Cicada's Song: a Memoir Luz Hernandez University of Texas at El Paso, [email protected]

Total Page:16

File Type:pdf, Size:1020Kb

Cicada's Song: a Memoir Luz Hernandez University of Texas at El Paso, Hernandezluz1122@Gmail.Com University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2019-01-01 Cicada's Song: A Memoir Luz Hernandez University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the English Language and Literature Commons Recommended Citation Hernandez, Luz, "Cicada's Song: A Memoir" (2019). Open Access Theses & Dissertations. 82. https://digitalcommons.utep.edu/open_etd/82 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. CICADA’S SONG: A MEMOIR LUZ HERNANDEZ Masters Program in Creative Writing APPROVED: Sylvia Aguilar Zeleny, MFA, Chair José De Piérola, Ph.D. Laurie Ann Guerrero, MFA Charles Ambler, Ph.D. Dean of the Graduate School Copyright © by Luz Hernández 2019 Dedication For my daughters, whose light draws me along CICADA’S SONG: A MEMOIR by LUZ HERNANDEZ, M.A. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF FINE ARTS Department of Creative Writing THE UNIVERSITY OF TEXAS AT EL PASO May 2019 Acknowledgements I am grateful to all who have impacted my life. v Abstract Cicada’s Song is a true account of my coming-of-age as a first-generation Colombian-American girl growing up as the only child of two loving parents—one of whom abused me sexually for eleven years, while the other stood by without intervening. Yet the story is not one of resentment, blame, or self-pity. Rather, it is one of identity, self-reliance, survival, forgiveness, and love. Through a series of memories, essays, statements, and poems, the memoir invites the reader on a voyage through my childhood and youth, with stops in my both present-day and recent past, in the hopes that he will see the world—and the individuals in it, including himself—from a different perspective. It seeks to illustrate the point that we all have a past that shapes us but does not define us, that each of us is on our own, individual journey, and that it is up to us to choose our destination. vi Table of Contents Acknowledgements .............................................................................................................................. v Abstract ................................................................................................................................................ vi Table of Contents ............................................................................................................................... vii Preface ................................................................................................................................................... x PART ONE ........................................................................................................................................... 1 Chapter 1 ............................................................................................................................................... 1 Chapter 2 ............................................................................................................................................... 7 Chapter 3 ............................................................................................................................................... 8 Chapter 4 ............................................................................................................................................. 13 Chapter 5 ............................................................................................................................................. 16 Chapter 6 ............................................................................................................................................. 20 PART TWO ........................................................................................................................................ 26 Matter .................................................................................................................................................. 26 Chapter 7 ............................................................................................................................................. 27 Chapter 8 ............................................................................................................................................. 28 Chapter 9 ............................................................................................................................................. 32 Chapter 10 ........................................................................................................................................... 35 Chapter 11 ........................................................................................................................................... 38 Chapter 12 ........................................................................................................................................... 41 PART THREE .................................................................................................................................... 44 Chapter 13 ........................................................................................................................................... 44 Chapter 14 ........................................................................................................................................... 48 Chapter 15 ........................................................................................................................................... 54 Salt Water ............................................................................................................................................ 55 vii Chapter 16 ........................................................................................................................................... 56 I Do .................................................................................................................................................... 59 Chapter 17 ........................................................................................................................................... 60 Chapter 18 ........................................................................................................................................... 64 Chapter 19 ........................................................................................................................................... 68 Chapter 20 ........................................................................................................................................... 70 Chapter 21 ........................................................................................................................................... 72 Chapter 22 ........................................................................................................................................... 77 Chapter 23 ........................................................................................................................................... 80 Chapter 24 ........................................................................................................................................... 83 PART FOUR ...................................................................................................................................... 85 Chapter 25 ........................................................................................................................................... 85 Avalanche ........................................................................................................................................... 92 Chapter 26 ........................................................................................................................................... 93 Chapter 27 ........................................................................................................................................... 96 Chapter 28 ........................................................................................................................................... 97 Chapter 29 ......................................................................................................................................... 101 Chapter 30 ......................................................................................................................................... 108 PART FIVE ...................................................................................................................................... 113 Chapter 31 ......................................................................................................................................... 113 Chapter 32 ......................................................................................................................................... 118 Chapter 33 ......................................................................................................................................... 121 Chapter 34 ......................................................................................................................................... 124 Chapter 35 ........................................................................................................................................
