As an Effort to Define and Explore 'The Licriaabil\Ot

$As an Effort to Define and Explore 'The Licriaabil\Ot$

. 20001i, "randm° 4.1Or losti,DCaildc I. Chicano BerSpectryesAn Viterature-11'1$Eitical and

AnnOtatid eibliograph7. , 114p.; lot loanablein hard copy duelto. Publisher 10,

preference . :111'AILA1LE PalaritO POlications .P.C. Box 7264 Albegureluf-i Nee Mexico 87104 ($4.50; 30$ discount 2 copies or MOTO 1 imps PRICE MF-$0.83 Plus Postage;pc lotAvail/ale fits .EDR5.. OBSCRIPTdRS Anthologies; Fiction;*literary, Analysis; *Literary Criticism; *LiteraryPerspective; Novels; Periodicals; Poetry; * S ra ni sh",A ie rican, Litetature; * Theseter Arts /bLITIFIMIS *Chicano ,Literiture,

ABSTRACT As an effort todefine and explore 'thelicriAabil\ot Chicano literatare, this annotated and criticalbibliOgraphy provides bibliographical data and critical evaluations an&19dgaents,regardieg the quality, importance, andivimpact of 1,31literary. Ilorke by ' Chicanos. The commentaries are intended to- be taken.ras 0001=4with, the'oblective for promoting critical dialogue arid ccatri4ating Chicano-literary criticism. Entries are divided into:the following categories; poetry., novel, short 'fiction, theatre, anthoingy,- liierary criticism, oral tradition in print,-journal, andIlliterate& Chicanesca" (written by non-Chicanos)a!Sose reflect acreative force while others study and classify it. Cral tradition inpritt. is . included because it still remains a corstant source offoinspiracian' Popular". Among those' verks evaluated arethe literary work* of- Alurista, Rudolfo knaya, Juan Bruce-Novoa, Fray Angelico Chavez, . abelardoDelgado, -Rolando R. Rinojosa-S., Sabine R. Blibarri, Luis R. Valdez, Roberto Loire Vialpando, Floyd Salas, LuisOmar Salinas, Mee R. Tower, and Tino Villanueva. In order to teach boththe inexperienced and the scholar reader, a glossary, explainingthe more technical terminology and literary concepts used in the annotations, .is, included. An author index is also'crovided, along with abrief discussion of Chicano literature in terms of its origin,historical dilemma, ideology, and definition. (Luthor/RQ)

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U S DEPARTMENT OF HEALTH. . EOWCATIOf WELFARE AATIONEL INSTITUTE Of EOUCA TION OTtS InAf NT HAS BEEN REPRO- DU( ED I IA( TI Y AS RECeIVEDFROM THE PI RSON OW ORGANIZATIONORIGIN- ' A TIM-,IT POINTS OF VIEWOR OPINIONS STATE 0 DO NOT. NECESSARILY SENT 011 IC TAI NA TI,C)NAL0INSTITU1REPRE- E OF EDUCATION POSITION OR POLICY.

1 .rEft.SPECTIVES IN LITERATU A *Critical and Annotated Bibliography

Frenetic° 4. Lomeli Donaldo W. Urioste .

-PAJARITO PUBLICATIONS

Talc, z blank, We could like to express our sincerest thanks to the many who help-

ed to make this bibliography possible: .Laura Urioste, Mary Pezzano, Dick Gerdes, Teresa Mirquez, Juan Bruce-Novoa, Gustavo Segade, Rudy Anaya, Rad! Myna, Arturo Tokimante, Rea Candelaria Fletcher, Dino Carlo Candelaria, Adelida Desolina Candelaria Marcotte and loss( Armes.

".. mi concepto a inspiracion de un laberinto chicano en cuanto a la literature. Un libro abierto con las Alines formando rayos del sol que sale del .horizonte," .1 pero al mismo tiempo, el laberinto de la experiencia chicane le da vide y le mfinda como sperms of life from the orgasm of life." Jose Antonio Burciaga Cover Design

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'4 I. Introduction 9 :IL: Poetry 15 III. Novel 37 , IV.. Short Fiction 51 : . V. Theatre . 57

VI.. Anthology ,. 63

I VII. Literary Criticisth 1. I . 71 VIII Oral Tradition in Print , i 79. IX. Joirnal 85

X. Literatura C'hicirnesca 107, ,.., XI. Glossary -4 b 1 1 1 XII. hide* 116 . XIII. Biography f., 119

?affe b/4''k. The Writing of our destiny and the destiny of our writing. Lomeli/ Vries*

INTRODUCTION

Approaching Literature A body of literature remains unknown ,until it is experienced through' a series of stages. Aesthetic appreciation mink give way to :a more reflective and critical reading; otherwise,that literature simply forms an integral part of chaos, lacking form and offering ,an unintelligible meaning. A need for creating a total context then becomes essential so that the reader can identify the unique points of reference that are characteristic of a people's expression: their inner thoughts in written form..

The Nature of Literature Literature manifests vitality through the Written word, thus depicting, in fra ments, the Subconscious part of a people. In this sense, it clearly reflects they forces of a people's inner dimension, be they obstacles, passions, als, or simply flashes of their circumstance. Literiture mirrors the mul- iple personalities and motivations, the small victories and the quiets suffer- ings, the outcries and the anguish existence in its many phases. Literature assimilates all possible experiences in ()icier to'recreate an ciriginitl reality, something as basic as human relationships or as new as in enlightenment. For these reasons, literature is history, economics, psychology,,phliosophy, politics and sociology3molded by the acts of inspiration and creativity into a literary form which ainis to produce an effectthat transcends the limits of merely infonting.

of, ,?9fje 6144 Orig o1. Chicle Literature Chicano literature, basically a coniemporary phenomena, initially de- pended on a retrospectile world-view in trying to rectify the stigma of non - history. Althotigh the Chicano Movement of the Mid 1960's provided this 'literature with an: identifiable classification for the first time, its actual origins began with theldexican-American COnfiontation in the mid 1800'i. Withthe Treaty of quadalupe-Hidalgo ,n 1848,- Mexicans automatically became Chicanos, circumstancially at least because the .term 'Chicano" was not common then. It would only be imatter of time until a people came torealize their marginal historical-economic-political situation (within a territory now a Mental/ spiritual noncountry they still considered to be theirs. The traces of originality in their expression were not perceived right away,

.in part, due to the continuation of enrooted Spanish-Mexican literary traditions. Isolation made-Communication difficult; economics produced a limited readiniptiblicr Anglo occupation changedrioritie -ama cceptablridentity became an issue. If lip-service promises offered legal protection, actual experience: proved. to Chicanos that they were a displaced people in a land which still had theimprintsof their labor. As a consequence, literary expression remained art amorphous body-written by a few. Describing historical, reality as it wag became a dangerous matter, assuming that the conqueredwere supposed to resign themselves to their new position. These circumstances, then, tended to produce lyrical-escapist,unpublishedillintest, nostalgia-filled prose and poittry which too often disintegrated in oldfamily cheits. In accordance with the. spirit of the times, literature was vielid as part of a social ritual and not as an instrument for understanding society.

ef Historical Dilemmas When a people endures the same dilemma for over a century, it tends to internalize its struggle until a more appropriate time. Chicanoresurgence or defiance currently represents an overdue emanationof cultural self. A loss of power and a flexible slave market forced the Chicano to concentrate on immediate needs for survival (food, shelter), whilestruggling to retain , certain traditions. If the sun's rays were not enough toweakentelf-confidence and identity, Anglo schools and legal systems prodded the coup de grace to instill a secondary status. .

10 An Ideology of Many Facie As noted, Chicano literature prior to the 1960's, tended to reflectChi-

, nano realititt without any ideological base. However subtle, 'ideology now plays an important part in the literature because social issues are.treated pot a toys but as elements.with Which to create asocio-political-artistic aware-. ness. A sense of yOMonsibility social and/ or artistic permeattsChicano) expression oVehly or poetically. Although this literature is political in the cultural sense, its prithary characteristic should not be mistaken as strictly political. Instead, politics is incorporated as an element of equal value to aesthetics, philosophy, psychOlogy and sociology.

In the World Mainstream Having become a part of world literatire, Chicano literature relies on a C autonomousosition. It has at least three cultural currents at its disposal: that which is Mexican (a fusion opaws .an g °- American, and unoffidial local realities. In a sense, it attempts asynthesis of the three, or at 1t an eclectic combination. Above all, this literature has ihe potential of exp. 4 ding the concept of a dynamic,buffer-zone expres-, sion, serving as a docu t of the hardships involved in porary 'mestizdje. These mul o 'Willies help establish the foundati of a literature that is a n to I a: ny experiences while it determines its owniden:. tity. As an a uts a ing f eke, it poses a new perspective by further evaluating human periencesfixing the Classical with the romantic, the old with the Sew, the intellect' with the popular; reason with magic, the marginal with the norm, stunrd language with interlingualism. As a threat to con- vention, it proposes new standards 'because traditional guidelines are not enough with which to assess. this literature. Consequently, in a matterof, a short period of ten years, Chicanoliterature has developed to a level of maturity while other literatures have taken centurie

.-A Definition If the question whether Chico o literature exists Or not stands to be a superseded anachronism, its definition still remains a lively issue. Although critics Never define other literatures thematically, those with an infl)exible criteria are apt to apply that distorted, narrow view onto Chicano literature. American literature is written by Americans; Latin American literature is

I I O

.. 4 written Latip Americans;anttititicatO literatureis .wfitten'by Chiantis. Any Limits pun these literatures should be recognized as, impositions. Therefore, dee to ivele coitus* enPqrience; Chicanosare also01Pahlel-t_

Of portraying non-Chi :1mo topics.. But, the unicfnenesit, of!Chicano re"JitY ... is soak that non-Chicanos rarelicapture itlike it ist.Foi this teasonowpro- ; pose shehater's ,efiortif to be termed /heroin/Y, chicane/yea boatelse it. only iippeanto by Chicano.*rherefore, it must be kept in mind that the per- '. spective is from the outside looking in. Thif Per'pectiveloses the spontatiehr Z of 6 natural outnuring of a people's subconscioui throigh the writer's '1 creativity; instead, it beconies a.. calculated,object bfstudy which is valued. &Om a relative distance, th4rs-is,',not lived.,

'Objective. .. As an effort to further define and explore the horizons of a body °Miter."' "7-7------litiarg---Veo er ts annotatata'ITC7'-'Thriw.a iFffip197Arigra lir siiiiinirtiother bibliographies,. we have obserired that their focus is usually on the social sciences with lade or no mention of literary. wOrki. Furthermore, in thectses i7 i where literature isintroduced,many Mexicanworks are passed off as Chi- cano literaturewith the latter taking a "back seat.,,Inasmuch as our literature has flourished independently, we have feltthe need to correct this igap; that is, to. approach an anno red, bibliographyfrom a strictly literary perspec- tivi e. We intend to pro ids traditionalonal annotated bibliographical did'', and t, also to., make critical, evaluation's and judgments regarding the respective work's quality, imPortftnee and impact. The commentaries aie meant to be with, , . taken as opinions the objective for Promoting critical dialogue and Contributing to Chicano literary criticism. .

Contents. The entries are divided into the followingcategories: poetry, novel, short fiction,theatre anthology, literary criticism, oral 'tradition in print, journal andliteranira chicanesca. Some reflect a creative force while others study and classify it. We include oral tradition in print beciuse it still maths a constant sourceof insp iracion popular. In order -t2' reacha more diverse reading public the inexperiencedas well akthe scholar a glossary isalso which explains the ,more. technical terminology and literarycon - ceptsused in the annotations.

12 . , , . May our contributions not only eye you, the reader, anincreased under- 4 standing of the literature's context and meaning, butalso inspire you to further determine its destiny.

&pressing our inner thoughti ,r and our inner thoughts as expression. Utioste/ Loinelt

4 ..nes I 'N _ s.: \ \ \\- p '..=*- r --0- ft Ivik S I "

k S. poh ,)'-r emitto..,71 vat. 41.

Overleaf artwork by

Renee Candelaria Fletcher

13 Alurista; Floricanto en Aztldn. Los Ange- les:-University of California,1971. POETRY Represents a definite landmark in Chicano poetics for revolutionizing conventional monolingual modes: institutes a qew literary expression composed of selective mix- tures of English, Spanish and chicanismos. Bringi about the aesthetic acceptance of this unique expression for the first tune. Book contains Alurista's earliest testimonial po- Aguilar, Ricardo. Cara liana enlutada. Me- etry between 1968 and 1969. Reflects his xido: Ediciones Pajaro Cascabel, 1975. creative participation in the tumultuous years of the Chicano Movement. The same As a resurrected fragment of Latin Ameri- poetic voice speaks, about a new awareness can Vanguard poetry from between 1920- S from a revelation: "me habl6 en el suefio / 1960, Aguilar meshes academic literary in- el pajaro tenoch." (p. 11) This voice serves fluences and movements into a personalized as a regenerating force for his people, seek- antipoetry,declaring a supposed inde- ing to revitalize mythological elements of pendence from them. Combines disperse culture. Adopts a total indigenous world- elements such as plastic symbolism, play viewinsearch of that which on words, coined phrases withmodifica- isauthentic.Poet wants torelive tions, an obscure absurdum, scientific anat- Amerindian cultural values, rediscover the omy terms, blasphemies, albures,picardias, teachings of Aztec wisemen (tlarnantini)and a poem in Portuguese, adialogued poem, involve himself in Aztec artistic symbolism. French expressions, invented words and Withthisindigenousneo-classical ap- autobiographical notes. Basically follows a proach, Alurista challenges the alienating, chronological progression, first recalling a contemporary world by offeringhumaniz- comforting past, then dissecting and mocking alternatives. Floricanto is a Nahuatl ing a farsical present. That which is sacred aesthetic concept which views the worldin is in mere memories. In a symbolic caravan, dualities instead of opposites. Beautifugi in mourning, he witnesses a social process in illustrated with siXteen original linole the direction of superficiality and hypocrisy. cuts done by Judith Edith Hernandez. A lack of punctuation emphasizes a poetic stream of consciousness. The poet criticizes NationchildPlumaroja. San society, depicting himself narcissistically as Diego, California: Toltecas en Aztlin the counterpoint to it. Admittedly, his po- Publications, 1972. etry means to bt more within contemporary Mexican literature than Chicano; however, Poems from 1969-1972 professing cultural if the expression is essentially Mexican, the nationalism in terms of a mestizo intra- world-view can be considered Chicano. nation called Aztlan. Poet faces the task of

17 14 POETRY

building and extending the chicanismo he to Spanish more than ever before, and often diSeavered Floricanto en Aztldn. Less whole verses in Indian dialects. Formal ex- Concerned with criticking dominant society perimentation takes precedence: .where his beatnik the focus is inward. While is the poetry was once meant to be heard, it now act of creating, he pleads that his pelople be must be read. This explains the use of calli- 'allowed autonomy: "let the barrio / be 'a grams. Short, rhythmic verses give his art barrio, barrio, barrio,/barrio and not movement and dynamism. Aspires io create blood sweating colonia." (poem #1.1 of "ser- Amerindia by combining opposite forces in piente" section} This is essentially inciting hopes of reaching a duality: "floricanto," poetry from a religious attitude, not Chris- or matter (a just human condition) and tian but cosmic and indigenous. That ex- spirit (the myth). Book expresses the general plains the metaphor-filled expression be- sentiment that now is the time to anticipate cause Alurista thinks in images andsymbol- the coming of a new era. Illustrated with ism powered by a drum-like rhythm. Also woodcuts by -Cesar Agusto Martinez. features the fusion of a ttythic indigenous heritage with contemporary elements. La- ments the current crisis in which the Chi- cano finds himself: a "labyrinth of scarred hearts." ,(poem #6 of "serpiente" section) Book marks a step forward in his elcperi- me ntalstyle, offering neologisms which con- Alurista and Jorge Gonzilez, editors.. El struct new Chicano linguistic dualities/ ombligo de Aztldn. San Diego, Cali- dichotomies. Illustrated with line drawings. fornia: Centro de Estudios Chicanos Publications, 1971. Timespace Huracdn. Albuquer- que, New Mexico: Pajarito Publica- Early Movement poetry 'whose main con- tions, 1976. tributors are students from Alurista's creative writing clasSes at San Diego State Still desirous to establish and experience the University.Essentially accusatory social resurrection of Amerindia, a nation to be poetry with a three-fold purpose: conderfin- ruled by humane, indigenous vilki Alu- ing injustices, exploring new avenues of ristais occupied with myth- ing by expression and asserting a nationalistic further returning to Chicano origins. Poet identity. Most poems revolve around two immerses himself in the common act of central themes: liberation and carnalismo. living of his people in order to show their This book marks a unique effort in return- inner strength. His expression now becomes ing to an original point, an eterno retorno, 'lyrical,attimesstrictlycontemplative, in search of our origins. Alurista's system alongside, accusatory, almost rhetorical, na- of symbols obviously permeates through tionalist poetry. The power of: dialectics most poems due to the persistence of in- compels him to be specific aliout, a class digenous elements. Drawings parallel poetic and cultural struggle. Interestingly, resorts themes.

18 15 POETRY

nueva vena, poesiambula.. A ." tends more 3.010., Arturo Silvan°, David bard* and toward the social than the personal, affirra-, $11100110 madpr. Portals*. And This Is ing a woman igentity_wille supplicating a What Weltditi LubbOck, Texas: Tru- liberation from traditional roles: "CHI- ck* 'Publications, 1975. CANA I crea tu propia palabra / tu esencia Poetry and prose selections by three authors TU /.../ y rompe / en extasis furiosa haz , originally used for introducing chicanisrno garraslos cordons de los initos." (p. 24) to new students entering the University of All poems are written in refined Spanish. Color*. Primarily utilitariah art in order to instill a socio-political awareness. Treats Chavez, Fray Angelico. Clothed With the time-worn thought& that lack novelty for - Sun. Santa Pei New, Mexico: Writers' - 1975. Although Hoban shares a dim view of Editions, Inc., 1939. the present, he envisions hope in the future: An early poetry pub/ication by a Chicano . "I look to tomorrow for I have faith." (p. priest'who is efortied more with existence 36) Garcia looks for purification and au- in spiritual terms Other than with material thenticity in nature and indigenous origins: use your Indio in- living. Manifests the universal .intereit in "Now is the time / the beyond through lyrical, contemplative stincts, and / survive." (p. 42) Pottales pro- poetry. Tendi to use rhyme and traditional fesses to reveal truths: "I write the truth; / it does not matter whether I'm wrong or verse -forms. right." (p. 57) Also included are two of Por- Eleven Lady-Lyrics and Other ,tales' short stories: "The Defendant" dealing with the insensitivity and bigotry of Poems.' Patterson, New Jersey: St: juvenile court officials and "Petty Justice" Anthony Guild Press, 1945. a parable analogous topolitical thievery. Selections unfortUnately sacrifice aesthetic Unique poetry for its almost anachronistic qualities: breathes a Spanish mysiticism but qualities for immediate ends. written in English. Highly lyrical and religious, these love poems aspire a union of Cardenas, Margarita Cola (La plonqui). soul with divine forces. Stands to be an iso- Noches despertando inconciencias. lated case of pious expression in the tradi- Tucson, Arizona: No publisher, 1975. tion of. Sor Juana Ines de la. Cruz and San Low-key Chicana poetry poWered by a pro- Juan de la Cry. vocative female sensitivity. Poet master- Selected Poems. Santa Fe, New fully selects few connotative words to con- dense the maximum in ideas. Divided into Mexico: The Press of the Territorian, two sections:1) in "Desveladas tempra- 1969. nas." narrator is trying to find an authentic and everlasting love; although filled with A collection of the poet's previous poetry. anguish and desolation, a sense of compas- Exemplifies his diversity: religious themes, sion permeates; 2) in "Y de repente, en una lyrical pictures, 'spiritual preoccupations,

1G POETRY

eitistentialmeaning, mystical .1 ve,etc. ChicanO: 25 Pleces*aChicano Mines Spanish mysticism with B tish and Mirid. Denver: Bark) PublicatW. American lyrical traditions. The poet is 15069. moved more by inner beliefs than by social reality. A collection of farnMorker oriented prtry representing 25distinctrealities. Short poetic manifestos that attempt to awaken a Delgado, Abelardo. .Bajo el soh* sense of compassion for the downtrodden. 25 soles de Abelardo. El Paso The wide range of messages are in favor of Barrio Publications, 1973. vindicating human dignity and social justice. Also captures the essence of many cul- Thought-provoking poeps that comprise tu4l concerns such as Male and female so- various themes from personal experiences, cialroles, Chicano institutions. (comm.. to MoVimiento considerations. Contains drazgo, the Virgen of Guadalupe), a sense of many lalolsmos with the purpose of present- belonging to a land. Contains two famous ing a panpramic insightinto,multiple inci- poeMs: "El barrio" as a personification of dents. Through generally light messages, a diabolic, human-consuMing place; "$tu- Abelardo converses with the reader with a pid America" which pleads with dominant great. deal of intimacy. Makes the reader society in taking notice of Chicano artistic feel like an old friend with whom he shares potential. Usually very conscibus of form a common bond. The poet .makes his pres- ',by resorting to the use of popular versifica- ence felt in his poems, projecting autobio- tion and rhyme. graphical notes with candor. His question- ing of things serves as a vehicle with which to It's -Cold: 52 Cold Thought- instill sincerity and true social awareness, Poems of Abelardo. Salt Lake City: seeing the power of pure rhetoric with Barrio Publications, 1974. Gives advice as if he has had a revelation:."ya no quiero escribir / de lo que veo Seen as a wandering troubadour, the poet sino de lo que sueflo." Develops an inter- compiles impressions inspired from his esting ars poetica in viewing the poet as many travels. Poetically structures an ex- someone, who sees through things and then periential road-map through quixotic re- proceeds to function as amirror of truth for flexions. Chica,niza all that he sees while others: "poet / mirror interprets / what's not viewing it in 'collective terms so that the fu- there / visible to the unpoetic eye.' / ... and ture may provide a universal Wermandad. makes it stand still on paper / for the slow, Poetry moved by a strong sense of altruism the non poet / to come and stare at / as long and ethics. Messages reflect a profound sin as he / she" wants to." (n.p.) This collection cerity and compassion in treatment of sub1 of poems demonstrates many natural com- ject matter. Becomesconscience of huma binations of Spanish, English and their condition and justice for all (not just Chi- variants in common speech; uses them to canos) so that both oppressor and oppressed their maximum. will be liberated. Love is his weapon. Not

20 POETRY

all poetry is social protest. Combines prose mundo "Tigre" Perez, Ricardo Sanchez and poetry: more prosaic poetry than poetic and-Juan Valdez (Maidaleno Avila). To- .pt+bge == based on ideas, notlinagesA mul- . gether form a manifesto of nationalist poe- Opacity of experience allows poet to' ex- try whose purpose is to attack and sensi- periment with diverse techniques (rhyme, tize dominant society to its destructive role2 free verse, one-way conversations, and use in relation to Chicanos. A definiti angry of proverbs). Also included are considera- tone pervades throughout. While poetically tions on poetic inspiration and criticism. documenting police brutality the Los Most thought-poems are written in the first Angeles Moratorium (1970), laRlo ac- person, at times serving as the spokesman cuses American society of beioverly stif- for-many. Discloses a self-portrayal of per- ling, bureaucratic and dehu d. Tigre sonal likes and dislikes and Moyement con- -feels It should weep in shame for hiving tributions.Abelardo evaluatesdifferent perpetuated' hate and discontentment: "Cry facets of 'current Chicano cultural trends. white man, plain tears are not enough. / At times, he criticizes Movement activities Cry, cry blood, cry red tVerythIng you hate and its dogmatic tendenciei. Expresses an ..." (p. 22) Sanchez calls for the secession expanded concept of Chicanismo: ". . . I of Aztlin ffom the U.S. and indicts the thought about our slogan 'Dentro de la latterwith desmadres. Avila "'condemns Raza todo, fuera de la Raza nada,' and I democracy., labeling itssister, justice, a almost wept because it implies nothing more whore. Overall excellent examples of revo- than a prison, a limitation and that is a can- lutionary poetry reflecting early Movement tradiction to the Chicano spirit." (p. 92) fervor.. Abelardo here continues to be vibrant and simply good. De Hoyos, Angela. Arise, Chicano and other poems. Translated into Spanish Reflexiones . n.p., no date. by Mireya Robles. Bloomington, Indi- ana: Backstage Books, 1975. v... Prosaic poems of an intimate nature, ranging from solitude and disillusionment to An excellent bilingual edition of social pro- spiritual suffering. Also exalts the mother test at its best, with philosdphical overtones. figure and puts in ballad form the triumph Poeticizes an tthnic ideology in humanistic of a Chicano mayor. Not as moving 85 other_terms. Expresses the general lack of under- Abelardo poetry; at times too prosaically \,\IItanding between two cultures due to basic personal and trite. ltural differences, economic factors and modern technological sterility. Her rebel- Delgado, Abelardo, et al. Los cuatro. Den- lious state of mind (discharges a subtle but ver, Colorado:BarrioPublications, strong ironic tone; at times inciting, other 1970. times comforting: The outstanding feature is the choice of language (both polished and A unique collection of some of the earliest precisely poetic): for example, "In your mi- o prote,st poetry by Abelardo Delgdo, Ray- grant's world of hand-to-mouth days." (p.

