sid=1599&gid=2&pgid=402&cid=1056&dids=375

 

 If you prefer to donate by check, please make it payable to Trinity University and include "Macondo Writers Workshop" in the note section of your check, and mail it to:

 

Prof. Norma E. Cantú

Northrup Hall 244

Trinity University

One Trinity Place

San Antonio, TX 78212



Tuesday, April 09, 2024

Poets Go On Road to Coronado: Immigrant Hearts Out Loud

Michael Sedano

Half a decade's work organizing the San Diego Writers Festival culminated this Solar Eclipse weekend with the Fifth Annual one-day tent city and classroom presentations on the beauteous Cornado High School campus across the bay from the eighth-largest city in the United States.

San Diego California Skyline from Coronado Island

I look for next year's Fest to grow. There appears to be an active literary community in the region, and a core group of volunteers put on the event. Together, these factors give the festival prospects of a long career.

foto: Alicia Viguer-Espert

A lively tianguis of libros and plática comprised of thirty-six vendors--writers, consultants, publishers--welcomed hundreds of visitors who thronged through the warren of tents. In a marketing stroke of genius, organizers invited registrants (free) to play a tent city game to win an array of prizes including a weekend stay in a fancy resort. The game ensures every booth an equal opportunity to talk to people wanting a tent city game-card stamp. Vendors selling stuff, and making a sale, double-stamped the card.

Commercial marketing aside, the Festival asks a pair of key questions, which drew La Bloga and a panel of poets to Coronado Island on a perfect Spring day:

At the San Diego Writers Festival, we ask two important questions: What if there was a place where all stories could be nurtured and heard? What if we opened up our community to stories from those who have been under-served, disenfranchised, or neglected?

The panel of poets, organized and moderated by Altadena Poet Laureate Emerita, Thelma T. Reyna, conduct an intimate discussion of circumstances bringing each writer to the table today. Writing from Our Immigrant Hearts offers insight into a broader conception of what it means to be a poet and immigrant.

Moderator Reyna opens the panel disputing a reflexive thought common to many people that "immigrant" means destitute Mexicans. 

Writing from Our Immigrant Hearts panelists whose origins include Italy, Venezuela, and Spain, come from middle-class, professional backgrounds. A December presentation included panelist Teresa Mei Chuc, from Vietnam.

On Saturday, each woman's story shares general outlines. Each followed a man in his career to the United States. Now, each lives independently writing lyric or memoir poetry about nature, emotion, and every subject commonly read in U.S. poetry, including but not principally, identity and the immigrant experience.

A chemistry classroom decorated with the Periodic Table of Elements to emphasize natural diversity, has a small audience. It's the single damper on a joyous enthusiastic hour. 

Clearly, festival organizers need to Up their marketing game, because this eloquent and intimate presentation perfectly answers those two "What ifs?" that are said to be a raison d'etre for the festival. 

Perhaps, being so close to Tijuana, Mexico, BCN, the organizers, like Reyna points out, hear "Immigrant" and think destitute Mexicans. The panel and panelists get no coverage in festival literature. I suggest organizers invite back this panel and next year give it the focus the festival's publicity avers motivates the Festival's existence.
Each panelist responds to the Moderator's provocative questions exploring biography, departure, arrival, adapting to language and custom, finding comfort and poetry as American writers. 
Three key Moderator probes generate energetic discussion that leads to abbreviated readings of their own work. By the time the readings begin, audiences have gleaned intimate details of a poet's journey through marriage, divorce, mental health, membership in one's cultures. The panel's focus is not on the readings per se but more so on the impetus and inspirations that characterize a poet's focus. Immigration informs but a single rhetorical motive in the complexities of these poets' imagination.

Thelma Reyna and the panelists recognize the value and importance of hearing these insights and are working to bring the experience to audiences across the Southern California regions. Writing From Our Immigrant Hearts is an important cultural and artistic event. The panel comes together again in a Burbank presention later this Spring, and subsequent presentations through the Summer months. La Bloga will update the new presentations  as invitations firm up.

You can read samples of the Panelists' work at this link. Mejor, be sure to buy a copy of the In-Press Altadena Poetry Review Anthology 2024 (link), Edited by Altadena Co-Poet Laureate Peter J. Harris. The book will be released in a few weeks. Each of the panel's poets has work in the upcoming magnum opus of Southern California poetry. La Bloga will be reporting on the release, and reviewing the collection.