Recommended publications
  • February 26, 2021 Amazon Warehouse Workers In
    February 26, 2021 Amazon warehouse workers in Bessemer, Alabama are voting to form a union with the Retail, Wholesale and Department Store Union (RWDSU). We are the writers of feature films and television series. All of our work is done under union contracts whether it appears on Amazon Prime, a different streaming service, or a television network. Unions protect workers with essential rights and benefits. Most importantly, a union gives employees a seat at the table to negotiate fair pay, scheduling and more workplace policies. Deadline Amazon accepts unions for entertainment workers, and we believe warehouse workers deserve the same respect in the workplace. We strongly urge all Amazon warehouse workers in Bessemer to VOTE UNION YES. In solidarity and support, Megan Abbott (DARE ME) Chris Abbott (LITTLE HOUSE ON THE PRAIRIE; CAGNEY AND LACEY; MAGNUM, PI; HIGH SIERRA SEARCH AND RESCUE; DR. QUINN, MEDICINE WOMAN; LEGACY; DIAGNOSIS, MURDER; BOLD AND THE BEAUTIFUL; YOUNG AND THE RESTLESS) Melanie Abdoun (BLACK MOVIE AWARDS; BET ABFF HONORS) John Aboud (HOME ECONOMICS; CLOSE ENOUGH; A FUTILE AND STUPID GESTURE; CHILDRENS HOSPITAL; PENGUINS OF MADAGASCAR; LEVERAGE) Jay Abramowitz (FULL HOUSE; GROWING PAINS; THE HOGAN FAMILY; THE PARKERS) David Abramowitz (HIGHLANDER; MACGYVER; CAGNEY AND LACEY; BUCK JAMES; JAKE AND THE FAT MAN; SPENSER FOR HIRE) Gayle Abrams (FRASIER; GILMORE GIRLS) 1 of 72 Jessica Abrams (WATCH OVER ME; PROFILER; KNOCKING ON DOORS) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEPPER) Nick Adams (NEW GIRL; BOJACK HORSEMAN;
    [Show full text]
  • Transcript Was Exported on Jun 15., 2020 View Latest Versiun Here
    27-CR-20-12951 Filed in District Court State of Minnesota - 7/7/2020 11:00 AM This transcript was exported on Jun 15., 2020 View latest versiun here.- Speaker 1: [silence] Speaker 1: Before they drive off, he’s parked right here, Its a fake bill from the Gentlemen, sorry. ' Kueng: - The driver in there? - LanerThe blue Benz? . I Speaker 1: Which one? Speaker3 : That blue one over there. Kueng Which one? Lane: yup-yup Just head back In. They're moving around a lot. Let me see your hands. George Floyd: Hey, man. I'm sorry! Lane: Stay in the car, let me see your other hand. George Floyd: l'm sorry, I'm sorry! Lane: Let me see your other hand! George Floyd: Please, Mr. Officer. Lane: Both hands. George Floyd: ldidn‘t do nothing. Lane: Put your fucking hands up right now! Let me see yOur other hand. Shawanda Hill: let him see your other hand George Floyd: All right. What l do though? What we do Mr Ofcer? Lane: Put your hand up there. Put your fucking hand up there! Jesus Christ, keep your fucking hands on the wheel. George Floyd: igot shot. [crosstalk 00:02:00]. EXHIB'T Lane: § 0‘3}?st Axon_Body_3_Video_2020-05-25_2008 (Completed 06/10/20) Transcript by Rev.com Page l of 25 27-CR-20-12951 Filed in District Court State of Minnesota 7/7/2020 11:00 AM This Lmnscript was exported on Jun IS. 3020 - view latest version here. Keep your fucking hands on the wheel. George Floyd: Yes, sir.