21 POETRY

a) Deeply Concerned withmerican so- Sekccionis. Translated by /di- Sift hams. taken a detofrom what it reya Robles. 'Xaltipa, 'Veracruz (M6xi- ailmuld, be: "Perhaps somay I shall ac- co): Universidaa Veracruzatia, 1976. .cittitom myself / to thic.m nd field out /. in eternal supplication, beig content / with compilation of fine melaiicholic poetry the lefi-overs of a greedestablishment." which defines the poet's world-vieyi. Gener- (P. 29). This Chicana poetasterfully mani- *ally pessimistic in tone, the poetic voice con- feats, her internalized. sgale with great stantly addresses itself to Life, depicting it sensitivity and poetic talnt. Mireya Robles' as a "mortal trap" permeated by emptiness, - translations are faithfI totiltoriginal illusions; misgivings, injustice, brutalities, poems; and pain. Sees art as the only means of ob- tainink perfection and happiness, consider- - ing it, an eternal fountain of truth and love. Also reproaches American society for its Chicanooems for the Barrio. hyperbolic dependence on commercialism Bloomington, Indiana: Backstage and for its deafness to the pleas of those in Books, 1975. need. St5ilistically, the metaphor serves as the fundamental structure to ithe poems, This excellent Chifana poet manifeSts her thus creating a metaphysical and philosoph- innermost concer s in trying to .preserve ical poetic atmosphere. Irony often provides her people's tradit ons. A tone of lamenting an added spark to the critical message. A persists in most oems because she recog- captivating seriousness _pervades through- nizes a desperasituation: "I was born out which requires a reflective reader. This too late / in a la d / that no loilger belongs collection exhibits another prime example to me." (p. 4) De pite a cicallenging attitude, of Chicana expression effective in universal- she sees herself arrying a "nameless grief:" izing the social message. "En tierra de gr ngo / vamos poco a poco / sepultando tod ." (p. 8) Of an accusatory nature, mostoems are aggressive manifestos depicti g social ,conditions as they are. She deptes the assimilation demands "I was horn too late by Anglo soc ety. Her poetry represents a defense of ret fining an ethnic identity. Her in a land Constructivehellion easily eludes the dog- that lid' longer belongs to me."*. matic becaus she offers solutions: "1 must . - A N k LA DE IlOYOS wait for the c nquering barbarian / to learn the Spanish word for love:/ hermano." .(p. 5) Poet's outcries of grief expose social evils and suest hope when they are cor- rected. Mix's Spanish and English natur- ally.

22 19 POETRY"

a% De Leon, NepMali.Akan°Poet. Lub- Cultra14.blInclness. The affirmatibn of a self jboa,' Texas: Trucha (Publications,' (proudly) rejects acculturation into tke 1973. N mainstream of Anglo society. With the lait poem "Camino clt perfeccion," tAR final A bilingual edition of poo filled with fan- effect should be cathartic, implying that the tasy, persistent pia tic imagery anfl external . Chicano reader reevaluate this road to find-. sensuality. Neph s aesthetic obje'ctiveis ing himself and thus seek an extra-literary to demonstrate whit it means to be a Chi- solution. "Camino ,4e perfeccion", repre- . cano poet: free7flying with all life elements in effect, another "beginning" in at his disposal: "A cosmic vagabond am I / a s rch of more authentic values iti contrast deielict in space." (p. 31).His bestpoem,"A to predominant plasticity in modern Atheri- Coca Cola dream," s aisurrealistic mockery can society. Elizondo masterfully captures of commercialism. Book's effect is greatly a people's expressive traditions: playfully enhanced by flamboyant, surrealistic draw- Mocks death, devalues machismo, satirizes ; ings or.images that clearly.show the author's macrosociety's attitudes. In keeping with artistic, talents.. il 'Ibis epic ,tone, language becomes progressively less formal into a variant of Chicano Elizondo; Sergici. Pert s y antiperros: Una, speech. Does not appeal to traditional epical . dpica chicano. En h arislation by heroism to be convincingly moving. Gustavo Segade. Berey, California: Quinto Sol Publications, Inc., 1972:- A series of poems with a thematic sequence that together form a poetic landmark as a Flack, Seth Alexander, editor. Menudo. ,Chicano epic. The titlesynthesizesthe El Paso, Texas: One Eye Presi, 1972. dialectital nature of a logg prvess of con- A pamphlet anthology on poetry with con- tradictions, detours and opposing elements tributions from both Chicanos and non- ("we" Vs. "they ;" "yesterday" vs. "toflay;" Chicanos. Included are: Abelardo, Philip "spiritual" vs. "material"). A vital trans- Ortego, Carlos. Morton, Ricardo Sanchez, formation is manifested: an emphasis on Betty Lujan and Guillermo Contreras. Al- oral tradition or legend becoming the writ- thougheroticismpredominates, themes ten word; the anonymous or supposedly deal with nature!, love, Chicano identity, the ahistorical becoming history. Structurally, woman, etc. Eroticism tends to be more vul- each poem constitutes a piece of mosaic gar than aesthetic; often too shallow. Gen-. which, as a whole, projects a personal dis- erally weak poetry because it gives in to covery of identity that parallels acollective easy prosaic expression. The only possible trajectory. A poetic voice functions simul- highhts are1icardo Sanchez' "Mujer del. taneously as.object and symbols;,he retells barrio age to the Chicana, and Philip his own experiences and those of others. Ortego's "Hijos de la chingada," an exposé Poems serve as a mirror for self-criticism of cultural identity. and as an "awakening" to former shame and

23 20 4 POETRY r

Gabby MIMI* T. Clam ernes: Ma- creative 'act.Together, these two poets Psita.Poetry. Mitmeapo, Minnesota: reflect the liberty, taken by many Chicano Chicano Studies, University of Minne- poets to deal with virtually any subjest, sota, 1975: mixing small Chicano notes with universe] concerns.. A selection of carefully worked poetry, filled with -satire and critical irony. Its division Garcia, Ricardo, Selected Poetry. Berkeley, consists of five parts: "Chicana Themes" is California: Quinto Sol Publications, dominated by a pro-feminist, anti-machista Inc., 1973. position which promotes Chicana liberation and partidipation in the revolution; In these 46 poems, the objective is primarily poems in "Blasfemias y moralejas" satirises aesthetic: the poetic act of creging becomes Christiana values and American ideals, for the main concern. Employs a hermetic, per example, _criticizing ,t he .Amet lean 'double- sonar code of imagery. Garcia's travels have standard policy and mocking certain Chi- contributed to a broad world-view, provid- Cano types;-"Rural Mountain Valley Scenes, ing him with an extensive experiential reper- Azthin, Colorado" contains autobiographi- toire. Experience is reduced to a conveyor cal poetry reminiscent of eTkperiences in the belt of images, filled V h dreams and frag San Luis Valley (Colorado);."Love poems mented faIntasies. Esta ishes a parallelism: to a Pinto" tenderly reveals her love for Jose consciods vs. subconsc us and sea (amor- Gaitan; and "Poesfa B.C. (Before the Chi- fous) vs. earth (concrete), whose focus is cano Movement)" presents poetry of a uni- that buffer zone of the indefinable. Con- versal nature depicting traditional themes. verging point of extremes gain meaning. A Written in 'Spanish,- English or combina- general lackof, punctuation gives each tions thereof, most poems reflect an intellec- \erse multiple significance and independ- tual Chicano perspective. ence. Realities" float as "n dreams. Highly, polished,low-key, no - Movement, poe- 4amboa, Reymundo and Ernesto Padilla. try. Departing from tothers, last poem and Other Remnants. ("Gregorio Cortez "} - Contains a social mes- The BabyChook sage of constaiffpersecution. Good example Tempe, Arizona: Other Voices Pub- of Chicano poetics of the universal trend lishing House; 1976. seeking to experience the cosmos through internalization. A collection of poetry by two Chicano poets. Reymundo Gamboa prefers the reflective flash technique which is rarely profound, Gomez-Quinones, Juan. 5th and Gran* but simply a segment of life. He often de- Vista. Staten Island, New York: Edi- pends on flat wit with which to create a torial Mensaje, 1974. lyrical image. Ernest Padilla relies on the metaphor to give an impression of Sensi- Gomez; Quinones ipoeticizes the four per- tivity. His innovative spirit lies in a desire i8ds of his persotifil evolution by following to make poetic comments on art and the a backward progression through time. End

21 POETRY

.t . *, 41. result is an ideolOgical definition, of himself. , . .. e : _ The prologue titled "Canto Al trabajadof' 3.0 ,establishes the tone of a soclo-PolltiCal .,fir. manifesto, but the other OM. partS PrefleCt . divergent tendencies and experiences in the 0.1 :0. tat making of a Chicano poet: "The Ballad of dr Bill Rivera" pertains to the epic genre with 11. n interesting mixture of corridor, Mexican lk songs, Nahuatl phrases, and curteM Chicano realities. "Series R" deals with lyrical love poeMs. "War" series experivnts with various forms for examplediaiku.r)

and a variety of themes (political, barrio , identity). The final part, "Noniense and Exercise," is really the starting point of the poet'sidentity and awareness.' Gomez- Quiftones attempts to demonstrate how chicanismo is the result of two..,eultural forces at a cross-road, ./Gonzales, 'Rodolfo "Corky." I am Joaquin'

ioee. Yo soy Joaquin. New York: Bantam . Pathfinder Editions, 1972..

An epic poem depicting the Chicano heroic- ally from his indigenous-Hispanic roots to , his contemporary circumstance. Utilizes a , literary technique Of portraying a collective self in the process of its historical gestation. This self obtains a self-understanding by exploring its own, history, thus seeking refuge in its inner. strength. Encompasses' a fusion of symbolic paradoxical elements L./ (for example, Cortes and Cuauhtethoc: oppressor and oppressed) in order to create an accurate representation of Chicano me.-. Resurrects a forgotten mythology in quest for ,identity and pride; reconstructs, a people's self-image. An historical manifesto universalizing struggle for cultural, survival while establishing Joaquin Morrie-

22 RQETRY to tut a unitinely ,Chicano synkbol of resist- for itself.. With regard to structure, an in- dinCe. Csinsidered to be by Many a type of sistent effort to make verses rhyme eMpha-t, poatie Bible for its oratorical t8ne of protest. sizes form more thancontent,,Excellent 1§sn- Perhaps the first great work which sets a artwork is .done by Jose Antonio Burciaga. precedence for subsequent Movement poetry. Originally published in 1967'as a bi- `Herrera, Juan Felipe. Robozos of love I we lingual edition by the Crusade for Justice have woven I sudor de pueblos / orfair in Denver, Colorado. back. San Diego, California: Toltecas en Aztlan Publications, 1974. Gonzales; Sylvia Alicia. La chicanes piensa. This is dawn lyricism in a beautiful series of No publisher, 1974. chants announcing the creation or "Renacf- miento revival" of a nation asserting itself, A Chicano's social-cultural conscience Anierindia ("ancient vientre of dawns to- through poetry, 'short fiction and essays day"). Thetur melodies of the title are (or a mixture of any combination). Basically interwovento a symbolic rebozo in show- consists of a mental journey as an explora- ing a people's laborious efforts in re-estab- tion into mind, soul and heart. The book's lishing harmonythroughthe sacred act of ,uniqueness is not to be confused as a strictly a new blossoming. The poet seeks to en- feminist approach, but rather how Gon- compass a sort Of mystical. experience in a zales develops her, woman identity into an coynic whole by uniting dualities (seffor- expression of universality. If her personal senora, wind and rain, love and energy, history is divided into six stages (as is the time-space). Nature provides the vital con- book), her woman identity is divided into tributing' force to ,accomplish the goal: a three:first, understanding her indiliidual# new cycle: Herrera avoids the mere intel- self; second, relating it to a collective self; lectual exercise by stylizing, his poetry with third, becoming a symbol of thepai,wo'ni- simplicity, and affection. .Goes beyond the aniiThrough an open, introspective'process, limitations of conventional language (Words becomes aware of herself as a person, and syntax) creating neologisms (for' ex- a woman and' an artist. Gonzales not only . ample,"calaveralmas"),non-redundant thinkiii;she feels. A philosophical tone per- combinations of Spanish and English ("a sists 'iti. the act of self-discoxery, conse- celebtat woven brazos branches ramas"),,,, quently making her findings more intellec- echoing constructions ("raza rise / RAZA-' tual than experiential within the context raiz") and innovative calligrams. Meant to that the poetic 'voice reveals no physical be an open book with no real beginning or suffering with regard to immediate needs 'end, no page numbers, no titles, but cer- (food, Ocher), but does expose a mental/ tainly with an upward movement. Captures spiritualdissatisfactionwithtraditional the flowing vitality' of an indigenous spir- roles and values. Book represents an affir- ituality and cosmology (especially Huichol, mation. of womanhood, not by attacking and Tarascan)' Cornriipnicates the expe: arc I enemies but by an introspective rientialsensuality, that. indigenousele- reply lion of a woman's self speaking

C POETRY

i menu provide. The illustrations are in them- Re' eals a rich source of creativity through selves poetic ealligratna. . all unknown authors.

;AlgaSpace Flutes'and Bartio paths. San Diego, California: Fran- Menthe M., Miguel. Loscriaderos huma- shen Printing Collective, 1972: nos (epicale los desamparados) y huaros. Tucson, Arizona:Editorial An intense poetic production fromthe view- Pieregrinos, 1976. point dfan ex-heroin addict. Outstanding feature isa surprising, complex, free-asso- Divided into twopoems, the first represents ciated imagery that rapidly flashes Chicano a poWerfully poetic epic abqut the under- barrio realities through a psychedelic prism. dogs called Humillados (humiliated ones), Producesan effect of dazzlement as a barrio A roaming. Poet, in trying to find; himself, spirit plies freely through the infiniteextern looks for his roots and his essence in the sions ofspace. Bitterness often gives way to desert' In the midstof confusion, not know..` sensual tenderness Kirack incorporatesva- ing where he has been or where he is going, rious exotic fantasies such as dragons, he knows sonliething for certain:: "Solo se / witches. and pharaohs into a Chicanocos- que he Ilegado / a donde la tristeia es reins mos while walking the streetsofa San Diego ,/ y soberana la miseria." (p. I) Despite his barrio"lost amidst a sea of one-one -way signs." search away from modern alienation, he Brilliant images of hallucinations transform ironicallyfinds himself in a parallel sittiii: an ordinary /world into suprareality. Ex- tion by encountering human breeding places presses an aversidn toward a cOrrimercial- of Humillados run by a group called Ripifla ized culture that has placed a priceon (meaning plundering) and their her identity. Kirack's image-trippingpenetrates calledAgiiij6n I (meaning spur unrelated details of life in search ofa mean: Mendez herecreates an allegory_9fexploita- ingful existence.IIItrated by numerous tion. Narrative voice finally leaVes this in- sketchis and drawins by Mario Acevedo fernal' place and dialogues with the desert Torero, cacti, Realizing that his destiny is to be found pinecniaatlulyrei nPPoetrysiescroicnhly metaph%ical, es_ Mendez, Larry and Lloyd Mondragem, r Ysecondpoem tit4ed "Sa_ editors. Expressions and deas/ Expre- huar s," where the, poet asks, the reader- siones e ideas. Salt Lake City, Utah: tOuri t to join him into entering the couAtry n.d. of t,sahuaro cacti. This poem is distinctly t best lyricil personification of the desert A student publication from Abelardo'scre- *ainbient iin Chicano literature. Imagery lit- ative writing classes from the University of erally comes io:life. The wandering Poet in Utah. Represents a year'scffort inexpress- the end finds his identity in the land of the ing the' many facets and dimensions of fjora: "Estatierra / este paisaje / todo es' Chicano experience. Reflects Abelardo's in- Aztlan / con 'el alma, universal del indio." fluences for the multiple poetic messages.essages. (1). 8) ) ( 27

,2 4 POETRY

Mootoya, Jose..t1 sol y los de abajo and ocherR.C.4. F. poems.San Franciaco; fidiclonealtocho.Che, 1972;

MOveMent poetry filledwith bato locosatire where nothing is sacred except the "awakening" to his true identity. ,Reaffirms a ChiCano-style. existentialismincontrast to an alienating Anglo world. Montoya liticizes the Catholic Chur,ch and its agents aneffortto discard unwanted elements froM Phis culturial. identity and mehhwhile -searches for atjthcaticity in Aztec symbols and barrio people. The tjtle constitutes a very real paradox: a people's seeking the maximum goal (the sun) while social forces 'oppress them. The poem "El sol y los de sib*" is an epic cif ,the underdogs, reiriin-., lacing about better times in the past. Strange arrangement by having two books in one: simultaneously published with Alejandro Murgula'sOracion, a la mono poderosa, the. latter illyg distinguished from Mon- toya's by be ng placed upside down. Mora, Ricardo.The Black Sun.Lubbock, 7" Texas: Trucha Publications,Inc. 1975. Composed:during the poet's incarceration in the Colorado State Penitentiary,' these ,forty-iii poems vary in theme .from, love and hate to Movecment concerns; in attitude 'from. tenderness to blatant anger; in tone froth joy to profound solitude. ThrOugh such 'pondar, diversity, Mora projects a completenes an essence of personal,tOtali- ty:."I am I. 41) He realizes that he can depend on no,e but himself; he fully comes to grips with himself. Time is one of his major thematic concerns,:. 'doesn't allow time to conquer him, instead he defies it.

28 POEIFRY.

Deprived of freedom for over twenty yeari, woman. Views woman, like earth, as siver his poetic will tranieends prison; walls. The of life, find children as hope for the future. title, The, Black ScM; ilea metaphor describ- "Stations or,the. cross-roads /never-tor-- ing the meaninglessness and nothingnes gotten paths" explores the hardships of her 0( being while in prison: Refers to an .1)1axican" son, born of.two cultures. In-. state of being. Paradoxically, he etc:- corporates songs, coined sayings and poetie, ates his own.suri. Uses blunt and uncirna- exce-rpts to create hybrid poetry. Supporti mented languege'with force, either allSpinc and supplicates Chicana activism: "Quere- itih or all English. mos la formula / iiqueremos justicia!! / La mujer en pie de lucha: iiY la hora es ya!!" Moreno, tkorinds. La mujer es la tierra: La (p. 28) _Book is effectively illustrated by tierra de. vida. -Berkeley, California: drawings and photography. Casa Editorial, 1975. Morton, CarloS. :Whitt Heroin Winter. El The central focus of this free verse poetry is P4so, Texas: One. Eye Press, 1971. On the woman. Affirms a feminist liberation ideology: "SAy mujer de la 'Rai" / ,A'series of urbanoriented poetry filled with luchen por nuestra causa / Acaben con symbolism representative of chaos and vio., la rhiseria de la' dualidadI" (p. 5) Suggests Icnce. Reveals many- autobiographical: that Chicana4 take Sor Juana Ines de la ,.notes. Rebellious narrator recalls personal Cruz as an example of an -emancipated experiences as a journalist in Chicago 'and

24 POETRY

a student at El Paso, Texas. By the title, he intimate perceptions with a delicate and refers to social and cultural genocide caused mellow style. Divided into three pins, book by Urban renewal: "THEN CAME URBAN is generally limited to traditional topics: I) RENEWAL./ and it descendid upon our the section titled "Love poems" deals with community like death / like a white heroin many kinds of love; 2) "Hospital poems" winter." (p. 5), Written almost entirely in satirically ia the hospital as a house of English, free verse poetry displays binary death and po ns religious matters; 3) "A imagery, both violent and tender. Compares soft tongue s11 break hardness" treat& the decadent urban scene with' the more other traditional topics such as war, life, humane rural setting. time, family, unjust laws, etc. Ochoa essen- Oally demonstrates how love and faith are Muria*, Alejandro.°radon a la mono Effective instruments of struggle. Written poderosa. San Francisco: Ediciones almost entirely in. English. Pocho-Che, 1972. Perez, Raymundo (Tigre).Free, Free at Poetic sighs of relief from experiencing Last. Denver, Colorado: Barrio Publi- loneliness and a sense of encirclement: "i cations, 197G. am going in circles / the round about is spinning." (p. 1) Poet sees himself as a cas- A collection of ea* protest poetry Con- ualty of urban life and time. Seeks refuge demning the U.S. as a "Theatre of Dear^ in a woman through persistent sexual meta- which harbors injustice, hate and discon- phors. Expresses a deep sense of wasting tentment. An angry poetic voice establishes - awls within an insensitive society. Also itself as a messianic spirit and speaks out indlides an essay-play called "The Theatre in detente of his Teople: "I'm the light of - as Revolution / The Revolution as The- the living dead. / I'm the heart of the Revo- atre" which diaposes social evils in Latin lution." (p." 6) Promotes the idea that vio- Anierica and Third World political aspira- lence and revolution are the .only possible tions. BOok is greatly enhanced by surrealis- means for obtaining change.Sympathetic:- tic photographs by Adal. ally portraying the Chicano Movement, considers' it a rebirth and a provider of °elm, Jesus ILA Soft Tongue Shall Break' freedom. Genera113400d but typical of Hardness.El Paso, Texas: American muchprotest,poetry:lelections are at times Printing Co., 1973. overly rhetorical and prosaic.