    [Show full text]
  • Endelig Nytt Album Fra Marina Diamandis
    Marina - Love+Fear 04-04-2019 17:01 CEST Endelig nytt album fra Marina Diamandis Multi-platina selgende pop innovatør MARINA utgir endelig første del, Love, av sitt fjerde studioalbum, Love+Fear, i dag via Atlantic Records. Love+Fear er to samlinger på åtte spor hver som til sammen blir et album og markerer MARINAs oppfølgerplate til kritikerroste, Froot, fra 2015. Love+Fear kan beskrives som en både frodig, levende og kraftfull representasjon av de to viktigste emosjonelle drivkreftene bak menneskelige responser. Love er fylt med en lengsel etter å nyte livet (Handmade Heaven) og et ønske om å forene (To Be Human). Fear utforsker temaer temaer som er hardere å jobbe gjennom og forstå, som formål (Life is Strange), usikkerhet i kjærlighet (Believe in Love og Soft to be Strong), og store endringer i vår sosiale bevissthet knyttet til systematisk kvinnehat og seksuelt misbruk utført av mektige figurer i media (Karma). Som en kompanjong til Love, viser og utforsker disse ideene de polariserende sidene ved menneskets natur. MARINA har brukt de siste to årene på å skrive og spille inn det nye albumet på tvers av London, Sverige og Los Angeles med anerkjente navn som Noonie Bao, Sam De Jong, Oscar Görres, Camille Purcell, Justin Parker og Joe Janiak. Om albumet forklarer MARINA,"My songwriting has always been inspired and shaped by traditional storytelling and social shifts in our culture. As a society we have experienced such major social change in the past three years - politically, digitally and psychologically. Love+Fear reflects this." Den siste delen av Love+Fear albumet blir utgitt 26.
    [Show full text]
  • Barry Allen Death Penalty
    Barry Allen Death Penalty andUnimbued green-eyed and unabsolved when blues Alwin some never sutures lysing very his tidily scirrhus! and forthwith? Stipular Teodoro sometimes subserve any target foresee hindward. Is Stearn always cureless After getting life in his race, death penalty and served Montano eventually fully educate jurors, as a time portal appearing, but why singh would erase from twitter prove that? The allen because barry again identified tibbs denied basic level to barry allen death penalty. Pelz was allen appears, barry allen is with. The delays when they really change. Team that barry, it was doing two ways could sit as barry allen death penalty provisions are not only. No more than sworn testimony are still be approaching its citizens are naive enough to have a deal for now requires that you who signs a barry allen was seeing. Because of equipment failure and human error, Walker suffered excruciating pain during his execution. DNA test on various hair. Jurisdictions in the United States are slowly learning from these cases, and some have adopted reforms to prevent future wrongful convictions. Nora was here are much difference between attorney general risk of four insights on moving away from erroneous reversals one of barry with states and bias. There more numerous reasons for the delays in the postconviction stage of film review, including litigation over on public records requests made freak the attorneys who represent death row inmates. Jones dragged him while sipping coffee, barry when i have actually innocent. We show concurrency message if death penalty is compromised due diligence and, is eight involved many instances.
    [Show full text]
  • A New Neotibicen Cicada Subspecies (Hemiptera: Cicadidae)
    Zootaxa 4272 (4): 529–550 ISSN 1175-5326 (print edition) http://www.mapress.com/j/zt/ Article ZOOTAXA Copyright © 2017 Magnolia Press ISSN 1175-5334 (online edition) https://doi.org/10.11646/zootaxa.4272.4.3 http://zoobank.org/urn:lsid:zoobank.org:pub:C6234E29-8808-44DF-AD15-07E82B398D66 A new Neotibicen cicada subspecies (Hemiptera: Cicadidae) from the southeast- ern USA forms hybrid zones with a widespread relative despite a divergent male calling song DAVID C. MARSHALL1 & KATHY B. R. HILL Dept. of Ecology and Evolutionary Biology, University of Connecticut, 75 N. Eagleville Rd., Storrs, CT 06269 USA 1Corresponding author. E-mail: [email protected] Abstract A morphologically cryptic subspecies of Neotibicen similaris (Smith and Grossbeck) is described from forests of the Apalachicola region of the southeastern United States. Although the new form exhibits a highly distinctive male calling song, it hybridizes extensively where it meets populations of the nominate subspecies in parapatry, by which it is nearly surrounded. This is the first reported example of hybridization between North American nonperiodical cicadas. Acoustic and morphological characters are added to the original description of the nominate subspecies, and illustrations of com- plex hybrid song phenotypes are presented. The biogeography of N. similaris is discussed in light of historical changes in forest composition on the southeastern Coastal Plain. Key words: Acoustic behavior, sexual signals, hybridization, hybrid zone, parapatric distribution, speciation Introduction The cryptotympanine cicadas of North America have received much recent attention with the publication of comprehensive molecular and cladistic phylogenies and the reassignment of all former North American Tibicen Latreille species into new genera (Hill et al.
    [Show full text]
  • In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
    BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire
    [Show full text]
  • Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
    Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time.
    [Show full text]
  • Emily Jane Brontë - Poems
    Classic Poetry Series Emily Jane Brontë - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Emily Jane Brontë(30 July 1818 – 19 December 1848) Emily Brontë was an English novelist and poet, best remembered for her only novel, Wuthering Heights, now considered a classic of English literature. Emily was the third eldest of the four surviving Brontë siblings, between the youngest Anne and her brother Branwell. She published under the pen name Ellis Bell. <b>Biography</b> Emily Brontë was born on 30 July 1818 in Thornton, near Bradford in Yorkshire, to Maria Branwell and Patrick Brontë. She was the younger sister of Charlotte Brontë and the fifth of six children. In 1824, the family moved to Haworth, where Emily's father was perpetual curate, and it was in these surroundings that their literary gifts flourished. <b>Early Life and Education</b> After the death of their mother in 1821, when Emily was three years old, the older sisters Maria, Elizabeth and Charlotte were sent to the Clergy Daughters' School at Cowan Bridge, where they encountered abuse and privations later described by Charlotte in Jane Eyre. Emily joined the school for a brief period. When a typhus epidemic swept the school, Maria and Elizabeth caught it. Maria, who may actually have had tuberculosis, was sent home, where she died. Emily was subsequently removed from the school along with Charlotte and Elizabeth. Elizabeth died soon after their return home. The three remaining sisters and their brother Patrick Branwell were thereafter educated at home by their father and aunt Elizabeth Branwell, their mother's sister.
    [Show full text]
  • Yadv Entu Re Guides Story
    Stories are used in The YMCA Ad- - Creates a feeling of low-stress STORY- venture Guides program in many enjoyment settings, including meetings, cam- - Makes memories that last TELLING pouts, adventures, and car trips. Stories are both enjoyable and STORYTELLING TIPS educational-they can convey a les- Before telling any story, ask your- son and encourage questions more self these three questions: effectively than more direct meth- 1. What do I want people to feel ods. In this section you’ll learn after they hear my story? more about the benefits of story- 2. What do I want people to re- telling, best practices for present- member from mystory? ing stories that engage and en- 3. What do I want people to be- tertain, some sample stories, and lieve as a result of hearing my sources to check for story ideas. story? BENEFITS OF STORYTELLING Once you know what your purpose We use stories to communicate is, you can begin to tell a memora- information and ideas. In stories, ble story. Settle the audience and words create pictures in the minds set up the story. Devise a strategy of The YMCA Adventure Guides to keep the group focused, use an that, when combines with a moral opening question, a prop, a calm- or value, make the concept easier ing song, or creatively dive into to grasp and remember. If the sto- the story such as a way that all ryteller is successful, great stories eyes and ears are on you. Consid- Y ADVENTURE GUIDES are remembered and repeated. er these factors that contribute to Successful storytelling within a the telling of the great story: YMCA Adventure Guides program produces the following results: Plot- has one central plot in your - Creates a common focus for the story, and keeps it simple.
    [Show full text]
  • Yeah. 'But It's Also Very Personal and Subconscious and I Guess If You
    EXHIBIT 135 WIT.900.020.0144 Yeah. 'But it's also very personal and subconscious and I guess if you were my psychologist or something I would feel a little more uncomfortable with you seeing it, but I don't know if you can see all the stiif.f. I mean because it's very personal. 3rd interview) Some found the experience very exciting: It was really cool because I guess when you first gave it to me I was so excited I'm like "Oh my God, what am I going to take photos op" I was just like trying to like run around and find all these ideas. But then I'm like "No, wait. Get over the excitement and start like figuring out what to do". So, yeah, it was Jim. ; 2nd interview) found it therapeutic and a most useful tool to express emotion and feel in control: It was actually quite good, because I could express a lot ofthings that I couldn't express verbally. Such emotions that I have no control over and kind of taking photos of them, that's kind of like taking control of them, which is good - feeling in control. And it calms me down in a sense. ; 2nd interview) For two of the adolescents, their photos revealed how useful visual material can be in sharing their stories: It's just basically like I can't find the right words to talk about my problems. And as you can see there's spaces in there, and that... Yeah. And I just - it's like for when I'm talking to someone I feel like I can't find the right words to express my feelings.