With few exceptions, the poems 'of this col- hases.No publisher, 1971. lection tend toward- a new 411inversal trend of some Chicano poetry. Rather than politi- Movement poetry with a strong social mes- cal ends, poet seeks a Christian brother- sage denouncing evils pch as exploitation hood: "Come Oith me in search of love; and oppression. A combative spirit bursts /. .todos somos hijos del mismo Padre out with anger in defense of his "invisible Dios." (p. 31) Develops a poetic world of people," who try to survive within the en-

30 2/ POETRY

Of humanoid superficiality. unites personal lyrical poetry: Leroy V: of freedom and justice while Quintana sentimentally evokes a likeabk stra= Ws soul threatened and Don Santos from The put. Juan Bruce- .Novcia, showing signs of Octavio Paz' in- id* .Poet gasps for urgent *amen and actions to solve suffering, et. fluence, develops fine erotic poetry ink "Imo= that of the migrant worker. Poetry cencia iierversa" and philosophical sensual- inward the prosaic pamphlet or the ity that is time in itself in "Cantaba el ciego unnerving manifesto. Though oftentimes .Itian." Laurence S. Fallis and Guadalupe Cileheish, book's .value lies in the poet's re- Valdes-Fallis paint a special sadness in old *lance to give in cer to surrender his mind. sailors' lives. Leo Romero briefly describes Represents a poetic ideology. having seen /a!krona.Gloria Vasquez Anderson's anecdote alludes to a horse, a The Secret Meaning of Death. symbol,of freedom. E. S. Rivero expresses Lubbock, Texas: Trucha Publications, a desire of wanting to be remembered by a loved one. In "En torpo a la poesia" Mi- . Inc., 1972. guel 'Mendez M. creates perhaps the best Social protein poetry with death as a central poetic descriptions of anars poitica:views theme. A rebellious spirit questions insti- poetry as transitory and ephemeral or a tutionalized injustices which have caused glimpse that disappears into infinity; defines death. Denounces Ameriean society for vic- a poet as an "image -maker and a clown" timizing the Chicano: "I find myself in a who cries while laughing among Metaphoric simple world but I'm not and will never be. symbols; offers a profound insight into the / Or will I be the beast of this world another creative act. Roberto Sandoval concentrates on the stigma of being acoyote(mixture piece of meat ..." (p. 13) Poet expresses being tired of "builders of meaningless sym- of Anglo and Mexican). Aristeo Brito phi- bols." (p. 4) A definite ideology is prevalent losophizes on death, life and God. The col- while the poems attain lyrical qualities. A lection provides variety in new literary sense of grief for present social conditions trends. is ktrong but even more emphatic is the desire to defeat all obstacles and become free. Ramirez, Orlando, editor.Cambios Phideo. American materialism is seen for what it is. New Haven, Connecticut: Yale Mecha, Illustrations which aim at shocking the 1976. reader accompany some poems. A collection of poems from students and Quintana, Leroy and Nora Eidelberg, edi- professors from Yale MECHA. Projects the tors.Inscape.Phoenix, Ariza: The diversity in Chicano experience: recreating Baleen Press, 1974. barrios, missing home incidents, dissecting a present existential situation, defining the A special Spanish-English issue from pre- inner self, expressing social injustice, po- dominantly Chicano contributors. In not eticizing an insignificant event and philoso- ha 'lig one central theme, this collection phizing the absurd. Poems are generally

31 28 POETRY oriented toward a universal poetics. Written during poet's imprisonment, these five poems mark his life trajectory' and Roybsl, Rose Mary (La Manita). From la socio-political awareness. Manages to ere- doff to to F,nvtdta ,.A Few Itejlec- ate a total picture of the barrio. His pur- Hon& Penarlotado: Southwest pose ii to immortalize qualities of a place Cleaiiutivi or Minority Pub lice- rarely recognized. "A trip through the mind, Mons, 11113. jail" is reminiscent of the intra-history of his nonexistent -barrio. "Journey IF nostal- A concedes of 13 low-keyed, poetic reflec- gically recalls his childhood and adolescent tions of an intimate nature. Sectioned ac- years. "Ciego/sordo/mudo" manifests his cording to theme loneliness, pain, nature, social awakening through bato loco expres- woman, 12aia. Generally prosaic but does sion. "New from San Quentin" recounts in a capture a tone of her inner tenderness. Very poetic form the murdeik-of George L. Jack- good Chicane firmness in her poetry. Seeks son. "Los, caudillos" exalts the efforts of a universal identity: "Woman. / Minority, / Chicano and Puerto Rican leaders, acclaim- Mexican. / Please, let my / HUMAN-NESS ing their solidaritk ,Message is aided by / come / through .. ."(n.p,)One of the earli- graffiti drawings, est known books of 'Poetry by a Chicane. RecoMmended but unfortunately too short. Sanchez, Ricardo. ,Canto y gritp ml liberacidn (y lloro mis desmadrazgos ...), El Salinas, Luis Omar. Crazy Gypsy. Fresno, Paso, Texas: Mictla Publicationii; Inc., California: Origenes Publications, La 1971. Raza Studies F.S.C., 1970. This work, an important landmark in Chi- One of the first works of poetry published cano literature, poeticizes a personal bato by a Chicano, this collection delineates the loco reality. Sanchez' poetic expression stages of Salinas' poetic evolution between gains authenticity by fusing two supposed 1964 and 1969. 'Central focus is on his de- opposite modes, that of the balo loco and ceased-mother while exploring other themes the sophisticate. A relegated existence ef- such as social protest, woman, death, and fuses, condemnations with -anger, _affirm- quixotic expectations. Reflexions-and testi- ing his own self and asserting a collective mony of personal anguish and loneliness. identity. Projects a type of Chicano existen- Selections are impregnated with surrealistic tialism of the individual in the act of fiber- imagery. Poems either in standard Spanish ating himself through the creative ,process or English;written in free verse. Generally which becomes aesthetic sustenance for - good, sometimes too prosaic. Drawings others. Going beyond the scope of lyrical by Tony Perales and John Sierra comple- poetry, he . rejects passive contemplation ment poetic themes. for an acutely critical perspective of contemporary existence. He paints a grim view Salinas, Raid R. Viaje I Trip. Providence, of barrio .realities and pf in insensitive Rhode Island: Hellcoal Press, 1973. Anglo society. 'Original because of his ag-

32 9 POETRY

Ilreesive and inventive lattguage. His graffiti- of its chicanismo into property or public -4444e of irreverence, is Meant to move the domain. This explains the free-flowing, reader to an awareness. The poems (or ideo- stream-of-conbciousness framework of pro- 141061chants) are Often accompanied by saic thoughts fragmented into verse forms ,prosale and:expository declarations, all of and graffiti labels. Serves to reflect a process which have a 8840-political purpose. 111110c- of vitality in search of synthesizing the para.; lively incorporates dissimilar poetiC ele- cloxical sense of existence. 'Sanchez tries to ments: rapid series of Images,graffiti-type give order 'to his- experiential chaos. As a dombinations,' language variations (English, result, manages to define himself and the Spanish, call, neologisms), autobiographi- Chicano, both as parts of a process of fused cal sketches, free verse, etc. An excellent experiences. One fundamental contradic.- poetic manifesto of early. Movement contion adds internal vitality to the work: the Cerns as the poet traces his per:tonalaliena- poet professes that one ought not take one- tion. self too seriously, but nevertheless he proceeds to do so himself. Such a position al- moralize and criticize freely in Hechizospells. Los Angeles, Cali- . lows him to 'attempts to demythicize Movemes4 leaders' fornia:Chicanb Studies Center charisma and to satirize pretentious ideolo- (UCLA), 1976. gies. Among his many des,. opinions, he rejects any one system because that means A monumental collection of poetry by a sin- standardization which destroys individual gleauthor. Comprised of introductory spontaneity. If his sarcastic neologisms are essay - poems followed by 100 poems. Con- clever and his anarchy genuine, his personal tinue; or, better yet, amplifies the themes vendetta is demeaning. A plea for human- established in his first book, canto y grito istic societal values still petsists and, con- ,rni liberacidn, with a definite change in tone: sequently; he is willing to explore any in- now more constructive and, less desperate. conceivable avenue to communicate his At times proves to be more profound by dis- basic alienation. Each poem is accompanied closing a litany of existential tidbits and by.a brief side note that provides the date, desmadres of his personal odyssey; other of composition plus a parallel statement tunes, the power of his expression is lost due which explains its context. Sanchez' mad- to the book's length and insistent repetition. ness^ can be attributed to a complex person- Important for developing the poetics of, ality: he expresses his anger best in English, being of a bato loco picaro with a mask of his past best in Spanish and his Pronicpicaro many faces or a cross-section of fervent world-view by combining the two languages States of mind: anger, tenderness, contempt, through witty linguistic inventions. First sexual temptationi, indignation, melan- ,edition is complemented with original illus- choly,, sadness, fraternal love, paternalism, trations and designs by Willie HerrOn. obsessiveness,moralizing, andphiloso-i phizing. A compulsive voice is unable to re- strain from manifesting its Chicano conscience, converting the private outpouring

33 I 30 POETRY

Twin, Horiberto. Vida de ilusiones. Corpus trum. Although some are aesthetically medi- Christi, Texas: El Tercer Sol Book ocre and trite, selections reflect future po- Store, Inc., 1971 tential. A voitliof sorrow and melancholy manifests Trece Aliens. 4ustin, Texas: Tree* Aliens, hood as a poedd conscience of nonconfor- . 1976. mity in fine. protest poetry. Constitutes a powerfUl, human irony: the poet,in effect, Thirteen aspiring poets combine the col- foresees his own death and gives reasons lective efforts around one central eme: why having lived a life' of illusions. At, alienation. Each writ lyticizes his/her tually killed in.an unexplained bombing in circumstance, reflects oit, and tries to

Boulder,.Cdlorado, this voice, of premoni- arrange it into some poe c order. Together, tion dies andiesurrects to haunt the reader they produce a thirtn-faced image of in an effort to combat the apathy of the alienation. Work becomes an .honest at- "living dead." Creates the contemporary. tempt to probe into existential matters told, stage, where, thematically, Life and Death, in a serious and introspective manner. Of- as symbolic characters, struggle in of "sea of fers 'a vital inner dimension within the indi- Vhattered dreams." (poem 36) His spiritual vidual in order to understand the collective militancy is contained and filtered through self. The fact that most of the poets nre new a series,of machine-gun-like versus of frag- further makes this perspective valid because mented ideas. The poet represents a meta- their talents are spontaneous and not overly physical rebel with a very real social com- thought out. As a unit, the poets demon- mitment. Produces a poetry powered by strate a desire to understand their present antithesis to show discrepancies: contrasts situation thus, their people's also view- revolution to illusion, "we" to "they," tem- ing themselves as aliens in their own land. poral man to his immortal presence. An The work, in general, is the product of an ideology of synthesis permeates the book affirmation of cultural self. by seeking a balance between spirit and matter and "bodiless souls." Rarely mixes Eng- Ulibarri, Sabine R. Al cielo se sube a pie. lish and Spanish. Sketches by Leonardo R. Madrid: Ediciones Alfaguara, S.L., Terin reflect an existential theme of ap- 1966. pealing. for justice. Highly stylized poetry by a New Mexican 77acuilos. Salt Lake City, Utah: No pub- who writes lyrical love poems in castizo lisher, 1975. Spanish. There is an evident influence of Juan Ramon Jimenez' poesta desnuda Prose and poetry selections from Abelar- (naked poetry) which aspired to express do's Chicano Literature class at the Uni- the essential qualities of an object without versity of Utah. This booklet generally ornaments. Pursues the ideal, symbolized represents students' first endeavor at writ- by a woman whom he desires to dematerial- ing. Covers every angle of the thematic spec- ize: "Quiero verte sin °hires: busco imagen

34 31 POETRY

y no sustento. / ./ area solo came y beso. ample, with referring to man's quest for Visions a ass fantasia, / te bads yo, alma identity be first unserstanding. the "other"), verso."' (p. 37) glakilities the ideal with a he moralizes in his socially oriented poetry modality, but also realizes its frag- by focusing his attention to an antiheroic ai, Despite hi; seeking a pure expres- subculture: The final poem titled" Chicano idoite shafros Of influence from the Is An Act of Defiance " markk the climax r Pkinch Parnassian and Symbolist poets of a voice thitt was not meant to speak out. (tartnlez trying to capture the form, the Often emplaits a variety of lyrical forms. the essenesiof the image). Chamcteri- Villanueva's 111Pression becomes more alive ized by i definite progression, the .poetry's when he reminisces about his barrio past in symbolic. ascension ends in disillusion be- Texas because he uses pachuco talk as an eline poet only encounters: "Lagrimas se- aesthetic medium for anecdotal poetry. Ini- cal,giesperanzas vanas, / mujeres muertas. / tially, Spanish and English are two separate Luna helada, mujer pelada, / cars imbecil." means of expression until thejaat few poems (p. 63) Book exhibits a Chicano's ability to which combine the two with interspersed *nits ,refined poetryf within the poetic tra- 'dition of Spain. Zamora, Bernice and Jose Antonio Bar- Villanueva, Tino. Hay Otra Voz Poems dap. RestlessSerpents.Berkeley, (1968-1971). New York: Editorial Men- California: The 'West Coast Printing saje, 1972. Centerf, 1976. y poems from 1968 to 1971 that re- Two mature poets, with their individual nt the poet's personal experiences in poetry, combine efforts to,produce a com- three stages of development: lyrical inti- plementary unit of Chicano/ Chicana ex- macies, reflections on his individual make- periences that mirror each other. The book's up, and an aesthetic detachment from con- title summarizes its general tone in captur- ventionalism by poeticizing his people's ex- ing an undulating effect: coiling and recoil- istence. Covers an experiential pilgrimage ing; soft movements and bitter strikes; har- from the inner world of the "I" to the outer mony and conflict. Each configures his/ her world of social conflicts involving the "we." particular perspectiVt; together, they create Tells, more about himself than about his a poetic macroolem. Line drawings by Bur- people through the quiet act of defiance by ciaga make this total effect visual-Zamora simply writing; thus, becomes a subtle as- demonstrates a lyrical ability with word pic- sertion of an artistic self after having been a tures, fusing various literary traditions with latent voice. Usually intellectualizes the in- a social dontent. Her poetic expression significant event into a universal gesture. transcends any one tendency by being able Primarily concerned with Time: views it as to write well in a strictly American literary an infinite present and man as a mere tradition, or'asChicana recalling images moment within it. If the poet philosophizes of her past, as a Chicana criticizing Anglo in his personally oriented poetry (for ex- society, as a woman looking into a man's

32 PO ETR

world, .syntbollcally 'treating a theme with-, An sexual or ethnic ties, or simplydevelop' Ins an anecdote. MI experience is placed and ged to lAi62 the same plane. Burciaga's Oti $41* other hand, it powered by an initen a 'kinky with the purpose of otitioiiing set Or ignored. truths, oftentimes inVerting.syntbOri so u to demythicize their trio lOckd inteatt4ng (for example, the Lib- erty Bell and titanic of Liberty).' His critkal approach becomes effective because his illicit& avoid ,demagogic or abstract dechtrationi; instead, he specifies-the social evils, and historical blunders that affect the powerless lot..he mood often changes within his poems in order to build up to a crescendo synthesized by a brief statement. Both poets offer excellent variety in ex- perimenting.with different' forms. If Zamora's idealism manifests itself primarily thrOugh aesthetics and philosophy, Bur- ciaga's is `communicated through cultural and situational protest:"

"There are good reasons to look at the barrio for direction.

-JOSE ARMAS

33 et 4

*ft

X' .4e

Overleaf artwork by Renee Candelaria Fletcher The Revolt of the Cockroach People. San Francisco: Straight Art in, Books, 1973.

Essentially a continuation ofThe Autobi- ography of a Brown.Afffalo,recreates: an atmosphere of chaos through the of critical realism in-docuthenting Los An- geles Movement activities between'the years Acosta, tear Zeta.The Autobiography of 1969 and 1972. The author, athingdwpro, a own Buffalo.San Francisco: tagonist, glorifies and exaggerates his 'mili- S t Arrow &mks, 1972. tant participation With Corky Gonzale&and Cesar Chavez' within historically "identifi- A first. as a fictionalized autobiography. able incidents. Portrays himself as a super Chicano lawyer dissects his life story in & lawyer with .messianic qualities. Satirizes frank; daring and Unnerving style. Unfold& 'the. Catholic Church, the double-standard his on experiences df alienation within legal .system, governinentl2ureaucrats and his profession and seV out to find hiinself. police offieials..DepitIts barrio coltramOrti; In his existential sealth through time and mo and its handl realities. Creates a unlipe space, he reminisces about his past while informal tone in telling the story whidh trying to give meaning to his present. Cre- serves as a means to absorb the reader. Very ,..iitss an interesting paradox: in seeking an blunt language and at times graffiti-style `iiiithentie self, he mocks. all personally re- narration. Narrator of many faces in first lated events, includOg himself, with in- person shares his secretsoirrevereeces and

. cisive irony. Tends toreduce`everything to intimate experiences, swept by the needs of sexual terms. Becomes aware of his identity his people at. a critical junction in Ameri- as a writer. In coining to grips with himself, can histdiq. The allegorical title alludes to he defines his person: "tam Chicano by an- the inevitable impossibility of eliminating cestry . and a Brown Buffalo by choice." the unwanted downtrodden which is uni -. (p. 199) By "Brown Buffalo," Acosta makes versalized to include peoples of the Third reference to the tragedy of ti people per- World. One of the few Chicano novels which secuted close to extinction. The-book's bold- limits itself strictly to an Urban setting. ness not only makes pleasant reading, but also manages to denude hushed truths and Anaya, Rudolfo A.Bless Me, Ultima:Ber- to criticize institutionalized social antag- keley, California: Quinto Sol Publi- onisms. The novel projects an insight into cations, Inc., 1972. many chaotic details of barrio life with a great deal of bold humor and candidness. Winner of the second Annual, Premio Excellent work because of its captivating Quinto Sol National Literary Award in narrative and story. 1971. An unforgettable novel that. takes

39 36' NOVEL place in northeastern New Mexico. Already through multiple dimensions. Harsh barrio becoming a 'classic for its uniqueness in realities coexist with superstition, 'legend, nory, nicrative technique and structure, An myth, dreams and unexplained Phenomena. authOr-naimttor, 41 a prolonged.flaishback, A fragmented: narration' reflectssocial--1 Fa/01Mb and relives autobiographical me- chaos, simultaneity of actions, parallel and modes of Ns childhood, effectively recon- contrasting lives. Within the lain narrative structing the* from a child's Candid :per- appearfragmerili of a separate narration spot:live. The novel is 'centered around :the that encompasses an intra-reality, a sort of curarrekrek Ultima, "la Grande, and 'her spiritual heartbiat .of a Peopligfr reflection young apprentice named Antonio Marez of p beyond. Earthy symboliinf gives this Lunt, the protagonist. Represents an exCel- novel a sense of an archetype'at a' peoples lent example of oral history in print and struggle to maintain its distinct identity. a rich telletioif,; of! ,myth and legend. Chi- Necessity. compels ,a family to move to the cano-style magical rerilismliitivizardryand city and face its own disintegratiOn in the dreams asdinietisicini of reality that foretell family unit. Deals with the problems in" happenings and reveal otherwise unknown adapting to a new environment, especially occurrences. Converts inexplicable phe- the change in 'roles: the 'mother becomes proment into an ordinary order, Does not stronger proportionately to the father's contain any social message of vindication becoming weaker and defeated. An old and because its purpose is highly poetic. Motifs blind fortune teller (symbolic for his ability and Symbolism at times are increased in to envision the unseen) enlightens Clemente meaning; generally plurivalentin cOm- Chivez of ,his responsibility as the chosen ,bining European and indigenous myths... Messiah to 'lead his people. Similar to Implies a need for formulating a new way Moses, Clemente climbs a mountain in a of life through an eclectical syncretism of dream or mental descent in larch of the experiences: "'every generation, every man Origins and essence of Aztlin. This aware- is part of his past. He cannot escape it, but ness gives him' purpose in life and he then he may reform the old materials, make sets out to lead his people to liberation. The something new " (p. 236) Anaya cap- rest of the walk depicts the adolescent ma4- tures a collective subconsciousness with turing process with poignant descriptions affection and respect by tapping a people's and ' convincing situations. Work bilanCia myths that coexist with their objective reali- The material' dimensions with the, spiritual ties.Definitely one of the best artistic aspects of a complex society which is moved achievements by. a Chicano writer in 411,e by immediate circumstances and long trik, genre of the novel. ditions. Fulfills the two classical objectives: contains a social message and provides plea- Heari of Aztidn. Bdrkeley,Cali- surable reading. fornia: Editorial Justa, 1976.

A novel that further probes into the spiritual identity of Aztlan and expands its meaning

f - Mu, 11011. Tlie.Rood to Tamazurschale. Reno,NaV,tidak'.Welt; .Coast' Poetry 10.007Ils 105.

. : cants novel here pins yet another n: first to be treated entirely with- bounds of magical realism. Fantasy ewes as the axis of the narrative.' Brings to mind one literary masterpiece of the death,", bed tbetne: Carlo; Fuentes' La muerte de WO Crux. Centered around Fausto 's last living moments. In the for- Tomah' Rivera calls this "a creation th;" better yet; Pewit() imposes his will for living upon death through a mental procels whereby he relived or invents epi- soda that satisfy his unbridledimaginatiOn. Superimposes fantasy o'n realimto create an air of ambiguity: time and space aredepend- ent Uponldreami and daydreams:. Story is Characterized by' a power of association with ' _rapid shifts of events (story within a story 'structure). Everything is made to be by simply thinking about it. All reality, past or present, becomes meshed into an anachronistic Whole. Consequently Fausto Makes a mental trip to Perbreaks the time bar- rier into the Colonial period, races his car in Mexicci,' the dead are made -to -come to life, affectionately incorporates .a Peruvian Indian, his flute and alpaca- herd lilt°. his present state of mind. Objects are transformed before our very eyes: a hoe becomes a staff, a boybecomes-a wizard, a Cape becomes a bib. Perception is relative: one sees sheep, 'another sees alpacas; Faust° con- fuses Ana for Carmela. Reality is distojted: a 57 Impala is presented (inexistent until 1958); by comparison., Fausto (a fictitious Character) becomes as real as Marlon Bran-

v. NOVEL

but fictionalized character) all tenderness and indifference, dreams,and withan unreal setting (a movie set). :Musk illusions, frustration and anguish, 1!1,1 Arias establishes s,. vitalized twilight Zone change. hands in various moment!!; 'Lupe througis the use of earthy dialogue. Fausto and Manuel are I he nit* convincing °ham' Mumble/a Pon Quixote: the latter aspired, tern. Manuel develops into eiastertive Man; to be someone else, but the former doeitft Lupe's strength becomes manifested inward. want to keep from Wing What he -is (note: His roots are- iq the land' where he work Tejada brings to 'find QueJada). Title 41- , hers are in dreams and in nostalE. c. reool- hides tothe,prePiration'7 for death where lections of Mexieb. Ltipe noUrialf"-heravo- Faustri plans to invent and write what he cado tree of hope dreams; Other char - hasn't alccomplished while alive. Tamaz- acters 'also complement each 4ther: Mr. 77unclude,"(a symbolic _ascension) represents Turner's exploitation is platanti while. Mrst 'the beyond or a place where one can be Turner's is paternalistic; they differ in style What one wants to be, The novel is ailiant but seek same end. An diperiinental, tech- step in Chicano narrative by combining nique predominatesinatragMented narra- fantasy with Chicano imagination. tion with fieqUent sUpOiti.positions of actions, thoughts, dreams, graffiti, posters and' Barrio4taymond. The Plum Plum Pickers. newspaper articles. One weakness is appar- Sunnyvale, California: ,Nentura Press, ent in the dialgoues which, at times, seem. 1969. artificial. In exposing theeconomic,naariaplziginhgt of farmworkers, often witha The Chicario':Grapes cd- Wrath but more style, novel brings to mind the915arly twen- Within a mode of social realism. A. first in tieth century school of sociak and prole- Chicano character development:, carefully tarian literature. avoids paper macho sociology by giving them multiple dimensions. Even secondary Chaedn, Eusebio.El hip': de la temPestad; rand stereotypic, characters ate not uni- Trds la tormenia la calms.Santa Fe, dimensional. DocUments in novel form the New MeXico: Tipografla de"El 1361e.; infra-human living cOnditioins of migrant tin Popular, "' 1892. farmworkers in Santa Clara County (Can- tor!** Effectively captures their hand-to- The earliest knowq phblicatiiin (1892) that contains two short novels written inSpanish ,!itioutiiiiistence. Nan picking serves as the 'stage within which a dialectical process of by a New Mexican. The first,El hijo de la ideas and clLss relations is represented. Por- lempestad, isa combination of folklore be- trays victims and their circumstances; ex- liefsnova! cab; lleresc'aadveptures and ploiters and their manipujations; sell-outs magical realism.'The plot is driVen by super- and their alienated greed. Shimply criti- stition and cause-arid-effect relationships cizes multi-million dollar agribusiness for from naturalism. A mother dies giving birth : worshipping its God: nib ney. A kaleido- to a son and the hither gives him guar- scopic! image of, sentimentsconstantly dian gypsy woman. Despite the th frOrn change throughout the plot: hate and love, evil spiriti, the boy manages t 1;v up

42 39>

*4 NOVEL

to tecome a leader of bandits roaming the slimness.. A first person narration fails for its COUntryside, imposing himself" on female lacy of penetration. All elements of the. in- SgeSes and finally dyiSta in battle. An appar -' ternal structure remain on the surface. Often eat illeoherenee It Primarily duo to the free uses faulty and choppy. sentences that lack '.'llisociation of ideas, erratic appearances by variety. A or demonstrate the ictiatinar 'Characters and frequent unbeliev- tion. udonoyel is deMient o able events: ilovil ends on a superstitious characterevelopment due to a' stri6tlY'. vote whereby the evil aptaiti end his gang expository. gestation. Regretfully'expreper. are said to have received 06 punishment Stereotypicickiological concepts: "We Chi- they deserved. The second novel, Tras la canos shOVO:crilotions of getting ourfeelinp .tormema la calma, is a lave story presented hurt, easily. We are a sentimental and clan, bynarrator who becomes i.irolved with nish Vice; but have learned to suffer tribula- *and interjects into the actions of his characT, tions.".(p.. 89) The author unveilsConserva- ten: Being of poor cpatilik, WS short work tively conformist attitudes with.consistency: , resembles a soap opera with stock plot "The President of the United States" [Nixon] and olufacterization. The ',aerator.: Oroyes ideal of full opportunity for every Citizen:'

tvibe the center of attention as he introduces has almost . become a reality. One of Me c4'racterst. organizes the Eation., philoso- greatest achievements towards this goal 0/4_,;.;:. phizes oniove and reveals his literary back- his appointrfient of a person ofour own - ground.(mentioning Don Quixote, Becquer heritage to serve as. the Chairman of the and his knowledge of Latin). Chacon's col- cabinet committee on Equal Employment. lection supports the theory that novels (or Opportunity." (pp. 160-161) In considering . short fiction)., written by Chicanos did exist the evolution of the Chicano novel, thirione -in the nineteenth century. taicesa stop: backwards.,

Medina Robert-C: Tajo Ranges. Las Cruces, MendeZ; Miguel M.; Peregrinos de Aztldn. New Mexico: Bronson Printing co., Tucsbn, Arizona: Editorial Peregrinosf 1974. 1974. , An autobiographical pseudonovel. Traces Mendez here creates the Chicano novel of the life of the aOthor-narratOi from 1936- the downtrodden.. Ahistorical voices tnani- 1974. In describing.his teals soil tribulations fest. themselves within a 'dialectical frame- atr 'civil' service employee with the U.S. work:. F011ows the mainstream of uhracon-. Army:Concentrates on the discriminatory temOriry experimental techniques. An architectonic novel which masterfully polities in minority rank. advancement. Al- uses though there are few technical experiments cinematographic montage and racconto:,. (for example, a reconstructed dramatic dia- streamofconsciousness,interior monologue, poetry selections and a glosSary of logues, flashbacks, fragmented narrations, !xpressions inthe,middle of the book), its juxtaposition of past and 'preseit;'actions, literary accomplishments leave much to be dreams, multiple perspectivc, Parallel lives, `desired. Structure is erratic and lacks cohe- several narrators, spatial' leaps, dialogues,

4 0, NOVEL

lyrical moments. Structure reflects chaos of the hard-core barrio. Views it as an urban and demands a reordering or active partici- jungle. Title suggests a continuous .viciaus pation by the reader. Different versions are circle regarding the infra-human existike often given for the same reality. An over- of marginal characters: "tecatos" or "mis- whelming complexity of a wide range of ticos" and their families. Decadence rules characters, social classes, language varia- whereby only alcohol, drugs and sex moti- tions, mentalities and tones. An old Yaqui, vate. Characters are usually driven by im- Loreto Maldonado like Ixca Cienfuegos pulse. The parallel but contrasting lives of in Carlos Fuentes'La region mds transpa- Mateo and Julian emphasize the importance rente gives structural unity, for example, of family unity. Losing his mother causes being the converging point of II collective Julian's degeneration. Decadence is illus- protagonist.Thepastisreconstructed trated through grotesque scenes and low through Loreto. Christian mythology re- eroticism. At times resorts to extremely evaluated through Jesus de"Belem: Christ blunt and unresourceful language. Totally loses his superstardom and is reduced to a written in Spanish, mixes different varia- mere man; the poor are symbolically cruci- tions of barrio talk withcastizoSpanish. fied by anonymity. Title alludes to a per- Structurally organized into brief fragments petual search by pilgrims for a homeland or episodes in the form of montage with no they can call theirs: Aztlan. They are driven single time or space. Utilizes contemporary by hunger and suffering only to, find shat- experimental techniques: a persistent super- tered illusions. $ituated in a gradual, laby- imposition of events where there is no sep- rinthian and indefinable border, characters aration of dialogue from narrative, a free and actions oscillate from one place to an- association of ideas, a series of flashbacks, other in depicting the crossroads of.massive interior monologues and shared narration oppression. The long pilgrimage produces by first person and omniscient narrators. many victims. Mendez skillfully fuses his- The general chaos is compounded by the tory and myth. An insistent humor stands ambiguous use of "those," "here," unknown out: saves the tone from excessive serious- "he's," etc. Despite the many destructive ness and fibers the ideological position of elements, the omniscient narrator in the critical realism. A rich reservoir of a people's Epilogo indicates his desire to preserve the , different levels of language (call, Spanglish "good times." Represents another valuable and otherchicanismos)provides the novel step in the experimentation with novelistic with a more global scope. Definitely the techniques. first most ambitious Chicano novel written in Spanish. Rechy, John. Cityof Night.New York: Bal- lantine Books, 1963. Morales, Alejandro.Caras viejasv vino nuevo.Mexico: Joaquin Mortii, 1975. First novel by a Chicano to radiograph an underside reality, the gay world. Narrating Naturalistic in focus, this novel's basic func- from afirst-personperspective, Rechy tion is to document the violence and chaos traces his protagonist's trajectory of aliena-

41 NOVEL

tion, which is due partly to his father's nega- cope with individualrealities. Constant tivisni and to his own weakness allowing states of depression and desolation induce himself to get trapped by the vicious circle them to desperately seek security, pleasure of street life. Most of the action takes place and momentary escape through drugs and at night, either in bedrooms, lonely streets, by taking their. frustrations out on others closed rooms or in the protagonist's mental through cruelty. Although monotonous at encirclement. Resembling a type of amoral, times, narrativ'd includes detailed and color- existentialist picaro, his adventures expose ful descriptions of their drug "trips." These. a subculture that lives on its own code of hallucinogenic scenes, in which their reality ethics and hierarchy. Although repetitious is transformed into happiness and euphoria, and monotonous at times, story demon- serve to contrast the real with the make- strates the decadent sameness of large cities believe. Jerry, the fourth angel, is the only such as New York, Los Angeles, San Fran- one who eventually copes with his personal cisco, Chicago and New Orleans. El Paso, circumstance, the death of his mother, with- his point of departure and final point of out further aid of drugs. Characters are return, presents a paradoxical symbol: both basically multidimensional although not destructive and tender, nevertheless the as well developed as those of Rechy's other original self he cannot negate. The existen- novels. Dialogues, characterized by a direct- tial journey is-an odyssey of disillusionment ness and bluntness, realistically reflect street because he sets out to find a substitute. for language. Overall a readable and enticing "Salvation," but experiences the symbolic work, again demonstrating the author's death of the soul. The impersonality of ur- sympathetic portrayal (their character banized centers only offers to turn him into makeup, not their acts) of an ignored social an object for other's pleasures as a necessity sector. to survive. The protagonist finally learns that he has no one but himself and that his This. Day's Death. New York: original barrio reality, though small and im- Grove Press, Inc., 1969. perfect, reflects a truer picture of who he is. This novel fundamentally dealing with A psychological novel with strong social the idea of "uninherited unfairness," serves implications condemning an unjust legal as a cruel' but discreet comment on society's system of double standards in its treatment influence on a young man (and his misgiv- of the economically deprived and homosex- ings) as he tries tofind,himself. uals. Primarily concerned with the, emotional and mental trauma suffered by Jim TheFourth Angel.New York: Gerard, a latent homosexual whose true The Viking Press, Inc., 1973. character surfaces after having been wrong- ly convicted of a supposed sex crime. His A short novel that probes the motives and mental anguish is further complicated by his world of societal dropouts. Tells the story relationship with his mother, an overpro- of four juveniles from distinct socio-eco- tective domineering woman who can only nomic backgrounds, and their inability to live through him. The protagonist finds him-

40ti NOVEL

acters who are not classical archetypes but self caught between two inescapable forces; antiheroes of flesh-and-blood from the mi- the mother as an internal force who exerts grant stream. Climactic moments of ordi- unvoiced influence; society. as an external nary lives are salvaged through the written force which iipposes norms upon a person's word. Deep overtones of tragedy are the individual order. To effectively describe the result of endless hardships and shattered flaw of inner experience, author skillfully illusions. This' book is the reconstruction of uses flashbacks, interior monologues, a year, depicted as a vicious circle meant to stream of consciousness, and superimposed, be broken. Consists of 12 short episodes perspectives, giving events the effect of within a frame: an introductory chapter-and simultaneity. The novel is divided into two. a final one which recapitulates. Each epi- distinct parts: the first which establishes sode, although independent, is introduced` the inner workings of Gerard (past and pres- by a small literary sketch called a vignette= ent are fused with a psychic time); the second presents his .confrontations With the legal an incisive anecdote that prepares the reader and anticipates the subsequent episode system through Court proceedings (each giying the work greater dimension through event which led to his arrest is viewed from either contrast, parallelism, continuation different but simultaneous perspectives). or irrelevance. Narration of multiple per- The title could reflect a dual symbols so- spectives: a first person recounting his ex- ciety's destructive power and/ or the meta- periences while relating those of others, an morphosis from one lifestyle to another. omniscient third person, interior mono- This novel is a significant accomplishment logues and a soliloquy. Point of departure for its narrative techniques by combining establishes ambiguity between that .which psychological realism with the dramatic is real and dream-like. Consequently, main realities of court proceedings. narrator in "Debajo de la casa,." as the converging poirit, recollects and gives unity to Rivera, Tomis."... Y no se lo trago la sierra", the fragmented lives through a symbolic . . And the earth did not' part.- descent into his own consciousness. The Translated into English by Herminio house, representing culture, symbolically Rios C. Berkeley, California: Quinto. redeems the mast basic institution of a peo- Sol Publications, Inc.. 1971. ple: "1 would like to see all'those people together. And if I had long enough arms, I Winner of the first Annual Premio Quinto could hug them all at the same time. I would Sol National Literary Award in 1970. First like to talk with all of them again, and have ° Chicano novel to experiment with time, them all together. But that could happen space and structure; incorporates narrative only in a dream. This is a good place because techniques popularized by modern world I can think about anything I want. One has writers such as Joyce, Faulkner and Rulfo. Presents a rapid overview of fragmented to be alone in order to bring everyone to- lives as they once were. An outstanding gether." (p.176) This last chapter clearly quality is the vitalization of human reality unifies all apparently incoherent elements based on everyday relationships of char- to shape this work into a novel. Undoubted-

43 NOVEL

ly one of the best artistic achievements by a a people's harmonious relationship with Chicano novelist nature while searching for the mysteries and ideals of life, symbolized by the omnipresent figures of gypsies. Although an occasional social commentary surfaces, the primary' objective here is poetic. Work is permeated with rich sensorial imagery which ennobles. the conmonplace making it come alive and iransfOrms prose into poetry, As Mateo himself has wished it, the author composes a great symphony or paints a mural masterpiece reflecting the life of his people. (p..I72) Illustrated with fine sketches by Dennis Martinez.

Salas, Floyd. Tattoo the' Wicked Cross. New York: Grove Press, Inc., 1967. A paper mache parable about a supposedly young pachuco ( lly just a punk) who is symbolicallybra*upon encountering a Romero, Orlando. Nambe- Yearf1Pne. Ber- pachuco tattoo in his cell ins reform school. keley, California: TonatiN Interna- The distorted values of this hermetic en- tional, Inc., 1976. vironment impose themselves on the protagonist, Aaron D'Aragon. He becomes a A fascinating work .of magical realism' in victim of predestination in which his per- which the narrator-protagonist (Mateo Ro- sonal faults overtake his original goodness. mero), a "stumbler intothe worlds of He flourishes, negatively, in trying to be- dreams and illusions," (p. 64) recreates and come the supermacho who simply seeks an immortalizes the intrahistory of the people end through cowardly means. A pathologi- of Nambe, a rural community in the Sangre cal sense of vengeance, complicated by his de Cristo Mountains of northern New Mex- haughtiness, leads him to self-destruction. ico. Through a montage of Mentalndigres- He bypasses, many opportunities toescape sions, dreams, interior monologues, free the moral Web, but not even his girlfriend associations, letters and interpolated stor- .Judith's love can save him. Aaron's sig- ies, the narrative evokesan ever-present nificance can be reduced to a rebel without vitality of .human existence, Voices from the a cause. A novel of mediocre value, paper past are resurrected to give meaning to the mache sociology, and flat character devel- here- and -now, thereby creating an atmos-' opment, meant to be read by an adolescent phere of legendary timelessness. Portrays reader, Symbolism never gets off the ground

44 NOVEL because'ofa stagnant plot. Greatly suffers quently, cluttering a potential character from faulty semblance of truth; doesn't do development. After his adoption by a mis- justice to a potentially interesting topic,on sionary family in the jungle, Nifty quickly pachucos. Reveals confused ethnic ties and learns everything available to him which conceptions among characters. Language leads to obtaining a government position. -is hardly representative of the environment Due to his humanitarian tendencies, he andsocial,groups depicted. dedicates himself to developing food sources under the over-population threat. Serving What Now My Love. New York: as a mirror to human closed-mindedness Grove Press, Inc., 1969. and greed, the novel depicts"tulers driven by power. The location is unknown or, better A short novel about the drug underworld. yet, fictional, as are all other geographical Narrates the hasty fleeing of three charac- references. Man fights against man until ters to Mexico after a dope raid in Haight they recognize a threat of invasion from Ashbury, San Francisco. Their pathological spacemen. The work takes a light moralistic insistence on finding drugs in Tijuana leads tone when these altruistic spacemen show them to tragedy. Miles, a former boxer and earthmen their weaknesses. The sometimes felon who became a creative writing teacher, lagging action is lineal and natrated from a is the only possible connection with a Chi- third-person omniscient perspective. From cano reality: considers himself, non-oblig- the title, Nifty and the other spaceman are ingly, a "spic." Novel is plagued with many viewed as a blessing for their wisdom and stereotypic attitudes and derogatory innu- good intentions. Unfortunately, work con- endos toward Mexicans. Dialogue is very centrates more on scientific knowledge than direct and representative of street language. on human interrelationships and character First person narration limits character de- development: velopment to Miles; others are uni-dimensional hippie types. Despite an action-filled Visquez, Richard. Chicano. Garden City, plot, stands as a mediocre literary accom- New York: Doubleday and Co., Inc., plishment. 19\70.

Testorio, Arthur. Blessing From A hoye. Las Epic in character and Dostoyevskian in Vegas, New Mexico: West Las Vegas scope, novel presents sixty years of a fam- Schools' Press, 19.71. ily'shistory through generation tracing. Focuses on their geographical displacement The first known Chicano science fiction and the restilting cultural effects such as- novel. Resting on suspense, the main-char- confrontations and acculturation. Due to acter, Nifty, comes to be known as an outer- shattered illusions and perplexing setbacks, space creature. Molded into-an almost per- fjimily progressively disintegrates with fect being, Nifty's identity becomes a cen -' some of the members becoming prostitutes, tral issue to be solved, but the novel lags perpetual drinkers and drug addicts. Fam- in action and scientific discourse, conse- ily is meant to be typical, but as in most

4 45 NOVEL

early Chicano novels, Vasquez' characters The Fifth Horseman. Garden are ilat,isuni-dimensional and Unconvincing. City, New York: Doubleday & Co., It seems inexcusable that the author would Inc., 1974. perpetuatestereotypicelements already present in American literature. Poorly in- An historical novel that marks' another first terprets Chicano social realities. Represent- for Chicano literature: expands its literary ed a daring attempt in 1970 to portray a space and thematics beyond the realm of Chicano theme, but has since been super- Aztlan. Recounts the biography of Hera- seded by better novels. clio: from peon to his participation in the Mexican Revolution and final decision to Villarreal, Jose Antonio. Pocho. Garden immigrate to the U.S. Brings to mind Mar- City, New York. Doubleday & Co., tin Luis Guzman's El dguila y la serplente Inc., 1959. for its similar episodes. Within the Mexican Revolution, theme, explores others such as A forerunner of the conterdporary Chicano machismo, the woman's sex role, the iikrob- novel. Documents in narrative form the lems in defining a Mexican. Due to exag- hardships experienced by Mexicans who left gerated characterization, the protagonist, their native land to reside in the U.S. after a supposedly common .but privileged and the Mexican Revolution. Focus is on the rebellious peon, stands out as a revolution- eventual destruction of the Rubio family ary super hero. As in Pocho, major weak- as a unit due to acculturation prior to World ness here is language. Dialogues do not cor- War II in Sollpern California. Juan (the respond to respective characters; English, father),. ,an ex- revolutionary who turned while syntactically arranged for a Spanish farmworker, tries to retain his Mexican cul- feeling, gives the narrative an artificial qual- tural values in rearing his family in an ity. alienating land. Richard, the pocho of the novel, finds himself with an acute identity crisis: either adhering to his parental Mex- ican values or adopting new ones from his Anglo social milieu. The term pocho (a preclude to "Chicano" in Califas) is not used "W II A 1' BE AT IN AlY BRING WAS here derogatorily; refers to the assimilation A CT OF BEING" 1st sentiment that prevailed among Chicanos -R (CA R DO SA Nell EZ in the 1940',s and 1950's. This novel predates Movement conscience as expressed in later novels. Major weakness lies in language. Written entirely in English, Villarreal attempts to create the feeling of Spanish through the use of non-English syntax, thus producingra-regrettable artificiality in both languages. i

49 NOVEL

VIllasafini, Edmund. Macho! New York: Bantam Books, Inc., 1973. Villuseflor, who intends to surprise the world with "the first great Chicano novel," achieves a successful failure: Plot is centered around a young Tarascan Indian who enters the U.Sillegally ibeking material wealth. We follow the route of his melodra- matic odyssey which is filled with exagger- ated events. His short stay reveals close to nothing of what may be considered Chi- cano, except for his contact with confrontations between the United Farrnworker's Union and growers. Flat and faulty charac- terizations simply lead to stereotypes. Def- initely a man-centered novel in which Villa- seflor elaborates a machista mystique. The author's many biases of cultural determinism overwhelm his creative talents, exhib- iting damaging attitudes toward his Mexi- can culture in considering it traditional, static and out-dated. Structurally conventional, the only innovative element is found in the short anecdote-comments (preceding each chapter) for their socio-historical content. These short prechapters provide his- tprical credibility to the story. The novel, however, appears to represent one of the most opportunistic efforts to exploit a new taste for Chicano themes.

SO 4 , 4,i;, rip ... , (> * .! 4 O..% ';' -

I Overleaf artwork by

Ade lido Desolina Candelaria Marcotte

49 by a New Mjcan priest. Written in lyrical Prose and dealing with spiritual matters. GiVes an insight into beliefs about angels, SHORT FICTION penitentes and deformed people. His stories offer many details about objects and life styles from New. Mexico. Illustrated' With fine retablo-type drawingk by the author. ;! Hinojosa-S., Rolando R. Estarnpas del valk y otras obras1 Sketches of the Valley Acosta Torres, Jose. Cachito mio. Berkeley,. and Other Works. Translated into Eng- California: Quinto Sol Publications, lish by GustavoNaladez and Jose Ray; Inc., 1973. na. , Berkeley; California: ,Quinto Sol Publications, Inc., 1973.; Fifteen variegated short stories that follow 41111, the exemplary tradition of Juan Ram On Winner of the Third Annual Premio Quint() Jimenez' Platero y yo and Antoine de Sol National Literary Award, revitalizes a Saint Exupery's Le petit prince. Its main subgenre called estampa, originally devel- source is' Chicano oral tradition and Chris- oped by Julio Torn in Mexico. Similar to an tian moral teachings. Expresses a need for episode, a description or an anecdote each universal love. A father sadly relates life- estampa offers flashes of incisive, popular long observations and gives advice from reality. These fragments are united into a which. -his son, Cachito, may learn. The collage or total picture of a fictitious Chi- father aspires to preserve a basic apprecia- cano valley. Captures the uniqueness in a tion for. simple things. By obtaining this long list of characters which were otherwise experiential wisdom, .Cachito represents a meant to be forgotten through; time. ;En7 hope for humanity. In being a refined work nobles the distinctiVe qualities.Of a collietiVe of poetic prose, it contemplates the subtle, protagonist and the commonplace. Al- lamentable and beautiful mysteries of life. though generally characterized by a lack of Deals ,ith varied themes: war, the heavens, conflict, the work is not Sterile: a use of life as an illusion, children word games, irony, satire and humor add vitality to the animals, language and bilingualism, death, sketches. Narrative cohesiveness is ikafined angels and. Mexican music. A refreshing through reappearances of characters, criss- contribution to Chicano literature in bal- crossing of their lives, and the location. Ex- ancing simplicity and deep human con= periments with multiple perspectives: cer- cerns. A bilingual edition. tain characters function as third and first- person narrators (for example, Jehti Mala- Chavez, Fray Angelico. New Mexico "Trip- cara and Rafa Buenrostro). NarratiOn at tych. Paterson, New Jersey: St. An- times creates an illusion of objectivity; when thony Guild Press, '1940. Rafa is in the process Of describing the An early publication of three short stories Maistro, he suddenly encounters him before

53 SHORT FICTION

our very eyes. An important landmark for institutionalized social injustices. Theva- . its expetimental endeavors in short fiction. riety of aspects and situations reflect an over-all heterogeneity. Chicano characters ,Navarro, J. L.Blue Day on Main Street. are usually portrayed as fatal victims of Berkeley, California: Quinto Sol Pub- police errors and racism, as opportunistic , lications, Inc.. 1973. sell-outs, drug users, batos locos, and stu- In this.collection of 12 short stories and a dents. Although each young writer projects One-act play, the author discloses many fa- his own particular iterspecti've through style, .cets of Chicano existence in urban America. characterization and plot dénouements, of His primary concernI is depicting youth in special interest are Yolanda A. Garcia's direct conflict with Modern city life. They "Elipses" and Roberto Sifuentes' "One." 'generally reject this life while recognizing Both stories exhibit, innovative experimen- the'danger of being absorbed and degener- tation with narrative time through' mental ated. Plots and.thernes vary from zoot-suit/ -trips. -A valuable contribution to fiction that sailor confrontons of the early fl(rs to further explores more avenues of expressing dfug problems ansocio-political aware- Chicano subjects and circumstances. ness of the contem orary Chicano. The social realism which varro depicts is not easily surpassed" by other Chicano writers. Work 'incorporates a wide. variety of literary techniques and philosophical ideas. Through interior monologues, surrealistic impressions and dimension of fantasy, Na- varro reproduces the mainstream of urban living within an existential framework. Il- lustrated' by a drawing that is progressively completed in fragments to finally produce a distorted; dehumanized whole.

Rodriguez, Armando Rafael, editor.The Gypsy Wagon: Un sancocho de etientos sobrelaexperiencia chicana.Los An- geles:Aztlan Publications,1974.

Trambley, Estela. Portillo:RainofScor- Written by students and recent alumni ot pions and Other Writings.Berkeley: UCLA, the objective of this diverse selection Tonatiuh. international, Inc: 1975. of short fiction is to preseflt a kaleidoscopic image of Chicano experience. Topics 'de- An extraordinary accomplishment for being picted range from existential discord to the first collection of short fiction published

54 51 SHOFVf FICTION by a Chicane. CoMposed of ten variegated veals the destructive power of an' insular selections in which Chicano literary space society; "Sibelo" turns tantask into folk- is successfully expanded. Action takes place lore; "Fragua sin fuego" criticizes social re- in various places: Aztlsin, Paris and Mexico. jections; and "Hombre sip nombre" focuses A notable female perspective is prevalent on.an existential identity crisis. In the latter through Utilizes womenas protagon- saly, actually a short novel, the narrator isti, p0 ying them as'stibng-willed, self- attempts to synthesize his being by what his determined individuals, rebelling against father was and what he is trying to be. Poses traditional roles. The book is impregnated a central question: ,vhat to reject or lose and with philosophical overtones and elements what' to become. A cultural tone of tin* of magical realism; 'suggesting a return to lessness and humor make these stories vi- nature and indigenous values . At times brate with popular vitality. reminiscent of Mark Twain's Tom Sawyer due to similar adventures. The title story symbolically alludes to poisonous gases emitted by industry upon the community of Smelter Town; U.S.A. A worthy contribution for its female perspective and its eclectic thematics.

Ulibarri, Sabine R. TierrAmarilla: Stories , of New Mexico! Ctientos de Nuevo querethos justicia! ! Mexicb. Translated into English by Thelm,a C. Nason. Albuquerque, New La mujer en pie:cle,lucha Mexico: University of New Mexico Y luhoraes vat .!" Press, 1971. DORINLL1 MORENO Six short sties related to the authors early experiences an isplted, rural-pastoral setting, of northern New Mexico (Tierra Amarilla). Each story marks a period of the narrator - protagonist's maturation. Nar- ratiorkis shared by two perspectives: a juxtaposition of a mature narrator as he also reenacts his own point of view as a Youth. The past, either distant or recent, is judged and relived as it produces a different emo- tion through the passing of time. A definite progression exists: "Mi caballo mago" re- createsn early fantasy;" El relleno de Dios" iminortalizes a local figure; "Juan re-

55 A WA 53 I

Overleaf artwork by

Dino Carlo Candelaria

54 characters; allows audience partioipad04. "Play NUmber 9" mixes a farsitai Word, meetingscene with a young ChiCan0) meeting Prometheus. The latter becomes source of Inspiration in pursuing a social struggle. "The Judging of Man" is-an auto sacramentalwhich discusses in an abstract way the destiny of man through the use of- symbolic characters; structured as a play beyond time and space, "The Flies" drama- tizes a love triangle beten fly characters Da Lebo, Napbtall.5 plays.Denver, Colo- and their constant threat of a superior force . rade): Totinem Publications, Inc., (Swat). The plays become progressively 1972. more abstract from number one to number five. A rarity in our literature: five plays by the same author. Main objective is to put Chi- cano expression into dramatic form. Author Gina, Roberto 3., editor.Contemporary proposes to capture five distinct realities Chicano Theatre.Notre Dame, Indi- through a writer's creative liberties. Refutes ana: University of Notre Dame Press, thepequeilo-diosconcept with regard to a 1975. writer. "A writer is not very different from any other person. There is no mystery, no This anthology on theatre offers the first 'muse' that pays us special visit. The best substantial grouping of eight Chicano plays. poetry and theater is often heard in the A. valuable introduction lays the cultural, Streets." (p. 9) "The Death of Ernesto groundwork for understanding this unique Nerios" presents a victimized death brought theatre's development by providing its his- about by a joke, Ernesto, a barrio macho torical antecedents and its evolution. In and drunk, is hardly a tragic hero. With "Los vendidos" Luis M. Valdez utilizes- a "Chiclinos: The Living and the Dead" De social realism mode to dramatize a story of Lam establishes an unreal time with both double-edged symbolism by focusing on the living and the dead in order to portray sellouts and those actually being sold in a the discussion of what direction the Move- human swap meet. The inversion technique nt take. Action is limited to a in which the human dummies are really hu- etiMmum but the contrasts compensate this man and the salesman of "used Mexicans," by reuniting two historical figures, Che a robot, produces an effect of amazement Guevara and Rube) Salazar, in a long dis- after having erected clues to instill a social course about revolutionary tactics. Uses reality of relationships between relatives. techniquesof estrangement:characters The seven-scene play slowly acquires a defi- identified as "X" and "Y"; situates Che and nite ascension in symbolic qualities, thus Salazar in a balcony above the living; paral- converting human charactqs into symbols. lels the same topics by different groups of "La Raza Pura, or Racial/Racial," an ex-

59 THEATRE

.laitliVerdrawncomedy by itself, thus applicable to, both historical it Blank lifilhas the "pure race" con- periods. The Chicano Movement is could. cept that edits in the United States. Its most ered as perhaps the last opportunity for a feature is its rapid change of people to redeem itself in the name of jus- scenes in achieving a cinematographic ka- tice. "No nos venceremos," a tragicomedy pCharacters do not matter for in Spanish by Roberto J. Garza, essentially, ,Witte.man qualities but for their im- deals with the affirmation of solidarity POrtenCe as parts of an idea. Alurista's among five characters jailed for taking "Dawn" unfolds within a mythical frame- part in the "Revolution." All characters tie work. It reevaluates ancient Aztec symbols generic prototypes and not individuale. By along with parallel characters invented by the title, the principal message postulates Carlos Fuentes (Pepsicdatl and Cocacdat1). that a revolutionary spirit willzemain strong Highly discounive in nature, the play is if it is fortified from within. After realizing meant more to be read than acted out. Dual- this, the prisoners choose to lit *. on as an ities Make the plot overly symbolic by pro- idea, thus accepting their own sacrifice to moting an optimistic regenerative cycle accomplish a long-range goal. The last even permitting Good to be born from Evil. play, "The Day of the Swallows," by to "The, Ultimate Pendejada" by Ysidro R. Portillo, is a character study of a powerful, Macias demonstrates a mature critical ap- domineering female who resembles the proach by directing its criticism at Anglo Spanish archetype, Doha Perfecta. Driven way-of-life and a type of faddish chicanis- by her passions, this high priestess of a mys- nio. The moral of the story is that identity terious primitiveness reveals herself as a is an internalized process which manifests misanthropic lesbian. Once this factis itself outward. Two "Chicano converts" known, she prefers not to jeopardize her initially express confusion in rediscovering good reputation in the town by drowning themselves, until a Chicano leader, symbol- herself in a lake. Although the anthology ically named Chuey, tells them that the contains well-done works, it ignores some answers are within themselves. Chicanismo, of the best theatre of allegory and of the ab- then, is viewed from a totally contemporary surd written by Chicanos. perspective. of the individual while avoid- ing the idealized romanticism. Macias' sec- Huerta, Jorge A., editor. El Teatro de la ond play, "Mink Montezuma," proposes Esperanza: Ah Anthology of Chicano an analagous version of the contemporary Drama. Goleta, California: El Teatro labor dispute of Cesar Chavez but which de la Esperanza, Inc., 1973. is set in the early years(1529) of the conquest of Mexico by theSpaniards. Fundamentally A collection of seven short plays written by didactic in nature, it centers around the pos- members of "El Teatro de la Esperanza." sible failure of Montezuma's likewise, Represents a valuable resource for its notes Chavez' nonviolent means of protest. on staging plays and for explaining how The historical lesson is multifold: the paral- each is born. Generally, treats theatre as lel circumstances prove that history repeats a poetic tool to effect change and awareness.