    [Show full text]
  • November 2015
    (530) 273-4638 www.TallPinesNurserySchool.com November 2015 Tall Pines Tidings Important Dates November 1 Tuition due – late after the 10th, late fee applies. 4 & 5 Leaf Walk in Pioneer Park Nevada City. Flyer to come! 9 Board Meeting 6:30 pm at school 11 No school ~ Veteran’s Day (Yes, it’s a Wednesday!) 12 No cooking ~ Snack parent brings snack 18 SVC/CCPPNS Meeting in Roseville ~ 6:00pm 19 General Meeting 7pm at school. Mandatory for parents & board. 18 & 19 Thumbprint Pumpkin Pies 20 PT Thanksgiving Feast! Bring a vegetable for Stone Soup. Sign up to share something. 23 & 24 Younger/Older Thanksgiving Feast! Bring a vegetable for Stone Soup & sign up to share something. 25, 26, 27 No school. Thanksgiving Holiday and Break. 30 Return to school December 1 December tuition due – late after the 10th, late fee applies. 4 Board Meeting 6:30pm ~ Place TBD 9 “A Tall Pines Christmas”: MW & PT1 Singing Program 6:00pm sharp! Please bring food to share: hors d’oeuvres or a dessert (Please make enough for about 20 people). 10 “A Tall Pines Christmas”: TTh & PTII Singing Program 6:00pm sharp! Please bring food to share: hors d’oeuvres or a dessert (Please make enough for about 20 people). 16, 17 & 18 Christmas Celebrations during class Dec 21–Jan 1 Christmas-Winter Break ~ Return to school January 4th (530) 273-4638 www.TallPinesNurserySchool.com November 2015 Tall Pines Tidings Noted Dates: Nov. 27-29 Christmas Fair (Younger side classroom will be used for Girls Scout Babysitting during the event. January 4 Return to School! 4 Monthly tuition Due ~ Late after January 15th 11 Board Meeting ~ 6:30pm at Tall Pines 13 SVC Meeting ~ 6:00pm ~ Tiny Tots, Sacramento 18 No School ~ Holiday ~ Martin Luther King Jr.
    [Show full text]
  • Manifestations of Interactivity in Music and Their Commercial Potential in the Music Industry’S Contemporary Political Economy
    Manifestations of interactivity in music and their commercial potential in the music industry’s contemporary political economy by George Morahan A research paper submitted to the University of Dublin, in partial fulfillment of the requirements for the degree of Master of Science Interactive Digital Media 2015 Declaration I declare that the work in this research paper is, except where otherwise stated, entirely my own work and has not been submitted as an exercise for a degree at this or any other university. signed: ________________________________ George Morahan date: 15th May 2015 1 Permission to lend and/or copy I agree that Trinity College Dublin may lend or copy this research paper upon request. signed: ________________________________ George Morahan 2 Acknowledgements I would like to thank my supervisor, Marguerite Barry, for her encouragement and firm guidance. I would also like to thanks the rest of the IDM 2014-15 class for the mania we have shared as well as my family for their understanding and support in the face of utter neglect these past eight months. For Lorraine and Stevie. 3 Table of contents 1. Introduction 6 1.1. Definitions of interactivity 6 1.2. Concept definition of interactive music video 7 1.3. Interactive music software within the purview of this research paper 8 1.4. Research objectives 9 2. The literature on the political economy of the music industry 10 2.1. Record industry as music industry 10 2.2. Music networks and diversification into auxiliary industries 13 ​ 2.3. Imagining the future music industry 16 ​ 2.4. Artist vs. Industry attitudes 17 ​ 2.5.
    [Show full text]