60 'ashen acto, "hail Epi-

nal! motion movements. tt'aimitO inform b ht *La tramps sin sa- 110*,*)ilitstSV o libilosaphizes on the 4nwaity :demands of American acculturation thtosigh a chaotic drip,*structure; daiseadaexcessively. onlapitissionistic *Ode that lose theirintiint4titukta constant eepen.tion *Mane Canitidinur," by An. tisilaliopat and El Teats* 0010)3speranait, pt is a Ovular "Modiasilehicanafir. '. ate, id curwrdera,. in *Misting popular mediebal beliefs" and madern technology. hi composition is based on a Spanish en- '4414401 ereinds. The excelle* production titled 7 "Brujerias,", by Rodrigo Duarte-Clark and El Teatro de Is Esperanza, communicates the idea of why a people should rid itself of superstitions because they are figments of the imagination or man-made monsters. The drains* effects used produce suspense in a ckptivatiftstory. This play conveys the message of attaining a mental. liberation. Frank Ramirez' "La bolsa negra" criticizes tbe greed among Chicanos that causes them to fight among themselves. The techniques used pertain to the mode of social realism in which the central message turns out to be more important *an the enactment. In " Los Pilados," Felipe 'Castro has created a dramatic platform with which to unite the Mexican and Chicano who struggle for the. same jobs. Castro warns how exploitative forces separate a people into b kering sub- grourt;This acto's effectiyen lies in providing dimension between 1111orical and realistic characters. A poem ti ed "Poema de un mexicano en Azthin" by n Morales supports Castro's thematic contion in teeing the Mexican anal the Chi as one

61 5 THEATRE

110100146/ by 'PI arbitrarybOrder. sizing the importance of gestures (Mime), pliy; 411 rensamiento de Ilulizilo- destroying the illusion of reality (for ex- pOditlr by Jorge A. Huerta, mixes poetry ample, the use of cardboard signs), multi- wititiesend, discourse with myth. As a farce, plying meaning through double-edged-sym- DOC egitical play Allies on Aztec symbols, bolism (for example, in "Los vendidos" title the war god named Huitzilo- alludes to what is sold and to sell-out(t),.hav-. htli Who claims to be the sun 'of the ,ing many-faced character* 'who play Many Movement Huerta shows the discrepan- roles, offering a thesis and a solution, re- fres between words and actions by having sorting to humor and satire: to leave an inks ,*"narrotor,,say one thing bin having the print of a serious message (lauOtes not for ehiraeters act out another, thus producing the sake of laughter), and drawing a-chaise." what is termed "estrangement." In its ,writ- tion between theatre and reality in aspirins t° urn form; it proves to be more symbolic than for the social message to transcend the stage the aut would prefer. Overall, this col- so that the ideal may become a reality. In lectioof Chicano theatre serves as a testi- is an invaluable introdUction by mony a particular company's collective Valdez in developing teatro theory: "Chi- efforts improvilation to create popular cano theatre must be revolutionary in tech- theatreith a social purpose. nique as well as content. It must be popular, subject to no other critics except the pueblo itself; but it must also educate the pueblo -Vaes, Luis- and El Teatro Campesino. toward the appreciation of social change, s. San Juan Bautista, California: on and off the stage. . The teatros must , Cuca cha Publications, 1971. never get away from the Raze. ...If the RazVwill not come to the theater, then the These nine plays form the best collection of theater must go to the Raza. This in the king Chicano theatre in a single work. They are run, will determine the shape, style content, products of a collective effort by the Teatro spirit, and the form of el teatro chicano." Campesino. Initially, meant to respond to (pp. 2-4) The term "acto" is chosen over specific political situations of the campesino "play" or "skit" for reflecting a more grass- and then evolved to cover more general so- rootsoriginfromHispanic-indigenous cial.realities. A guerrilla theatre that grew traditions; it synthesizes an issue through out of itself in attempting to project a Chi- group archetypes. cano antiheroicideologicalperspective. Serves as an instrument for concientizacion in order to achieve a socio-political cathar- sis and an aesthetic appreciation. Powered by dramatic techniques such as improvisa- tion, breaking the separation of stage from audience, allowing the theatrical image to speak for itself through show-and-tell, representing a collective protagonist, empha-

a. 62

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V14 o , ' 11. 714, 0 ',. k III/1 1 , i 4 Vi i % k ""*b Vk t' I ( . / I-, .4',4".,'t NI ,- .41P I' 1 .., k A '.. tylogkrf I II Or91,1 1 0 1 I / ighati P I s ', Iv V I I i 1,,, i ,-:.4k 1 1 1 1 \744 i ie 0 e awloe` 0 1 ±,,,L#i..,,,, roe 1 1, ,..,.',;_r_lik.Z, 11 le. ' I \ ",.:i / a\ i 10 ) ON la I I 1 f iffiti1 I NN "k.., " --, 0 1,4 0 i >'..'1.41$ A ,,,,,,As A,. #44e, i .-'' N I / i I I .444,-,4 i-P, / :a., l' N - - liS`' 4 . I '''' Al), iI ' 46/111:j i k , * t f W '' .716;"-/ ' i7,--;S.--.<..%k''...... , i',7-_,I 7 C 1 ..... I , , -ft....1'40 0 ' 1 ..- \-'',. Overleaf artwork by Renee Capdelaria Fletcher poets are: Higinlo Gonzales, iintairio Back Manual Salazar, Jose Ina' 0111Fttla, PUMP cio Trujillo, Manuel Arellano, Alejandro Fresquez, Jestis H. Alarid, plus some women poets and other minor. poets. This ab-

4i thology lays the foundation for understanil- ing the Spanish poetic tradition of the Southwest.. Similar to Latid American expresidn popular,it differs by revealing a cultural conflict with a foreigticult*. Selections vary in subject matter:A=0r, Alurista, et al.Festival de Flory Canto: An eulogies, lyrical descriptions, 404 anec- Anthology of Chicano Literature.Los dotes, mother, modern trends, bteligion, Angeles: University of Southern Cali- values, soldiers, etc. Represents ati impor- fornia Press,1976. tant source which provide an historical and literary perspective to the antecedents.of Initiates an annual endeavor to congregate Chicano poetry. Chicano artists throughout the United States for the purpose of promoting new Chavez, Albert C., editor.Yearnings.West writings and facilitating their piiblication. Havekcennecticut: Pendulum Press, Through this Festival, a tradition has been Inc., 1972. established which will serve as a means to capture new artistic trends and literary A series of prose and poetry selections sep- evolution. It is an anthology of previously arated into sections according to theme, unpublished- literature with an excellent such as pride, hope, identity, protest, etc, representation of all genres. Greatly aids Editor has apparently compiled these selec- in bringing other anthologies up to date. tions from Chicano high school students throughouttheU.S.Writings encom- Mellen°, Anselmo, editor.Los pobladores pass a wide spectrum of themes, bat are- nuevomexicanos y su poesia, 1889 - short of being sound literary Accomplish- 1936.Albuquerque, New Mexico: Pa- ments. Often lack:penetration, demonstrate jarito Publications, 1976. very little conflict, romanticize excessively and tend, toward the schematic. Glossary The only anthology of its kind which proves makes some totally misleading translations the existence of a literary expression writ- from Spanish. Nevertheless; valuable as a ten by Chicanos from northern New Mexico starting point for young writers. in the late nineteenth and first half of the twentieth century. Arellano has compiled this valuable collectimi from extremely diverse sources: magazines,newspaperand from old manuscripts of his ancestors and friends. Included among the identifiable

65 ft- ANTHOLObY. '

Caalata041141eaaa de. Chicano sekhical overtones converting fantasy ant Voices.Boston!'" Houghton Mifflin inligination into the ultimate reality. The Company, 1975. dead "wetbadk" fulfills the wishes of others until he also asserts his own individuality. An anthology containing representative se- "Thy Grey_ Dogs" by William-Busic focuses lectioillarom:Kaost of the best-known Cbi. on Greyhound buses and a deliberately am-' cab Writers.. Diratted to the :beginner of biguous situation by poeticizing the social Chicano literature, eby covering all content of aconflict between farmworkers: pules: A valuable ion because each and ;scab labor. In "Cecilia" by Roman sehottlon is introd a brief comment Ortiz, the narrator expresses an obsessibn Of blOgraphical a tical information. with,guilt .,of which he cannot rid himself. Work is divided hate, five basic areas: La George Verdugo's,""F' and Independent!" Rasa. The Bkrrio, the Chicana Woman, life recreates a fieldhand's freely associated , and La. Carib. If used as a text, also includes thoughts on his way to work early in 'the a helpful instructor's manual that provides morning as they are described by an omni- supplementary material to the respective scient narrator, The protagonist's trip selections (for' example, a summary, back; more mental than spatial. "The Summer ground information, possible discussion Collection" by Mario Rodriguez is a geneo- and essay questions). Contains a brief an- logical study of reminiscences -of a, house-, notated bibliography divided into genres hold dominated by Victorian values and the plus a section on miscellaneous teaching rebellious; acts by various family members . visual aids. to the grandfather's attitude of resignation.

Ana, Maria ,Hernandez gives a 'character4 study of a grandmother. In "A ver, hijo First Chicano Literary Prize, Irvine 1974- Cesar A. Gonzalez traces a family's develop- 1975. Bogota, Colombia: Ediciones El ment and hardships from the perspective of Dorado, S.A., 1975. one of the children. In the poetry section, Rita Mendoza stresses thotights and themes This collection presents the 1975 literary pertinent to men and women but from a results of a contest conducted by the De- woman's point of, view; Frank A. Lostanau partment of Spanish and Portuguese from :writes poetry powered by the sense of irn-- the University of California at Irvine. Re- pressions, oftentimes ill gical and absurd veals the prize winners and runners -up in other times extreme I nt within' the anti, short story and poetry among non-profes- poetic tradition; Loren o Calvillo Schmidt sional writers from the community and high discloses the many inner images of her world schools. The first-prize winner' in the short of feelings by lyricizing Social observations story section, "The Wetback" by Ron Arias and personal experiences; William Busic (extracted directly from his novel The Road sympathizes with the farmworker and cre- to Tamazunchale), represents an excellent ates an irony with regard to technology account of 'story telling in which an old while white middle-class tourists visit' the woman claims a young man's dead body for countryside during the weekend; Atmilio herself. The simple tale assumes deep philo- Madueno emphasizes the sensorial aspects

62 ANTHOLOGY

ASA 11$404111114 Alejandro Murgula chants cano eXistence, but oftentimes manse the epic Movement of Mexicans and Puerto remains on the surface. Some poems Rican into California; Salvador Rodriguez good, other mediocre. Anthology dii del Pip° renders a moving. realization con - to an English-speaking reader who C , wain;campesino's destiny and offers a fronts expressions in Spanish as decora, ledirctive, view of a graceful Chicana wom- tions. Admiral for its efforts to expose un- an; Juan Luciano Ortiz explains how an known authors. inOianrebellion is overdue while he satirizes Atnerican idols; Rita' Canales poeticizes the 1970 Chicano Moratorium in Los Angeles, Huth E., Dorothy. and Lewis M. Baldwin, analyzes the use and misuse of labels, and editors. Voices of Aztkin: Chicano Lit-' expresses an awareness of death; Alfred erature t of Today. New York: New Arteaga develops surrealistic images within American Library, 1974. a. variety of themes. The last winners are high school students: Leslie Lujin O'Neal Directed to a general English-speaking creates anecdotal poetry with which to al- reader whd can use-this anthology as an in-., hide to abstract questions and social con troduction to Chicano literature. Makes, corns; Mary Guzman questions norms and use of brief translations of Spanish words laments the loss of innocence. This collec- and also contains introductory comments tion displays a concrete example of how to before presenting selections or excerpts promote, reward, and encourage the writ- from three genres (fiction, poetry, drama). ings of upcoming authors. Seems to keep a balance, between well-established authors (Alurista, Abelardo, R. San- "Mock the haggard Face of Fear so chez, T. Rivera, L. Valdez) and lesser known WhenIallmy,soul may Triumph in the ones (M. Suarez, A. Muro, M. GrOmez, etc.). Dust. .." Editors try to bring together the, best representative works, but neglect other important "classics." - JUDY A.LUCERO No.21918 Ludwig, Ed and James Santiluinez, editors. Flores, Joseph A., editor. Songs & Dreams. TheChicanos:Mexican American West Haven, Connecticut: Pendulum Voices.Baltimore:Penguin Books, Press, Inc., 1972. Inc., 1971.. An anthology of prose and poetry that at- Principally dedicated to the essay. Contains tempts to promote Chicano expression by various short stories and a chapter from young, perhaps upcoming, authors. The Raymond Barrio's novel The Plum Plum editor includes many of his own writings, Pickers. Daniel Garza situates his two short thus making the -anthology unrepresenta- stories in a rural setting where Mexican cot- tive. Work is divided into themes meant to ton pickers, pailuicos and Anglos coexist celebrate life. Its value lies in the selections' with noticeable friction. Amado Muro re- anecdotal naturereflecting.everyday Chi- constructs his barrio and its people with a

67 63 ANTHOLOGY tedik bridealitation. Durango Mendoza Ricardo Sanchez, °Mar S11011411, Tino VII. foeissei his plota around a husbandless fam- lanueva.Alsoincludesnon.Movement ily situadoe. Ricardo Dokey writes a pro- poetry by Jose Antonio Navarro, Roberto vocative trivdy, about a man whocame Felix Salazar, Jane Limon, Tomas Rivera. close to having' his ideals 'materialize, but In drama, Estela Portillo in "The Days Which vanish suddenly after the death of his of the Swallows",, develops strong fpinale wife, lAlis Valdez explains begigninp of El charactersi-especially Josefa who resembles Teatie Cainpolino.. James Sii&bilfiez de- a' pona Perfecta matriarch model. Shen scribes the significance of El Moo 'Cam- fiction includes Daniel Garza's "Everybody pain° through examples: Finally, Jesas knows Tobie," Raymond Barrio's "Lupe's Ascension Arreola brings together, ma:- Dream" (a chapter extracted from his novel Wild formerly published in' journals and The Plum Plum Pikers) and three lesser reviews. knot4n short stories. The anthology's useful- ness is further increased by the iditor's intro- Ortego, Philip, D. We Are Chicanos: An An- ductory statements before eachsection.. .thology of Meiican-American Liter- . ature. New York: Washington Square Paredes, Americo and Raymundo. Paredes, Press, 1973. ( editors. Mexican-American. Authors. Boston: Houghton Mifflin Company, Philip Ortego, the editor and a highly re- 1972. spected critic, has collected a generally representative selection of all genres in Chicano A survey of twelve authors and, their Writ- expression. Divided into two basic parts, ings which consist of folk ballads and the work presents both expository and cre- dichos, short stories, nonfiction, poems and ative Writings. The first part provides the a play. Partially provides a brief history of educational, sociological,political,folk- Chicano expression within the past half cen-. loric and historical background on which tury.Without specifying, editors here intro- the second part, being of a literary content, duce some of the early frontiers of contem- is based. With -respect to poetry,.Ortego porary Chicano literature, most of whom offers valuable critical comments: "What form part of an "unknown generation." Chicano, poetry. portends, is a shift away Entries are, categorized into pre- and post- from mainstream American poetry to a dis- World War II periods. The former tend to- tinctly new poetics that embraces the poli- ward depicting rural settings in a romantic tics and sociology of poetry as well as new light as isolated pockets; the latter portrays linguistic parameters. Specifically, the new current social conflicts in a urban Iodate poetics is the result of the Chicano renais- (cities and barrios). In the first category, the sance which played a conscious emphasis attitude tends to)ard contejrnplating while on the Chicano struggle for equality." (p. in the second toward protesting. An impor- 148) Ortego proceeds to exemplify his theo- tant contribution to determine a history of ries with Movement poetry from well known Chicano literature. poets such as Nephtali de Leon, Abelardo, IRE

68 64 ANTHOLOGY

Romano-V., Oetatfo I. and Herminio Rios litical concerns to basic cultural viatica) and C.,editiati. El EspefolThe Mirror: Se-. life stylegJI exploring mitt facet .of cld- 'Wit Chicano Literature. Fifth print- canisnhe book is divided into two sec;- ing -(revised y Berkeley,California: tionstitled. "My Revolution"- and "My ,QtaintO Sol NitliCations, 1072. House." First part stresses litemture of social MICE political attitudes, may they be Considered the hest anthology by most crit- hostile and revolutionary or gentle and pass- . ics up:to 1972. Became the most significant ive. Second partpresents,examples of a effort with first printing in 1969 to compile more intimate nature: cultural-conflicts, representative .authors and their, works. identity ':crisis, barrio life style, 'love, etc. With revisions, the anthology's nn pose has Contains good selections, but, is generally been Multifold? to present current examples unrepresentative.Ignores those authors Of quality writings; to establish major liter- who have contributed more to the making ary trends and the evolutionary process of of Chicano literature, for email*, Abe-

," Chicano art forms; to explore a people's lardo, Alurista, Tomas Rivera, Rudolf() ...creative sensitivity and to proyide a mirror Anaya, Corky Gonzales, and others. ' of artistic identity. Main en-Oasis is placed on fiction:excerpts from Rudolfo A. Ariaya'sBless Me, Ultima, Sergio Eli- zondo's Chicano epic titled Perros y antiperros, Tomas Rivera's "..'. Y no se lektragd "ya no quiero escribii la tierra"and Rolando Hinojosa's Estampas del vane y otras obras; short stories by Oc- de lo que veo sino de to que sueflo" tavio I. Romano-V. and Nick C. Vaca; thea- ABELARDO tre by Raquel Moreno and Estela Portillo; short episodes by Rudy Espinosa and Juan Garcia; and finally a varied selection of poetry by Jost Montoya, Tomas Rivera, JorgeAlvarez,ErniePadilla,Georgia Cobos, Tino Villanueva, Alurista, Rafael J. Shular, Antonia Castafieda, Tomas Ybarra- Gonzalez and Octavio I.' Romano-V. Frausto, and Joseph Sommers. Litera- tura chicane: Texto y contexto / Chi- Salinas, Luis Omar and Lillian Fraderman, cano Literature: Text and Context. editors. From the Barrio: A Chicano Englewood Cliffs, New Jersey: Pren- Anthology. San Francisco: Canfield tice-Hall, Inc.; 1972. Press, 1973. Composed with the Chicano reader in mind. Compiled in this anthology are selections Explores Southwest literary tradition from twenty-two Chicano writers. Includes through Mexican-indigenous-Spanish clas- poetry, short fiction, essay, drama, and seg- sical works. Organized into the following ments of novels. Selections range from po- major patterns of characteristics of Chicano

69 ANTHOLOGY

,,,:tillts*ill11011 with 'subdivisions: a social pro- Valdez, Lula and Stan Steiner, editor.. -, _teststhe !silence of culture and the migra, Aztldn: An Anthology ofMexican tort' exPerience. A, fourth unit claims to American .Literan0e. ,New Y ork: Al- broaden' the horizons of Southwest literti- fred A. Knopf, 1972.

, tuie,by relating it to a Latin American context in, order to demonstrate vaned points An anthology with a major etmcentratiok, 04Ontact whether in tone, Mood, or theme. on prose from thePopol tosontemp0 This ,seems it bit far-fetched in sight of the rary Chicano writings, Including essays; implication that ,C.,hicano literatureis a Short stories, letters, alsoNaome drama and 4 branch of Latin Americ,an expression. Also. poetry. Nowevcr, lacks any mention of the includis 'choico selections of Puerio Rican novel. Follows a chivnologicaidevelopment writinp to show parallel and contrast with from pre-Conquest themes to present day the second largest Spanish-speaking mi- issues, ranging from Aztec humanism and nority. Easentially views Chicanoculture as genesis of The Chicano to migrations, bar- a:Continuity built on ,a Mexican base. Im- rios,La Causa,women, Azthin. Sees Chi- portance of work lies in its attempt to estab- cano expression and thought as a direct h certain antecedents or origins with result of Mexican cultural evolution. A use- Bich tp better understand the context of ful introductory background to literature hicanoliterature.Contains numerous from an historical and sociological perspec- xcerpts accompanied by theirEnglish tive. ranslations.

C Sabine R., editor and translator. 'La fragua sin fuego/ No Fire for the Forge.Cetritlos, New Mexico: San Marcos Press, 1971. This collection of short fiction and poetry, with the exception of title story written by the editor, represents an original effort by young New Mexican students from Uli- bard's creative writing class at the Univer- sity of New Mexico. Varying in theme and style, works almost always reflect nostalgic recollectionsof childhoodexperiences. Written in New Mexican Spanish vernacu- lar. Approach is sincere, sensitive and sentimental. Ulibarri introduces-the collection with on exceptional preface in the form of a manifesto that expresses a strong desire to preserve autochthonous cultural elements.

70 66

(i;

Overleaf artwork by

Dino Carlo Candelaria

'1 1 literature as an art powered by a dialectic. Juan Rodriguez traces the development and LITERARY CRITICISM trajectory of the short story in a second essay, "El desarrollo del cuento chicano: Del folklore al tenebroso mundo del yo." He explains how the short story has transcended the political message to make an impression on art and reality. Asa conclusion, he claims that the trajectory "se caracteriza per la in-, teriorizacidn, subjetiva y la complicacien Cantu, Roberto, director. Mester. Biannual estilistica y ternatica. El cuento chicano, en Journal. Los Angeles: Department' of su madurez tiende mas hacia la expreston Spanish and Portuguese (UCLA). que hacia,la descripciOn de la realidad."(p. 12) In the third essay, "El chicano ante El Mester is included here because it offers gaucho Martin Fierro: Un redescubrimien- many studies dedicated to Chicano litera- to," Gerald L. Head relates from personal ture even though that is not its primary observations as a professor how and why function. Chicano students have identified with Mar- tin Fierro. He recreates the historical, politi- Vol. 4, No. 1: This particular volume con- cal, literary and social conditions that have tains a number of critical studies, poetry and contributed tb make it conducive to "redis- excerpts from then unpublished books. tin- cover" Martin Fierro and to discover Yo der thelatter category, appear original' sot. Joaquin, attempting a comparitive drawings and poetry from .luanFelipe study of these two works with a concentra- Herrera's book Rehozos of love / we have tion on the Argentine classic. woven / sudor de pueblo / on our hack. excerpts from Miguel Mendez' Peregrines Vol. 4, No. 2: Osvaldo Romero's book re- de Avian and two poems from Alurista's view on The Autobiography of the Brown book to be called Amerindia (actually titled Buffalo by Oscar Zeta ACosta refers more to Timespace Huractin). Other poetry selec- what' the book implies than to what it ac!. .tions are by Salvador Rodriguez del I'ino wally contains His comments discuss nov- and Aristeo Brito. Roberto Cantu offers a elistic trends in Chicano literature within brief but incisive critical synopsis of Bless the limited space of a book review. Further- Me, Ultima. 'Fhe critical essay on Chicano more, he gives Acosta too much credit for topics merit closer attention. In I ()ward suppOsedlyuniversalizingtheChicano a Dialectic of Chicano Literature," Gus- novel with this one work. The reviewer's tavo V. Segade approaches a people's liter- literary judgments tend to be myopic by ary creativity in terms of basic hurniin rela- considering the mixture of real, imaginary tionships; given the geographical and spir- and ideological times as a weakness, or that itual situation in which they find themselves. the novel is slow because it takes place in His focus is mythic while viewing Chicano only five days. LITERARY CRITICISM

ol. 5, No. 1: In a critical study "Acerca- analysis of the poet's book, 5th and Grande Vista (Poems.1960-1973). miento a cuatro relatos de '.. . Y no se lo Organization tra ltd la sierra'." Juan Rodriguez renders an and clarity make it a sound scholarly study inrdepth analysis of four stories from Tomas besides offering critical observations on Rivera's novel. Basically approaching the earth section of the book. If there is a weak- work from a, marxist 'perspective, he illus- ness, it is to be found in her excessive prais- trates how the iconoclastic tone contributes ing of the poet. A second article, "Los Hittites Ito question-set values, thereby arriving at del costumbrismo en Estampas del valle y an awareness that would eventually become otras obras" by Luis Maria Brox, proposes political becauk the.characters come to rec- the theory that Rolando Hinojosa's book ognize the power structures that control is a "mundo cerrado" lacking conflict. He their lives. Rodriguez makes aexcellent claims this type of costumbrista focus is'in- observation 'when he discove that the adequate for depicting Chicano realitiis book's implication is clear: mais a creator because it tends to capture vital forces as of his own fears. Also included is a short static pictures. Such a theory merits close story by Tomas Rivera titled "Los sala- attention, but the critic contradicts himself mandros." Narrated from a first person by recognizing that not all of Hinojosa's perspective, the narrator recalls an incident book fits this general framework. This issue of flight when he 'and his father were lit- also includes two estampas from Hinojosa's erally Attacked- by salamanders. The story newest book Generaciones y semblanzas turns philosophical when the eyes of the (entre dialogrbs y mondlogos) which con- salamanders are equated to original death. tinues his character and anecdote sketches Roberto Cantu, in "Estructura y sentido de but which reveals subtle comments of con- lo onirico en Bless Ale, Ilhima." carefully flict. In a final hook review on Jose Antonio dissects the multiple function and roles of Villarreal's The Fifth Horseman, Alejandro dreams in Rudolfo Anaya's novel. A most Morales contributes an accurate synopsis, comprehensivestudy,Cantuputsthe but his comments about the language (".. . dreams into three categories: I) conflict and apropiado a los personajes y al moment() reconciliation, 2) destiny and becoming, and historico" p. 136) do not apply to all char- 3) prophecy and revelation. Ile probes many acters. His hist observation is that Villa- other symbols in order to explain the novel's rrears novel ". . . ha abierto la puerta a meaning. Just° S. AlarcOn's hook review nuevos temas y estahlecido otro nexo direc- on Miguel Mender' Peregrinos .1 :ilia to entre la literatura chicana y la mexicana." mentions the advantages and disadvantages (p 116) of being written in Spanish. fie gives a brief but complete critical view of theme. st roc sng ture, technique, style,-c hal ac4.riration. etc Maldonado, Jesus. I'oesia chicana:luris- ta, el ?nem chingOn.Seattle, Washing- Vol. 5, No. 2: Ines I1.I ovar in her study ton: Centro de Estudios Chicanos, Uni- "'Roses are Rosas:' Juan Goner versity of Washington, 1971. (Chicano A Chicano Poet" gives a fairly exhaustive Monograph Series, no. I)

A1 LITERARYCRITICISM.

' Maldonado undertakes a greatly needed and "interesting" qualities. Its central focus, critical analysis of one of the best Chicano in being totally academic, oversees the lit- artist's poetry. His niutin concern is to probe erature's real uniqueness. Commits one fatal into the subtle, complex and rhythmic qual- error: tries to study an unconventional ex- ities of Alurista's unique linguistic reper- pression from a conventional perspective. toire., By comparing other critic's opinions Reaches The thesis that "literatura mejico- and observations, he accurately deciphers americana" is a descendant and extension the natureof his imaginative expression, for of Spanish literature. Consequently, only example, the bilingual imagery. Maldona- sees the Hispanic characteristics and those do's approach is truly creative by mixing authors who most express themselves in Spanish. English and caki inhis study; those terms. Avoids analyzing the works of transcends conventional literary criticism authors like Alurista; besides, demonstrates in style through the incorporation ef,barrio- sketchy research because she doesn't men- style casualness into a scholarly endeavor. tion Corky. GOnzales, Abelardo, Tomas Exceptional analysis, but simply too brief. Rivera, Ricardo Sanchez and others already well known by 1971. Major contribution is in studying the early writers who professed a pride in the Spanish language such as Au- relio M. Espinosa, Arturo Camps, Americo Paredes, Fray Angelico Chavez, Sabine Ulibarri. A possible valuable source for in- vestigating the origins of Chicano literature.

Ortego, Philip D. "Backgrounds of Mexican AmericanLiterature."Dissertation, University qf New Mexico, 1971.

For its time, the most comprehensive study into the origins of Chicano literature. Its value lies in Ortego's highly eclectic approach in which he bases his conclusions on research from a wide spectrum of fields: Ainerican and Mexican literature, Ameri- can-Mexican-Southwest histories, sociology,economictrends,educationalsta- Moesser, Alba Irene. -La hien:tura mejico- tistics, Southwest folklore, etc. He accu- americana del suroev de los Esiados rately claims that our literature had its Unidos." Dissertation, U niversityof actual heginning in 1848 but that the Chi- Michigan, 1971, cano Movement shaped it into what it is. His thesis is multifold: to define the amor- This unpublished dissertation is an effort phous body of literature, to refute the gen- to research a literature for its "different-

ls LITERARY CRITICISM

1 negligence toward it,to explain the discusses various approaches to Chicano cteristics that make it unique, and to folklore as an important source for under- wect its future direction. Undoubtedly standing popular expression. He expands fifers the most detailed history ofour lit= the general limitations given our folklore erature by exploring contexts, mentalities by refuting a strictly, Hispanic orientation. and trends of different historical periods. Questions' and.updates antiquated ap- Represents an excellent study because Or- proaches to folklore. Collection remains as tego destroys myths 'such as cultural de- an invaluable contribution V criticism. terminism and deromanticizes folklore. Robinson,. Cecil. With the Ears of Strang- ers: The Mexican in American Litera- Ortego, Philip D., Tombs Rivera and Jose ture. Tucson, Arizona: The University R. Reyna.New Vciices in Literature: of Arizona Press, 1963. The Mexican American.Edinburg, Texas: Pan American University, 1971. An original work in literary history that introdUces a new approach of analysis: A collection of critical studies read at a sym- probes basic racial and cultukal themes in posium in Texas by three well-known auth- literature written by Anglo Americans in the ors. Perhaps the earliest effort to publish nineteenth and twentieth centuries. Simul- criticism by Chicanos. Philip D. Ortego taneously handles diverse material from gives a brief history of Chicano literature differ.bnt academic disciplines with which through three means: provides a literary to espose a history of stereotypes. Revolu- identity, explores its roots and examines tionary in the academic world for its time specific examples. Explains the literature's (1963). Robinson's focus creates a new uniqueness and auteRtrarYin relation to school of literary criticism. Outstanding American literature: different tone, struc- technical tool to study fiction dealing with ture, and atmosphere conditioned by cul- the Mexican and Mexican American. Fills ture and language. Considers Chicano poe- a gap of inquiry never before attempted em- try as an antithesis to Anglo expression be- pirically. In addition, makes references to cause of the indigenous factor andinfluence. valuable sources of folklore that have been Declares a separation from the American ignored. An objective survey of excellent literary mainstream due to a new poetics scholarship. powered by a Renaissance. 'Tomas Rivera places the literature within a totallycon- Simmen, Edward,editor.The Chicano: temporaryscope by alluding to the laby- From Caricature to Self-Portrait.Ber- rinth, a man-made symbol of human condi- genfield, New Jersey: The New Ameri- tion. By inventing himself through the writ- can Library, Inc., 1971. ten word, the Chicano complements his will.Riveraposesexcellentquestions The first comprehensive collection of short throughout his study and offers valuable stories dealing entirely with Chicanos from observations in all genres. .lose R. Reyna a critical perspective. An indispensable lit- LITERARY CRITICISM

erary history in anthology form that traces writers. Simmen offers the opinion more the image of Chicano characters. in Ameri- true in 1970 than today that no Chicano can short fiction (both by Anglos and Chi- has yet written anything that "tells it like canos) from mid-nineteenth century to the it is" with the veracity of some Black writ- present. Continues the critical tradition set ers. Makes a valuable contribution in study--. by Cecil' Robinson in Withthe Ears of ing the portrayal of the Chicano in Ameri- Strangers: The Mexican in American Liter- can literature; however, inaccurately states ature(1963). The short stories are made to out of blatant ignorance that ". neither correspond to the period in which they were the upper class Mexican-American nor the written so as to show how attitudes of a spe- lower class laborer has produced literature: cific historical period affected styles, por- the former is not inclined; the latter is not trayals and trends. Simmen states: "View equipped." (p. 25) Simmen at the publical of the Mexican American has been, if any- tion date appears to be at least ten years thing, certainly diverse. Sometimes itis behind in his reading. tragic: sometimes comic. Occasionally the Mexican American is 'victorious,' but more often than not, he is defeated: Often he is mistreated; always, however, he is misun- derstood." (p. 17) In early Writings, the Chi- cano is generally viewed as a secondary character, contemplated from a distance, more closely compared to some exotic being or caricature: "picturesque and childlike figure, charming but shiftless, laughing but . lazy, colorful but unwashed." '(p. I) Initial impressions reflect sentimental stereotypes, but never equal to Anglos. The Chicano character became progressively unpopular among fiction writers in latter nineteenth and early twentieth centuries. He is made to virtually disappear from American literature until the 1930's, perhaps as a result of the political estrangement between the U.S. and Mexico during the latter's tumultuous years of revolution. His characterisa- tion continued to be dependent, until World War II, on a limited Anglo perspective. Fi- nally in the mid 1940's, Chicano self-expression began to assert itself through short fiction, marking the beginning of character development and penetration by Chicano

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L) Cobos, Ruben, editor. RefraneS esparloles del suroestel Spanish Proverbs of the Southwest.Cerrillos, New Mexico: ORAL TRADITION IN PRINT San Marcos Press, 1973. An extensive collection of 1,697 proverbs of Mexican-Spanish origin that have sur- vived in the Soulkizest. Compiled by Cobos over a period of many years with the aid of students from his various Southwestern Are Ilano, Estevan, editor. Entre verde v Folklore classes at the University of New seco. Dixon, New Mexico: 'La Aca- Mexico. Proverbs listed alphabetically fol.. demia de Ia Nueva Raza, 1972. lowed by literal translation and English equivalent. Provides an insight into popular A unique collectionreflecting northern tradition. New Mexican folk history. Captures the spirit of the area through relatively little Campa, Arthur L. Spanish Folk Poetry in stylizations. Entirely written in the Spanish New Mexico. Albuquerque, New Mex- dialect of the area. Basic objective is to exico: The University of New Mexico press the setbacks of a people, which Press, 1946. explains the symbolic antithesis in the title "Entre verde y seco." Divided into fivd dis- A book-length study and collection of bal- tinct parts: 1) an introduction accompanied lads,' popular poetry, and folk songs that by an old poetic composition in the coun- have remained in ,New Mexico and Colo- terpoint tradition betWeen "el café" and rado as oral tradition. Most entries are vari- "el atole," the former representing European atioNs of original sixteenth century Spanish culture and the latter the indigenous; 2) a romances, and modern Mexican corridos. section called "La verdad y la vida" which Some are totally unique to the area. Work contains time-tested themes and thoughts essentially updates and expands an earlier (e.g., pastoral life, harmonious coexistence publication done by Aurelio Espinoza in 1915 ("Romancero nuevomejicano." Revue with nature, marriage customs, folk reme- II ispanique, 35, 446-560). Includes Chicano dies, land swindling lawyers, etc.), plus more versions of renowned ballad classics such contemporary matters such as Viet Nam, as "Delgadina," "Oerineldo," "La dama y political promises and manipulations, new- el pastor," "La' esposa infiel," "El piojo y Ia ly adapted ballads, proverbs; 4) photos of liendre." Excellent folklore material. original wood carvings; and 5) 'a glossary 0 of standard Spanish equivalents to the re- ( gionalisms used. The book is well illustrated with drawings and sketches by Alberto Baros, and photographs by Estevan Are Ilano and Vicente Martinez.

81 ORAL. TRADITION IN PRINT

and linguistic observations on Colorado- Lopez, Jose Tlmoteo, Edgard° Nunez and New MeXican Spanish.. Roberto Lana Vialpando. Breve resefta de la literatura hispana de Nuevo Mex- Paredes, Americo. With His Pistol in His ico y Colorado. Juarez, Chihuahua: Hand: A Border Ballad and Its Hero. Imprepta Comercial, 1959. Austin, Texas: University of Texas Press, 1958. An unprecedented, embryonic study that declares the existence of "hispano" litera- A distinctly Chicano ballad of border con- ture. Written in 1959, work provides a brief flict. Paredes includes all the known vari- history of Southwest litOary tradition by ants (ten) and provides introductory infor- alluding to all genres. Stresses the litera- mation regarding Gregorio Cortez as a leg- ture's remarkable survival within a linguis- end and as a man. The last part is a study tically intolerant, English-speaking coun- dedicatedto -anal3czingspecificaspects try. Objective is to awaken an open love for about the ballad. A well researched folk- literature written in Spanish among "his- lore study. panos" (Chicanos) and to inform 'general society of its value. Written from a Colo- Perales, Alonso M. La lechuza: Cuentos de rado-New Mexico perspective of the late mi barrio. San Antonio, Texas: The 1950's:.understands cultural nationalism to Naylor Co., 1972. be "hispano" tradition. Includes a brief an- thojeigy of oral tradition, a bibliography Stories in Spanish that recount -popular

82 ORAL TRADITION IN PRINT

traditions retained' in the barrio. Focus is on the supernatural with the owl as the uni- fying lement. Shows how barrio traditions are similar to those of other Spanish-speaking areas. Valuable fot its folklore content more than for its literary endeavor.

Rael, Juan B.,editor. Cuentos espar7oles de .' Colorado' y de Nuevo Mexico. 2 vol- umes. Stanford, California: The Stan- ford University Press, 1957.

A two-volume compilation of short stories and tales of Hispanic origin from Colorado and New Mexico. Important for folklore / studies, but also gives the reader an under -' standing of the subconscious traditions of creativity prevalent in the Southwest. The numerous tales constitute popular fantasies about giants, witches, thieves, rogues and clever animals revealing many an old superstition. Robe, Stanley, editor. Antologia del saber popular; A Selection from Various to Genres of Mexican Folklore Across Borders. Los Angeles: Aztlan Publica- tions,Inc., Chicano Studies Center (UCLA), 1971.

A comprehensive collection of 114 folklore items of Mexican origin compiled by graduate students of UCLA. All in Spanish but the .introduction isin English. ,Wealth of material which provides a panoramic insightinto Chicano popular expression. Contains selections from folklore, customs, riddles, pastorelas. proverbs, prayers, children's games and lullabies, verses, medicinal remedies,legends andbeliefs.Wellre- searched, diverse and immensely interesting. E EOLOREg JOURNAL OF WilPilLOSOPHIES

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Adelida DesoUna Candelaria Marcotte clear-style analysis of Chicano. With regard 0.The Plum Plum Pickers, her comments on characterization tend to be misleading JOURNAL and inexact because she overlooks the eX- 4-. ..,:cellent character development in Lupe and Manuel; instead, she mentions IMirio's supposed inexpertness by supporting her point with a secondary character. McKenna's. theniatic explanations regarding Tattoo thi 'Wicked Cross are worthy of consideration; Chian° Journal of the Socisl'SciY . however, her general impression of the end and An Arts. Biannual Journal:. novel is definitely questionable. Somehow Los Angeles, California: Aztlan Pub li- she became overwhelmed by the paikr cations, Chicano Studies Center `:macho sociology of the novel. The 'style (UCLA). vol. I, No. I- (1970- ). admits a potential which is weakened by a fast narration that gallops so as to cover its ?auks. The critic is convinced by Salas' Highly " scholarly, in focus, this journal character development simply because there .an invaluable resourc ndiverseik,subj is one ceniral protagonist, no matter how concerning the Chican ommunitir i'lid unconvincing he might be. Fortunately, the )relationship to .macrosociety. Its basic to critic has fulfilled her purpose by creating a jective islo etiCourage and disserninate ay* dialogue through criticism. demic 'research,particularly concentrat- ing on the social sciences. Our comments Vol. 2, No. 2: In a study titled "Chicano 'Will be limited to those issues of Azdtip (and Theatre: A Background," Jorge A. Huerta All subsequent c,,,hno, ournals) that con- briefly discusses the Hispanic and indigen- tain literarysite of short fiction, ous influences of Chicano theatre. Also poetry, drama, criticism, book reviews,'in- gives an historical trajectory of El Teatro terviews, etc. Carnpesino and explains the uniqueness of ?,:,^ the acto! as a form of expression.' Empha- Vol. 1, No. 2: In her study "Three Novels: sizes how El Teatro Campesino became the An .Analysis," Teresa McKenna analyzes impetus' and motivating force for later the- the following novels according to structure, atre groups. style and characterization: Richard Vas- quez' Chicano, Raymond Barrio's The Plum Vol. 4, No. 1: Arturo Madrid-Barela pro- Plum Pickers and Floyd Salas'' Tattoo the vides a scholarly and penetrating study titled Wicked Crop. She accurately claims that "In Search of the Authentic Pachuco: An the three basically reflect an experiential Interpretative Essay." Through an eclectic approach to literature. Her efforts to do approach, he examines the portrayal of the such a study are admirable but her conchs- pue/nwo in various literary works from the aiOns often incorrect. She does a brief and 1940's to 1970. Traces this Chicano tiguk's JOURNAL

image: from "sadomasochist," "delinquent," told," (p.16) Max Mirtinez' short story, "parasite" ancrvictim" to "mythic avenger." "La Tacuachera," captures Chicano-Anglo confrontation in a local bar. -7. Vol. 6, No. 1: Roberto Sifuentes' book reviiw. introduces Juan Felipe Herrera's Vol. 1, No. 3: Mla Garcia-Camarillo po- Ribozos of lovel we have woven' sudor de iticizes sexuality and female sensuality. pueblos! on our back. He accurately stresses Sabino Garza portrays his circumstance in "the book's indigenous qualities. American society and his ideals within it. Alfredo de la Torre inc des.anotherchap- ter froth hiss forthcomin vel, Ei ledn solid CartiOol. Monthly Journal. San Antonio, de la jaula, dealing with his military ex- Christopher Press. rol. I, No. .perience. l-(1974- Vol. I, No. 4: In a short story, Jose de A monthly quarterly put in magazine form Piedta (fictitious name) creates a dream in for easier dissentination. It represents a lit- .which he temporarily deceies the reader erature oriented journal with the flexibility to think that the narrator is referring to a to include essays or miscellaneous material young lady with who e falls in love, but it turns out to be a g. In the poetry sec- which might serge an immediate social is- tion, Gloria Guer ro vin'tes about con- sue. Becomes I helpful guide to Measure, trasting states ofind, and David Monte- Chicano creativity in all genres plus their jano explorest e themes bf creative in- concerns in non-literary matters. spiration, sex,uman figures of time, and philosopkizing anecdotes., Max Martinez Vol. 1, No. 1: This first issue contains depicts The fatal defense of a thorher whO various literary selections: esa Gonzalez confronts Texas rangers- personally after gives a report on the "Quint° stival de los they have killed her son. She kills one ranger Teatros1 Chicanos" (whiralso included but another kills her. Latin American theatre groups) held in 411i Mexico City in 1974; Alfredo de la Torre Vol. 1, No. 5:.Contains numerous short offers a preview_chapter from his forthcom- -story selections: Raul Castillo centers his ing novel, El ledn salid de la jaula; Mia action around the separation of two child- Garcia-Camarillo creates 'a five-part sr- hood friends who later meet as two totally realistic rendition of a woman in the formf different individuals; Mia,.Garcia- a skeleton and her child. marillo's fantasy involves a holy man n. his three followers in an aura of magical IVol. 1, No. 2: Among the few literiry ealism; 'Reyes Cardenas offers a science lections, Raymond Gonzalez' poetr als fiction version of two,pachucos encounter7 with the prison experience; Ernest Too-' ing "La Flying Saucer" lady; Alfredo. de toosis' short story recreates the death dream'. `la Torre includes yet another chapter from of a Supposed brother in which he says "IQ: his novel El !eon salid de la jarla. Reyes a strong dream the message is there to. be

1 * 88

83 , JOURNAL

Cardenas' surrealistic poetry freely covers with affection, The short story titled "Me- mories" by Max Martinez depicts an old contrasting topics and variousibeographic 4 places. Maria Victoria Cardenas concen- man who lives alone and gives meaning to trates on poetic bits of philosophy and aes- his existence by recalling past conversations thetics. This issue also includes an article of hostility with his wife. To d6 this, Mar- by Jorge Velisquez concerning the devel- tinez resorts to the effective use of two opment and operation, of a theatre group multaneous times. Alurista includes some of from. Texas, "Teatro de los Barrios." his newest poetry which attacks "Amen- kka / kristianizante / kolonizante / kapital- izante," (p. 12) demythicizes fear, rejects Vol. 1, No. 6: Cesar Augusto Martinez dogmatism although accepts dialectical emilains ;he unique qualities of Chicano art process of history, and experiments with .which cannot be approached according to form through the use of calligrams. Jose standard academic terms' due to the dif- Montalvo's poems give the appearance of ferent set of values and experiences from logical letters more than poetry in an at- which it is born. Reyes Cardenas contrib- tempt to present 'problems considered al- utes a continuing chapter to his captivating ready trite. In a short review, Reyes Car- story titled "(cos Pachncos and La Flying denas compares Chicano and Native Amen-. Sapper" in which he combines hiOtorical can Indian poetry; however, his ekamples characters with fictitious ones. The story exceed his observations. Alfredo de la Torre progressively becomes a roaming adventure dontihues, introflucing another chapter of of the two pachucos and an outerspace lady. his novel El ledn salid de la jaula. In his short story "Salamandra," Tomas Rivera transcendsthe local ambient with a Vol. 1, No. 8: In "A Quiet Intrusion," Roy final statement equating a _salamander's Castillo captures what it 'feels to'beaan out- eyes to original death. In the poetry section, sider in a military party. In "Ribbons of 'Raul Castillo demonstrates variety by deal- Glass," Ratil D. Tovares focuses on a barrio/- ing with various experimental techniques reality in which a man is killed and his loved such as callignims, verses in rhyme, short one 'is left alone while having to contend witty sayings, a personaVietter, and philo-, with her pregnancy. Reyes Cardenas again. m; Raman San- sophical notes in poetic f .offers another chapter froM his captivating .chez y Vasquez poeticizeg sensuality of past story about two pachucos and "La 'Flying times. Saucer" lady. They end up on her planet and she describes how Pancho Villa was Vol. 1, No. 7: In an interview, Dr. Michael brought there-and is now, fighting a revolu- Moody lets Rudy Anaya speak about his tion. The same aura of science fiction and background, his world-view in relation to absurdity continues. The poetryselections. the land, his concept of myth and legend, include Rudy Ortiz' "Bits and Pieces" which the professioi of writing; symbolism in captures the disintegrating effect of macro- Bless Me. UhiOn'a and some preview com- .society, Rainon Tijerina's "Versos" which ments on his sitond iovel. Amador Gue- points out man's deception of relying on rrero in ii5hort story personifies marijuana

89 84 JOURNAL science, Juan Antonio Montoya's "Joy Flying Saucer" in which the revolution Ride" which describes "the trip on the Way against warriors called Mariachis con- to Michigan,: Ceti lio Garcia-Cimarillo's tinues. "Manatee nepas" which paints a fragmented word picture, Raymond Gonzalez' Vol. 1, No. 10: In her critical study, Car. "The Fatalists" which is_ more oratorical Iota Cardenas de Dwyer establishes import- than poetic, Reyes Cardenas' "Delano" i ant points of reference from which one can which personifies Delano and pleads for begin to understand Chicano literature. love, otherwise "... yourfeelings become For example, she gives the theories on the raisins," (p. 20) Shifra Raffel's "Dream" in derivation of "Chicano," the language used which she prefers death, Ramon Vasquez y by Chicanos, the audience fo which this Sanchez' "My Loves" which playfully de- literature is written, and othertroductory picts a man falling short in his flirts with a comments on its nature. Alsincluded are woman, Alurista's "In La Kech" which con- various selections of anti-war poetry writ- tains the philoiophical concept of a double ten by high school students. Tomas Rivera's identity, and Gloria Gonzales' "Qui es- short story represents a parody of Borges peras" which deals,with a woman's diffi- in Borges' terms, that is, mixes abstract culty and uncertainty in rearing children philosophical concepts so much ..that one and counting on a useless husband. Finally, of the main characters becomes nauseous. Charlie de la- Pe0a's short story presents a We assume his condition is produced from dreamer in a bus: over - philosophizing. Alfredo de la Torre contributes another chapter from his forth- Vol. 1, No. 9: In this issue, Carlos de la cominnovel, but this time he situates his Pena includes a short series of sketches. actin the Astrodome and in an alienating Pedro 1. Nava writes lyrical poetry and a bar a sphere. In the first part of "Nisio brief interior monologue in the form of a and Shula," Mia Garcia-Camarillo intro- short story. Luis Valdez is interviewed con- duces one of the protagonists of Italian cerning the new theatrical tendencies of origin who leaves his native tewn and goes El Teairo Campesino. Abel Reyna's poetry on a personal odyssey, joins the circus and covers a wide spectrum of themes from de- goes to Arabia to make money camel driv- picting a barrio character to philosophizing ing. In the poetry section, Nephtalf de Leon on life. Abelardo Delgado promotes a de- frequently resorts to plastic imagery to cre- gree of optiniism in a revolution despite the ate a surrealistic poetic world. RiCardo San- current cynicism. Raul Tovares' "The Last chez offers a homage to the new liberated Train Ride" represents fantasy in which the woman hoping she will express herself ac- protagonist is pursued but escapes by board- cording to her potEntial. ing a train of death. With a fragmented 1 narration, Bernardino Verastique creates a Vol. 1, No. 11: Reyes Cardenas give in- short story of a poetic psychological char- teresting tidbits on Floricanto IIheldin acterization. Reyes Cattlenas presents an- Austin, Texas. Poetry by Luis 1E lizondo other chapter, of "Los Pachucos and La is pbwered by irony and fragmented pieces

90 . JOURNAL

Of incongruous elements and invelled sym- manifests thoughts of nothingness and hate; bols. Poona by Maria Leonor Rubalcaba Wile Perez has a liking for dealing with tend to Oingession of personal feelings. Villa and Zapata as contemporary figures; There is a a section of short poetry selec- Roberto' Perez Diaz creates fragments with tions byumerous authors. Abel. Reyna's word pictures; Tigre (Raymund° Perez) &- literspiece resembles a sketch more than flounces the hypocrisy of American history a short story. Juan Montoya's fictional with three poems of a militant ethnic ide- prose captures an inner dimension of mi- ology; Carlos Morton expresses urban ex- grant workers in the midst of their toils. M fa perience and his love for his Raza; Abel Garcia-Camarillo continues the nomadic Garza experiments with form by using coup- life of Nisio with iome deer hunters. The lets and haikus from a Chicano perspective. last ,lhort story, "El pedo" by Rafael I. Torrek, is written in a bato loco dialect Vol. 2, No. 1: "Riacist Rag," a short play about a. gang fight. by Carlos Morton, deals with the loneliness and desolation of a racist cop in a drunken ' stupor. Jost Armas' "El loco Valdez" is about a Chicano student who turned revolutionary. Two excerpts from Rolando Hino- josa-Smith's forthcoming novel portray different incidents in the lives of Klail City residents. "Pancho," a short story by. Wile Perez presents the harsh reality of a Chicano hooked on heroin and being, turned in by the narcotic agent who introduced him to it.In Wile Perez' "Paseo mixicano," a young Chicano' returns disappointed from Mexico after having gone there in search of an identity. Jost B. Flores' poetry treats the daily trauma of migrant workers and Luis .Elizondo introduces low-keyed poems of an existential nature. Also includes numerous authors with brief selections by Ber- nardo Verastique, Ricardo Sanchez, Chelo Avila, Pedro Nava and Cecilio Garde. Camarillo. Vol. 1, No. 12: Nephtali de Leon contributes a story for chilgren about a chicanito Vol. 2, No. 2: In "Con huevos y agua de° whose ambition in fife is to catch the sun. fregar" by Arturo Garatusa, a prota ist Among the poetry selects, Ralph Cruz feels that he is not discriminate gainst Castillo includes poemsith an existential despite his earning only one dollar n hour. Pedro Ortiz Vasquez prefers 'to "Aquella noche" by Abel Reyna, ar memo- poeticizeAanecdotes; Raymond Gonzalez

91 v 86 JOURNAL

riesabout,an old friendship. Nephtali de tion. Poetry by Judy Salinas converges on Leim'S "Los Tres Little Pigs" gives the tale the man/ woman relationship; Juan Mon- social significance by presenting the char- toya laments the present status of Chicanos; acters as nonconformist rebels living in a and Nephtali de Le6n eulogizes Caracol on decadent society. Rolando Hinojosa-Smith its first anniversary. Also features. single offers another excerpt from his new book. poems by Victor Guerra, Cecilio Garcia- In his review, Reyes Cardenas discusses the Camarillo, Orlando W. Martinez, Pedro I. universality and directness of Abelardo's Nava, Gustavo Olivares, Jr., and Nimes h's Cold: 52 Cold ThoughtPoems, Wile Cody. Perez' "Notes on Chicano Poetry" comments on the uniqueness of Chicano poetry Vol. 2, No. 5: A story by Ron Arias en- for its language combinations, but overly titled "Perros" toys with the idea of Wt emphasizes different poets' biography. Car- Chicano art is and shbuld be. Carlos !Mr- men Tafollp poeticizes realities of the down- ton's "Buzzardville" is a short dramatic sa- trodden and poems by Angela Ramirez tire about Chicano-redneck confrontations: reflect personal experiences. Part six of Mia Garcia-Camarillo's novel- ette"Nisio and Shula" portrays its protag- Vol. 2, No. 3: Presents an excerpt from onists establishing their home in a cave. In Alfredo de la Torres novel dealing with poetry, Panta includes some well construct- themigrantexperience.In "Tamales," ed love poems; Gregorio Barrios writes Nephtali de Leon gives a humorous account graffiti-style verses depicting bato loco real- about the life and death of TaMales, mas- ities; and Richard Jasso offers social poetry terful creator of the tamal. Arturo Gara- denouncing Anglo society. tusa's "El viejo Taylor" is a monologue of an unwanted, illegitimate son bidding fare- Vol. 2, No. 7: Introduces a short story by well to his hated but dying father. In poetry, Bernice Zamora which delves into the lives Raid Salinas pays tribute to Cuba and to of mental patients in state institutions. In Mount Rainier; Manzanar poeticizes the "A las 3 de la tnaliana" by Estevan Arellano, prison experience and denounces blind a first-person narrator poetically portrays justice. Also featuret a continuing story, death as a woman awaiting him. Dr. Saul "Nisio and Shula," which develops charac- Sanchez' story subtley criticizes the cultural terization- within a science fiction frame- irrelevancy of American education while work. depicting a Chicanito's first experiences in school. In "Lost," Amador glierrero pre- Vo1:612, No. 4: Ron Arias' short story sents the emotional changeergrfered by a "Helping the poor" satirizes thetbilreau- Chicano after his girlfriend left him. This cratic hierarchy of big business. Surrealism issue also provides diverse' poetry selections and eroticism permeate Carlos Morton's numerous poets.

Snort st ry titled "The Hunter." In an arti- V cle abo t Chicano theatre, Abel Garzade- 2, Isio 8: In chapter six cf "Los pa- fines angives his opinions as to its func- Ictticos and La Flying Saucer,' by .Reyes

92 ivNunor

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6'9 .1

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ersality by, first, seeking a cultural what is good or moral, but it also engenders Mtity and theiasserting it. Universality entertainment." (p. 66) Garcia offers a clear, IS determined the introspective process concise analysis with a division into four which eX p personal or private experi- sections; however, study lacks a final con- ence. Chi national character" was ini- clusion. tiallyso' t by recognizing Mexican roots, but e and more explores its own im- Vol. 2, No. 1: Features poetry selections te circumstances of here and. now. by don Florencio Trujillo,curandero and Juan Bruce.Novoa's study "The Space of public figure in northern New. M'exico dur- Chicano Literature" lays the foundation ing the early part of this century. Basically for understanding Chicano literature as romance in form with regionalisms,, reveals part of the universal act of creation from personal experiences and his associatkons a philosophical perspective. Originality then with local friends. "On the Day I Was is viewed as sameness: "sharing the same Born," a short story by Jose Armes symbol- characteristicsof continuity:atemporal, ically alludes to a young Chicano's first en- non-divisive simultaneity." (p. 28) Bruce- counter with bigotry in his milieu, Patricio Novoa sees literattire as a- desire to salvage Paiz' free verse selections pose a series of the images of a people's intrahistory. He questions regarding Chicano's second-class analyzes the following works in the context status for being the burden of U.S. labor' of the theories presented: Yo soy Joaquin, force and Vietnam casualties. He ingenious- . . . Y no se lo irago la sierra, Bless Me, ly incorporates coined phrases, giving his Ultima and the poem "Ragaza" by' &icardo poetry a free-flowing, ironic quality. Also Sanchez. The third article, "La prosa chi-. included is "Esposo ingrato," a ballad writ- cane: Tres epigonos de la novela mexicana ten in 1904 by Jose Manuel Arellano. de la Revolucion" by 'Guillermo Rojas, proposes to prove how Chicano prose is Vol. 2, No. 2: "Bwzardville," a short ,influenced, consciously or unconsciously, dramatic satire by Carlos Morton deals with :by novelistic trends found in the novel of the Chicano and red-neck confiontdtions. Pun- Mexican Revolution. After listing certain gent exaggerations are the tools for mockeigt- characteristics,citingBerylJ.M. Mc- and the absurd. In his critical study titled Manus, Rojas proceeds to apply them ac- "Mas alla del grito: Poesia engage chi- cordingly to Tomas Rivera's... Y no se !v- cana," Tino Villanueva differentiates be- irago la sierra, Rolando .Hinojosa's Es- tween "social poetry" and "engage poetry," tampas del valley otras obras and Miguel thus applying criteria of the latter to ex- Mendez' Peregrinos de Aitldn."Satire: amine Chicano protestpoetry..The term Techniques and Devices in Luis Valdez' Las "engage" seems unnecessary when Spanish dos caras del patroncito"" by Nasario Gar- already offers an adequate and perfectly cia examines satire in one specific act( of intelligibleexpression:"comprometida." El Teatro,,Carripes'ino: ".. .it is a forof Finally, Juan Bruce-Novoa and Carlos 9iticism . atire...brings to light w at May-Gamboa report on events in the Quin- is, wrong with \someone or something,of to Festival de Teatro held in Mexico City.

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Their comments revolve around the im- ideas and ideologies harmonious with Chi- pression madetoy Chicano theatre before cano values. In accordance, with its goals, Latin American audiences and the dis- features writings of all genres, placing much cussions that arose. emphasis on tapping oral traditions and folk history in order tocreate,a total picture of Vol. 2, No. 3: A special issue on /a mujer Chicano past and present. chicana containing all women writers. For example, includes- short poetry selections Vol. 1, No. 1: Poetry selectionfi by Marfa by Betsy Tap6, Ximena, Teresa Armijo and Mondragon give a religious overtone to the Beverly Sanchez Padilla, plus short fiction social awakening and cultural makeup of by Guadalupe Valdes-Fallis and Rosalie the Chicano. Considers the Chicana to be Otero Peralta. Free verse adds to the po- the synthesis of Eve.and Christ-like figures: etry's perional nature, expressing intimate "I am the bearer / of adobe cross / and thoughts and desires. Betty Tapia's mellow. the mother of LA RAM COS MICA." (p. poetic voice contemplates love and a wom- 22) Cleofes fable "El carbonero" an's needs. Ximena develops themes around moralizes about the evils of greed. A coal envy and the oneness of love. Teresa Ar- miner makes a pact with Death, bringing mijo reminisces about a deceased friend and to mind the Faust tradition. reflects on loneliness, unhappiness and pol- lution. The outstanding feature in Bever! Vol. 2, No. 1: In his short story "Chicanos Sanchez Padilla's poetry is its open, fem- nortenos," Estev,an Arellano presents the inine eroticism. Guadalupe Valdes-Fallis dilemma of high school dropouts who con- in "Recto" portrays the anguish of front the difficulties of employment after mother whose security de i nds on er being in the military. Heavy criticism is daughtee,s, future \ relationshi Ith ugh'directed at the Cathtlik Church, corrupt unwanted, with a t'viejo ver' old "politicos," and toward the Chicano with ma.). Rosalie, Peralta's "Las dos. nas" a superiority complex. In "El fletero y el presents a young girl who observes inter- ranchero," Cleofes Vigil offers an account actions between her two aunts an e in- on the humorous relationship between two fidelity of her. uncle. old friends. Alberto J. Lovato's book review of Ricardo Sanchez' Canto y,grito mi libera- Ct' tion concentrates on biographical notes and VJ the directness of the graffiti style. The liter- El Cuaderno. Dixon, New Mexico: Aca- ary comments are fovershadOwed by his demia de la Nueva Raza. Vol. I, No. 1- editorializing.Poetryby E. A. Mares de- -scribes personal hopes and unattainable (1971- ). , desires. Jose Marla "Chema" Saenz' poems A community oriented journal which ex- re reflections about lose. Heriberto Te- amines Chicano history, literature and phil- n'sI nonconformist spirit expresses fine losophies. Proposes to build a reservoir of otest poetry with a tone of sorrow and intellectual resources for the promotion of Ope for a better future.

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Vol. 3, No. 1: Includes "You Can't Drive Lamadrid, and Denise Elia Chavez. to Axtlin" by Edward Tafoya, a humorous but sad episode describing the dreams of a El Grito: Journal of Contempolary Mex.., young man on proNstiv whose plansof can American Thought. Quarterly escape are stifled by hisVruck running outg- Journal. Berkeley, California: Quinto of gas. Estevan Are llani) presents a chapter. Sol Publications, Inc. Vol. 1, No. i - from. Inocencio: Ni stembra ni escarda y Yr.17, Bk. 4 (1967-1974). slempre se clime el mejor dote, a forthcom- t- ing picaresque novel. Early poetry by Frank The first serious journal to compile, pro- Lujin describes the hardships as a railroad mote an4 diffuse Chicino art forms,liter- worker during the 1930's and his worries as ature and thought. Revolutionized the scope a soldier in World War II. Alsoincludes of American journals by providing an inde- short poems by Consuelo Pachecu, Alberto pendent forum for artistic and scholarly ex- Lovato and Maria Marquez Off! pressidn by Chicano authors who reflect Chicano experiences from a Chicano per Vol. 4, No. 1: A short story by Sabino spective. Together the issues contain the Reyes entitled "Me pregunto" presents an most representative selections of anyjour- author-protagonist who rediscovers hap- nal or anthology up to 1974. piness and meaning in his life through a love affair with an old school companion. Este:- Vol. 1, No. 1: This first issue is important van Arellano's "Cuentos de café ytortilla" because it introduces the basic format for are three short stories depicting onecentral subsequent issues which include samples theme: the impersonal way of life that mod- from diverse genres and art forms. In "Mar- ern society has imposed on a small tin," Nick C. Vaca develops a character community that was once ruled by coin- analysis. munal law. Jose Martinez offers his version of "Juan Ladr6n," a story of oral hii- Vol.1, No. 2: Octavio I.Romano's tory in which a peon's son becomes rich "Goodbye Revolution-Hello Slum," a pot through thievery and the use of his wit. Of etic essay or short story, describes a people's special interest here are the chapters from tistorical trajectory, while criticizing with 'La historia de un caminante o sea Gervacio thepurposeof demythicizingcultural y Aurora. an early romantic novelwritten stereotypes. Also in udes short poems by by Manuel M. Salazar in 1881. A nineteenth John J. Martinez a J. Philip Jimenez. century ballad by Manuel Arellano pays homage to Manuel M. Salazar. Also in- Vol. 1, No. 3: 0 an interesting fie- cludes nature poetry by Leo Romero, a f account on ,eiq Tijerina's activi- homage to Ricardo Sanchez by Juan Bruce- ty MexicOtitled "The Coming -of' Novoa, Estevan Arellano and Enrique La- by, Philip' D. Ort4o. Jose An I madrid's death themes, a homage to An- Gutierrez' poetry' declares /a cultural pri e; tonio Machado by E. A. Mares, and other Josue M. Gonzalez writes a poem filled with

short selections by Leroy Quintana, Enrique sarcasm. \ 0,a

( 97 JOURNAL

Vol. 1, No. 4: Alberto Villareal's poem Rafael Jesits GonzAlez captpres heritage Professes using love as a weapon against symbols and pictures Chicano scenes; En* Inhumanity. Padilla resorts to short, rhythmic verses to express fladhes of lyricism; Tomas Rivera Vol. 2, NO: 1: Alurista and his poetry, gives poetic accounts of American society's who together revollred conventional effects on his small world and reminisces poetics, are introdu. o a massive read- about childhood events. ing public for the first time. Definitely represents a significant landmark in the evolu- Vol. 3\No. 2:Rudy Espinoza constructs tionary Process of Chicano poetry. In his a short story based on a supposed truepinto short story, Silvio Villavicencio utilizes mul- situation. Also introduces Ricardo Sanchez tiplenarrativepointsof view simulta- and his powerful poetry which proved .to neously. have an impact on. Movimiento expression.' Includes four selections- from Gustavo Se- Vol. 2,-No. 2:. Introduces Miguel ndez gade'S San Diego State class in AdvanCOd l Composition for Native Speakers. In addi- M. through his shortrt story "Tata hua" whose unique metaphorical-baroque style tion, Jorge Alvarez poeticizes parents, an of Yaqui magical realism and symbolism apuotnocbei opgrraiispehsy and huelga. Miguel further strengthens the renaissance of in- the Mexicanthicuisine in "Can- digenous spirituality into a Chicano liter- ci6n a la comida mexicana." Octavio I. ary form. Silvio Villavicenciowrites a short Romano's contribution is a three-act play story with an 'existential concern regarding which exaggerates characters' personalities mirrors, the act of being and becoming. with the purpose of satirizing administrative Miguel Ponce expresses a rebirth in "Te- opportunism by Anglos in Chicano pro - nocliAitlan." Rudy Espinosa creates a sensi- ,grams.. tive 'parable with an indigenous tone 'in fan- "Little Eagle and the Rainbow." No. 3: Presents Ronald Arias' fantasy and taste for the make-believein his Vol. 2, No. 4: Here appears an excellent short story "El mago." Frederick article, "The Mexican in Fact, Fiction and poetry focuses' on border incidents. Folklore," by Francisco ArmandoRios, sco0. Burruel writes intHquaCrtanet- who traces stereotypes in the three men- tradition about exotic Orientalpics. Her= tioned areas, providing concrete examples minio Rios offers an incisive and critical from the nineteenth century and more recent book review on Richard Vasquez' times. Georgia` M. Cobosincludes,some of her poetry ,dealing with the mother theme Vol. 3, No. 4: Expands literary possibili- and pride. Clara B. Lefler contributes poems ties with the style and approach of -four regarding cultural roots and shows signs promisingauthors:JesusMaldonades of Alurista's influence. barrio version of Red Riding Hood; J. L, Navarro's brothel meeting between a. curi- 'Vol. 3, No. Includes various poets: ous man and a supposed-virgin;Francisco 1

'93 lir

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66 JOURNAL

Vol. 60 No. 4: More examples of quality Calvillo Schmidt's stands out for its confes- writingi appear Rolando Hinojosa-S., win- onal tone. leer of the third Prerni6iQuinto Sol Literary AWard in 1972 for his Estampas del valle y Yr. 7, Bk. 2: An ambitious bibliography otras obras, captures barrio,characters and reveals every conceivable individual work.of incidents with vitality and affection; Rich-T drama, prose and poetry published any- ard Garcia, a widely traveled poet, reflects where and wherever found. 401 Surrealistic internationalism and also writes poetry for children with easy-to-remember Yr. 7, Bk. 3: This issue takes a strange alliterations; JoskA. Torres produces read- direction despite some respectable selec- able moralism for all ages in Cafihito miro; tions. Contains many mediocre examples; Luis Javier Rodriguez tendshardthe besides, reflects signs of nepotism on the urban experience in "Barrio expression;" part of the editors. Calligrams are gener- Estela Portillo reveals new questioned social ally well done, but these and general layout roles for the woman in going against con- sacrifice content for form. ventional expectations; finally, Jost Luis Navarro, in a selection from his book titled Yr. 7, Bk. 4: Presents significant dramatic Blue Pay on Mainstreet, incorporates a ende vors by three artists: Carlos Morton wide range of universal concerns such as "... ctualizes Judeo-Christian mythology human degeneration, social realism and in ters of contemporary eaflerience"(p. 6) eurrealism. by making Adam, Eve, God, Serpent, and Death use barrio talk while re-evaluating Yr. 7, Bk. 1: The whole issue is dedicated the relationship between. the five; Alfonso to the creative voice of the Chicana. A C. Hernandez writes in the tradition of The unijatte approach to encomPass an import- Theatre 'of the Absurd, filled more with a.)xpression that is asserting itself within stage directions than actual dialogue; Alu- Chicano literature., Once again, expressive ristajollows the auto sacramental tradition horizons are expanded to openly include through the use of Aztec allegorical figures, the carnala as an integral part of an artistic invented Carlos Fuentes' characters (Pepsi- .process.For example,EstelaPortillo's coati and Cocac6at1),, indigenous values philosophical play puts various power fig- systems (dualities) and Amerindian aspira- ures from history on stage; Ramona Gorr; tions for a new rebirth. zilez' short stories focus on past and present barlio customs, telling them nostalgically and with affection; Minerva L6pez,Caples' fiction- philosophizes through an anecdote how there is no future without a past; So- do not ask for freedom ,corro Jauregui's story about a child being am freedom" -A L U$ISTA illegitimate but proud.lso included are poetry selections from yari us female poets: most are universal or. 1Yri al but Lorenza

100 RItitw;Vr."'

JOURNAL

= , ,,t Grito delSkil: A Chicano Quarterly. do Landy masterfully display 'Chicano Quarterly Journal. Berkeley, Califor- plcardla byblendingvarious' limes nia: Toaatiuh Internation,;Inc, Yr, I, types: code-switching and phonetic play on Bk. 141976-). words. In "kopilote," a short story about-a prize fighter, Rodrigo Palacios Schokex- periments with narrative techniquee, ftijx- With this quarterly, Octavio 1. Romano-V. sot . as editor makes a comeback after-having ing of languages and intermingling of r worked with El Grito. Proposes to be lit- ties. William Noriega's "A Dream' d erary in, scope by .publishing and fostering a young boy dreaming about runni new Chicano writings. from home but awakens td the 'h ties of his barrio life. The selection Yr. I, Bk.' 1 (" Canto de Aztlin"): Ramon "Manfly" by Alfonso 6.11ertuindez is a vio- Emiliano's "A saga of Azthin" poetically lent almost grotesque scene filled with sur-fi creates a symbolic founding of Aztliin city realistic imagery. "Un padre nuestro" by by the Aztecs and their later exodus to Sylvia Wood is a confessional-type poem Tenochtitlan. Fuses Mexicans and Chi- with a viejita as the poetic voice who prays canos into one: "separate and yet forever and reveals her good and bail deeds of the wed." (p. 22) In their sketchy article, "Li- day also included is ""If It Weren't for the teratura chicana," Lino and Ricardo Landy Honeysuckle...'." by Estela Portillo Tram- offer suggestions (mostly linguistic) which bley, which 'develops a conflict around the in turn try to define and establish limits for dichotomous relationship tietwen man and Chicano literature. According to the ex- woman. The female protagonist serves as cerpts from hisiorthcoming book, 10ambe- the giver of order. '4 -Year One, Orlando Romero recreates 'an atmosphere of magical realism while cen- Yr. 1, Bk,3 ("Canto de la invasion"): Fea-. tering. around tlfe daily experiences of a tures a chapter from Below she Summit, a young boy in northern New Mexico.Estela forthcoming novel by Joseph V. Torres- Portillo Trainbley's "Recast," taken from Metzger, telling the story by Robby Lee her collection titled Rain of Scorpions, por- Cross, a yeoman farmer, college student, trays the development of a Chicano "tyran- part-time radiO broadcaster, cutlery vendor osaurous," driven by the urge for power. with aspirations of becoming a preaCher. "Pelon drops out," part of Celso A. De Selection offets a humorous mockery of Cases' unpublished book.,.contains humor- faith-healing revivals. Joe Olvera's ."My ous episodes of a college dropout's first day Voice" presents experiences in New York as an apprentice mason. Ili "The Scientist," from a first-person perspective which has Octavici I. Romano satirizes about mental a chaotic, stream-of-consciousness effect. and health center and\ ?ractitioners. Mediocre prose and poetry selections by Irene Bowie-Gutierrez deal with a confron- Yr. 1, Bk. 2 ("Canto de la peregrina- tation with fear and non-sensical pillow don"):"Jamanegs" and "La, chamaca talk. Her better selections are "Logiataron" Brava," two shOrt plays by Lino and Ricar- and "Tres tiros en el aire." The first tells the

101 96 , about ihe:beginningi of a iragic and lated toPics. eft fend betWeen two fainiliesk the see- POitrays 'a ehlicti first encounter with Alio 1, -No. 1 This first iseue introduebs death mixt* Incomprehension of a mili- the journal's objectives and general. laysiul tary fUneral,' Carlo* Morton's "Ercuento comprised 'Cif prose, poetry, essays and bib' de Plata° Diablo" is an allegorical acto liographical notes on contribbtors. ;Itois satirizing the human condition. Tired of appropriate thatOlie first literary- hell, the Devil escapes to Earth only to find by Tomas. Rivera'cause of the contempo- thati;man has created-a more sinister and rary and universal 'canted of his short story. 'Offering inferno than hell itself. "Cruel titled "Lobking For Bdrges.r Two an9nY7' Profit," by Hairy Gamboa, Jr., consists of , mouscharact4rs discuss ,Borges in Borges' a montage ,of sometimes absurd prosaic and terms, that is, structuring all action nccOrd. poetic 'fragments that communicate an in- ing to a philosophidal base,. superiMposiiik coherent whole. In "La polvadera" by Silvia dreams within -reality,, Ind establishing a Wood, a first-person narrator reminisces timeless eternal Present. River,parcidies., about her childhood relationship with her Borges 6y. having one of the chaiaeters be- prostitute but benevolent mother, , but a come nauseous` for some unknoWn reason,. lack of communication between the two but we a§silmt *it to' be'from the effect eventually -causes them to separate. Octavi- overphilosOphizing. KanellOs ccin- ano Romano's science fiction "Quasorp". tributes. an important finding from a, 1927 inverts a situation in order to, discuss the Chicago, newspaper in. 'the form of a .short absurdity of earthlings for creating "things" tstory portraying two cultures as separate that are capable of destroying their own worlds when they meet. In the poetry sec,- world. tion, Tino 'Villanue*expresses, three distinct themes: the coniequerias of being e- \Reviata Chicano-Rlqueila. Quarterly Jour- conquered people, images of sensuality, and nal.Bloomington, Indiana:Research urban alienation which binpedes self-dis- 1 Center for thd Language Sciences (In covely. Toihas Rivera's poetry selections diana University Northwest). Ano 1, embody positive symbols ofiove and youth. No.H1973-). Among the critical essays, Luis Leal Offers an historical perspectiVe to Chicano lit- Alunique Mi western quarterly which re- erature. He differentiates between "Mexi- fleas combin d efforts by Chicanos and can American" and "Chicano" literature. Puerto Ica .It aspires to promote the the former being more closgly related to concept oultural pluralism by expressing MeAican literary forms and traditions; the the differences and similarities between'peo--- latter incolverating the satin popular ex= plisr Primarily a literary forum, this jout- perience plus-adding to it4 spirit of rebel- riatcovers all genrei plus contains a special lion. Although Leal's two-literature theory se on book reviews and critical studies. accurately captures the phenomena of the of our imrnediate purpose, annotations literature'schange,through history, the im- are only done on Chicano writers and re- plication is that a total change in an artistic

.102 9( , . conscience meeits a different label instead jcs of a situation while provid'ing human of recognizidg that process as another step dimension to : differeift 'peonies mdilVes. ,In..ttyeOple's literary evolution. ''., Aniong thevoetiy selections are 'the forllow ing: Alurista's Chicano halkus whibh ek- ':' Mb 1, No 2: .A short play by the Teritro' perinterit-* more with form 'than' content; Mileage lo del Pueblo presents the current Renate Rtisaldo's etilqgy-to Ricer., phenoMena created by the polder structure do Vasquez' . concern for 'memories, 'the In which two minority groups (Chicanos elallenge. 4( death and the material Ognifi- and-Puerto Riciantafightitgainst each other CillaCC of a wedding; Gerardo Sacra', pOetic for the leif-overs. Rolando R. Hinojosi's message of polilical gods; who declare peace autObiographital sketch, "E Tluribus while Juan simply remains buried in tii& Vitae," confesses his appreciation' toward distant jungle. his father for bestowing him with 'many . . liveti. In ".I..ast "time Around" Alejandro Alto 2, No 2:. This issue contains rimer,. °us prOse and'poetryselectionl, In the prose Mumble .exemplifies how Ruben Salazar'sJ death could have been anybody else's. In- section; Irene Bowie Gutierrez creates an chides poetry by Juan Rodriguez and Ar- aura of anOiguity_and vacillation through turo itokales. In a critical studY, Pedro. theexcessive use.of idviibiai indicators and Bravo Elizondo discusses the nature of Chi- by leaving put-names. "Little Frankie" by , cano theatre and its relation to twentieth Miguel Mendez reveals .'a taste for' gentle century world theatre movements. Elizondo --tlescriptions which prove to be more ;lim- also gives a brief and useful review of spet portant than the actual plot. Another short gale dramatic worksAuis Davila contrib- fiction selection by :Mendez, titled "Llu.-4 ,utes a short book review which concentrates is a poem in prose that de obeirthe on ,Plot but alludes; to the symbOlic nhehomena of rain. Salvrtdor L pez nar- bilities in Bless Ale,, rates the story about a -boy who is C mpelltd _ to,cheak out Of school and Work,to elp the Alio 2, No 1: in "The Interview" Ron family, being an initiation rituai this be- Arias develops a parody of. making an in- coming a man. Tido Villantieva ekpe intents terview between two contrasting types- Of in "De sol a sol"'with a stream of cocious- ".characters, and a college student. ness of a viefito, depicting her paicular "Stoop. Labor" also by Arias portrays a thought- patterns and preoccupation : PO- ChiCano student trashman who works for etry selections include the followingeroy a decadent sorority. Written in a direct, Ouintana reminisces while accusing ari- earthy style, "El Tete Fonseca" by Tomas juana" of seducing young men with illu ions Rivera relates. the, story of a suspicious -and regretting the effects of a modernorld pachuco vagabond who joins the migrant that has fOrgotten _the simple .things o Workers, falls in love with a recently abaci- °Mai Salinas expresses his love for .cloned woman, marries her and leaves her Mariit and also mentions cultural di er- after the harVest seasbn ends. Demonstrates enees with. Armenians; Aristeo Brito la- iVera's great ability to capture the dynam- ments the kiss of the Aztec gods as supree

103 who provided delinitiontfor ,a peo-. concermi, especiallY with reference toat Mont theliterary studies, Luis Leal of direction..grhong, professional Chicanos !..es,Milgiel Mendes! short story "'Tata , and to the necd fot overcoming obstacles; .10which he stresses the tone of Lorna Dee Cervantes contributes .excelleht essneas dtie to the threat 'the confessional poems- from a worth; fetxtale Pletettedf disappearing, He. points out, perspective. In "Metaphysical Anxiety and story's poetic quality Whereby, man and the Existence Of God in ContempOrary 'OM a.harmonious tinidn. Two bat* cano Fiction," Guadalupe 'Veldt% are 'related to Chicano material: accomplishes ..multiple objectives,.. proves AlarcoirM Anson simply describes how Chicano literature is not strictlYpojiti- e anthology by 'Luis Omar Salinas and cal in scopeland how it forms part ofuni-; .Lillian-Fraderman, From 'the Barrio: A Chi- versa! expression id,posing basic existential cattei Anthology; Jose E. Fernandez has .qhestions concerning God. She SuOports nothing Olt praise for Aztkitt: An Antholo- her accurate locus with dealings on .Pocho; 400 MOkart American Literature which is Bless Me, Ultimo lo tragd edited l by Luis Valdez and Stan Steiner. sierra. Finally, Teresinha Alves pereirit sum- , , marizes_a_serlei-C aspectso--Rolando Milo 2, No. 3: Deals with folklore such as Hinojosa's Estamms del voile y otras'obras. corridos, )*opos and folk tales. So'''me are Her comments regarding -a- "narrative-in- direct descendants of oral tradition and . movement" presents a topic: worth studying otheis revolve ..around contemporary further, but she mistakenly classifies Hino- themes. In "Las avispIts," a drainatic adap- josa's style as- fitting within the socialist tation of of Olk tale, -the Teatro Chicano de realism mode. _ Austin emPhasizes the need for Chicanos to organize., Aurora Arechiga presents iter- Ano,3', NO. 2: Principally devoted to Chi- icins of "El peril) y el ,hueso4" "La Oveja y coca. Poetry, the selections are represent& lobo,".and "tot llorona." Juah,Rodriguezl" tive of some of the better poetry written by Minutely' detailed review of Peregrinos de. twomen.,Itina kocha's best poem `wonders:. Attkin by MigUel. Mendez, mentions how about her inherited similarity to her father. the author's Third World perspective is Angela -de HoyOs captures the emptiness

similar to thit of'Dgtvid'A..Siqueiros in his and sterility of the modern world. Ana . paintings of opp?essed Mexico. Rodriguez tillo Rivera admires her mother'lasting critical)Pdiscusses.Characterization, theme, strength. Grace M-. Hearse reviews Litera- sttucture, style, language,. humor, etc. tura chicana: Texto y contexto by summon.; izing its contents and proPoses, a critical- Alio 3,- No. 1:"This .issue is mainly dedi-,.view of the anthology's ambitious but faulty cated to poetry but has a short story. by pretensions. -Flank Pin° that stays, on the s rface,poetry selections are by 'Frank Pi o who nostal- Alio' 3, No. 3: Contains the following recalls an, old inan om the Country; prose and poetry selectiong: "Donde esta la_ Dayid M. Herrera writabout Movemertt, onda" byJuan ROdrigUez is a conglomerate 'JOURNAL

inOined, 'phrases and songs in an experi- The Road to Tantinun.Maler, AriatOagatn. Mental &flare; in "civiiizacion y barbaric" coMbines imagination and fantasy 'in "The Rodriguez ,MakeS a valuable existential; Story Machine" where a mysterious man, comment by recalling old afternoons; "La with a fortune-telling tape .recorder and a filtinia carte Rodriguez is abontraclead 'green dog, becoMei the center of attention. `, man 'Writing his mother askin er to say In his relatos, Arthur ,Ramirez depicts three goodbYe to the country for him; Abelarclo distinct Chicano realities: "Among tAe Not- Valdee short story deals with the changing So-Valiant" centers"' around deserters- of

of titneS when the beloved die. Poems by Warld 4War ItII; "The Setret"-teliii--abbriXt Juan Gainez-Quiflones come from .his book old' man who, op his death bed, leavea t th and Grande Vista; they 'reflect aspects of. narrator then secret to protect fami ies f om his total experieqce derived from an import- evil; and in "Chano" we encounte a ac lint ant perSon in his life, his sense of holiegand -who turned revolutionary to comt an abstract thought inspired by a place.c- ties committed against la Ra2a. Poet r3'ise- Erlinda Oonzales reconstructs images from lections from Carlos Zamora reflect his her family's =past by using interrelated frag- ability to use play on words and irony plus ments._ Jose Almeida personifies a Guate- to ennoble "the common incident. Short sinalanItie--with-- animal characteristics. poems by Angela cleHayos poeticiics afi Teresinha Alves Pereira interviews Tino ethnic ideology., Two romancer by Mario Villanueva in which she. emphasizes bio- ,M. Benitez deal with identity and imposed, graphical notes, the definition of a Chicano segregation between Chicanos aixl Anglos, poet and Chicano literature, opinions on living and dead. Jorge Huerta's "Where Are which authors are the most important, the Ofir Chicano Playwrights?' compares the literature's international acknowledgement -ado with "realistic plays." In "El teatro and whether a Chicano writer should be `chicano" de Alves Peteira," Juan Bruce- committed politically. Arthur Ramirez re- Novoa discusses Chicane,- theatre elements,'' views the two novels by Oscar Zeta Acosta, intheBrazilianplaywright's drama* The' Autobiography of a Brown Buffalo works. Sam L, Slick's article titled "The and The Revolt of the CockroaCh People, Chicano in Los. motivbs de Cain"studies the comparing him to Don Diego de Torres- interpretation given the. Chicano by the Villarroel, a Spanish writer from the 18th Mexican novelist Jose Revueltas. century who followed the picaresque novel tradition. The critic contribbtes many val- . Afio 4, No. 1: Rolando Hinojosa-Smith uable observations and points of contact continues the estampa trailition in his own with the mentioned literay tradition. short fiction selections where he interjects more conflict than was evidentEstampai Alio 3, No. 4: Primarily devoted to some del valle y, otrahobras..John Garcla's short . aspect of. Chicano literature. Ron Arias' story, "Rain curtain," preients an afternoon short story "A Haase on theIsland" isabout advennird; which is interrupted by circum- a Chicana poetry teacher who makes ex- stances and rain. In an untitled story; Maria cuses in'order to seduce her students. As in Aguirre :relates the mirade of, her father- . ./.

(4194447.:-

', `lis issuealso'introduces' et4 Omar '$alipas mixes enta 411. 4*,?ider.'16 create, a n, iiriMetimO'social;.other P1100. Nasario,,:Garcia:41- aiy n14410'01 neighbor \ d;his childn;,,LorenzaSOhtindt gives 430 of w t it mcans to be Chianti. thin a 'Clornitiasocictithgt:Illtvi.labels; Ogin r:ElitnricW, contributes ,fine, (*try inspired- bY, !Women in which he 're- arts to traditional rhyme with 'sucCess. inlet Testa'scriticalstudy "Alurista: hree Attitudes ToWard Love in His Po- e,tryr proposes to see Alurista's poetry as an essential expreision of love which can be into threeAreas:4) acceptan0 arid rejeCtion, 2) recuperationand re-disco,- ery, of ChicanO roots and 3) projection.

Overleaf artwork by,

Dino' Carlo Candekiria ball more than about Chicanos. The most developed 'character, Mando,Cruz, is only one-fourth of a collective protagonist am. sisting of four baseball players. pireeted to a young reader, plot involves the hardships faced by youth, of different -ethnic backgrounds. enroute to 'becoming major league players. Although racial coexistence is em- phasized, at times seems to be propaganda for Americanization. Mando Crux'chican- Bonham, Frank.Viva. Chicano.New York: ism°matters more as ae title rather than Del Publishing Co., Inc., 1970. as a central issue. Foraple, Movement' allusions are negative. IR'cky Cruz, Mando's A novel of the urban downtrodden based brother, an activist Bro n Beret, is referred on actual research. Recreates the fugitive to as a nonfunctionalhalo locowhp wants and trouble-filled Jife_of Joaquin (KeenyY.)-style,----- Duran, a juvenile from Dogtown, an East Spanish words are sprinkled occasionall9 L.A. barrio. Treating the protagonist as an so as to support the paptr macho Chicano antihero archetype, Bonham penetrates the content'. Published during the periOd'when ,petilous world of juvenile delinquency, Chicano activism was at its peak, novel ap- filled With drugs, gangs, street fights, arrests, pearsto be an opportunistic attempt to. court trials, detention homes and jails. Uses attract _reader's interest through thetitle. the figure of Emiliano Zapata as an inspira- tional motif of cultural pride. Directed to Nelson, Eugene.The BracerO.Berkeley, the young reader. The narrative attempts a California: Thorp Springs Press, 1972. sympathetic portrayal, but contains many stereotypic elements. For example, implies Narrated from an omniscient point of view, that juvenile misdeeds are the basic result author relates sympathetically the suffer- of faulty home life without expounding on ings and hardships of a young Mexican try- external- environmental factors. Story. ing to become abracer°.After conquering simply ,too shallow; barely scratches the seemingly endless obstacles in Mexico, he, surface, of a 'possibly convincing Chicano finally obtains entrance into the U.S., only content. Besides, makes _rine poor repre- to, be rejected by border officials because sentations: dialogue rareVy mirrors- barrio of a tuburcular condition. Disillusioned and lexicon with verisimilitude. Readable but spiritually defeated, he begins the Tong unpersuasive. odyssey back. His tragedy is completed mid- way in his return journey as he lies down Cox, William.Chicano Cruz.New York: to sleep and await death. Characterization Bantan Books, Inc., .1972. simply stays on the surface. Story, docu- merits a human epic but is not convincing Contrary to its titleuthis novel is about-bast= as-a- novelistic accomplishment. 1.-Iti9AttUF1CHICANESCA

John. The Milagro Bear; field War. Waters, Frank. People o .fthe. Valley. Chi: ew Yerk; Random House, Inc., 1976. cago; The Swallow Press', Inc., 1941. paitke most Convincing chkanesca' Set in northern Nei/Mexico, tells the story novel.sitten after Nithcils studied his sub about a domineering curandera driven by jest matter extensively, thus capturing local' customs and superstitions, and thmhistory colOr, cuitoths',. legends, beliefs and geo- of-the valley peoples Mainly' reflecting the graphical particularities with theasight of itineteenth century, :deals. With many egrly- it keen eye. Situated in a fictitious northern trtitions (i.e., penitentes, communal life Nel Mexican community (Milagro), this sles, etc.)!while the people struggle against novel .exposes a people's endless struggle a seriek of forces such as the. Church, goy- against outside specialciuterest groups for ernrnent, nature and Anglo"Progress.r Uses

..land, water and grazing-rights. Deprived a traditional third-person 'inarration with of irrigation rightk some thirty five Years uni-dimensional characters. lts value lies ago due to a politithl swindle known as the ' in its treatment of New Mexican culture and 1935 Interstate Water Compact, the farm- . history. -1111111-iturcimidirquivfilagrir ,had-literilly-bew-- come a barrenwasteland,creating the situation of subsistence living. The character of the alley is radically chang d when one day JO' ondragon proceeds to defy the exist- ing n by watering his property an in- cidental t symbolic act that catalyzes to unite the people and marks the beginning of what is to be the Milagroeenfield War. The plot of conflict is wellalanced with interspersed ingredients of linor, fantasy, unordinary realities, incongruent incidents, immortal characters,inexplicably compulsive personalities, and others similar to the ambient found. in Gabriel Garcia-Mar- quez' Cien Mos de soledad. A third-person omniscient narrator successfully develops characters as beings of flesh-and-blood; even their names reflect a regional taste: Amirante, Onofre, Cleofas, Bernal*. Tran- Auilino,, Meliton. Written in standard Eng- lish, the use of Spanish isimited to occasional stock phrases. Makes entertaining reading and proposes a good example for non-Chicanos to follow. , the art of poetry. auto sacramental. a short dramatictimposl. tion of allegorieal dimensipli.baeed usually on human condition. tssen0apy. Spanilb in origin. ; i'd" Aztlin the spiritual niitidu for the Chicano,

' mainly, the.Southwest, , , baroque a style of art found in titerature, MIA- - itecture,, philosophy, charaeterized by pro- !bud adornments; Views' beauty" as ,a corn- ado: d short self-contained theatrical per- plex Whole.;tends toibe mare descriptive in detail rather than ,focusing on action; de- `I' forinance. pends on precision and not directness,. aesthetics ;,the theory Of the fine arts and a sen-- sitivityl toWard them: The science or branch barrio a neighborhood with its own identitY ..of philosophy that deals With beauty and the as a semi-community, but does not haVe the doctrines of taste in literature. sante cbfinotation as ghetto. albums_ - witty sayings such"as using play on to lOCO - it highly indivklualiked barrio dude who is, unpredictable' and generally spon-. Words. 4 taneous ("crazy" in a casual context). Amerindia originally anthropological term, now used by Chicanos to refer to an binary imagerir7. especially found in bilingual Indian'Amenca as one continental Ration. or interlitigual expression, refers to unusual imagery that tkanscends monolingual limi- anti-heroe =» a person not generally considered tations, thus creating new linguistic reali- a hero in literattire but who serves as one in ties. . . order to elevate or focus on that social bracero a Mexican who has legally come tO sector. 4, the United States, to work as a farmhand. tfitithesis $ti opposition or contrast to an- eillIgrams, an experimental poetie technique . other idea; a contrary position. of making figures with words. architectonic it,oVeli a definite 'detour from a 'traditional- novel, it fuies time and space eign a language of pdchuco invention,usually through ..ingenious structural techniques metaphorical, :overly creative, alinost ba- such as a juxtaposition of diverse types, of toque. . narrations. Its essential feature is neither earniti(a) term used by Chicanos and Chica- thematic nor 'stylistic but 'structural because 'los to refer to "brother".and "sister," either its goal lies in the evocation of the illusion as part of the immediate family or M the Ora spatial entity., spiritual-social hiovement sense. archetype a person, place or-thing that repre- carnalismo 'a sehseof brotherhood Chicane- sents a pattern or model from which all sim- style; a socie-Spiritual bond. . ilar things are made.: For .example, the, castizo used here in relation to language: archetype of the,inother. fers to supposed refined standard Spanish. acs pities an exprelSien borrowed from catharsia in literature, the act of beearing Latin with reference to an author's par-- cleansed or purified-after witnessing alhe, titular concept of literature; literally means atrical perfortnance. GLOSSARY

itthisiafrtnb --concept of life style ofa cyst desmadres .... the inner 'outpoVieng of anger,' Of vallies which provide g platform of sur- anguish or any other intersfeeling. 1041. dialectics the method of logic used by Hiegel we particular to Chi- and. adapted by 'Marx to ids material* phil- interlingual, binary im- osophy. Based on the concept 'of the con- * ;Invented Words, etc.). tradiction of opposites (thesis and anti- blesiatar :`a verb which means tq present thesis)'and their continual' resolution (s)in 'something from a,Chicano pertipectiVe. thesis). '-, , I . chingdfa a super tnacho-type figure. Ilichos sayings, proverbs. collage a kind of iiirrealkitic art in which, bostOyevskl, Fedor. Russian novelist. (1821- piecesoor newspaper, cloth, and Other ob- 1881) who wrote intense novels 'of psycho- jects are pasted togethq, in an apparently logical anguish. His works are literary de- Incongruous rclaticinship,..but nevertheless vices with which topenetrate,human truths manage to suggest alOts.1 effect. ' and fluttering. comPadrazgo -'a fdtm ofitinship or family ties, double-edged symbolism'symbolism tat can , when a manbeeomesithe God-parent Of easily be applied to two different. circum- someone else's child; -implies full confi- stancesorlevels, for 'example, "Lot yen- dence, trust and reliance.. didos" by Luis Valdez. . condentisacidn the act of becoming, aware, engsgee poetry (or comprometida-committed) . especially in socio-politiCal terms. a direct combative, social spirit with .a socio- corrido a ballad of popular origin. political end in protest which Ovoidi sub- coatumbrismo a -literary tradition focusing (defies. . On customs of a certain region. entremes a very short theatrical piece of a' counterpoint -- a term borrowed 'from music comic nature ,meant ,to be, performes1 be- Which meant a melody, accompanying an- tween acts of Major plays. other melody note for note, but in literature &UAW. an incisive flash of popular reality , . applies to two elements in a symbolic op- such as in &tamp* del valle by. Rolando position. . Hinojosa- Smith. critical realism the portrayal of reality In eterno retorno the concept .of'' returning to:,

which itsdifferent compOnents combine in one's origins; completing .a cycle., . themselves to offer a critical statement on existentialism a philosophy that emphasizes a;-speCific issue of human 'condition. These man looking at his own existence (instead components speak for' theMselves. of God) as a central fotus in life. Man real- cultural determinism -- denotes ..the .capt izes that he cannot depend On anyone but that people's faults are determinea.inher-. himself. Meaning is sought inward in the ently by their culture. curandera(o) - ,popularly designated as a healer Faulkner, William North American novelist who flat' unknown supernatural phwers be- (1897-1962), a master of the live chronicle ¶ cause of his/ her knowledge of heits,, through the use of the stream-of-conscious- demythicize to break down established .myths ness style of,writing..! which are considered true. flashbacks fr,0 a literary technique of narrating denouement final Outcome in arstory or plan whereby the narrator recreates a situation in the past, thus providing peraPective and GAL ctl=3ElA Y

k1 contrast, or the stage for a caUse7and-effect techniques such as the usiof interinr4mOno relationihip. logues and stream-ofonscinutinesS, 011* flat eharacterbtation the development Ofillar- chilly within his mastarpiece Mmes.

, octets which never penetrates the inner"juxtaposition the literary tic( bique of Planing being Mit Minstias on the surface to depitt perspfstivei or actrons side( by side. .typea instead Of complex human beings: kaleidoscopic !riferriag here to, multiple ex- flaricanto a Iklahuatl aesthetic ccmcept of tirt,.';. perieTntlitlnrrangements. through the duality idea of flower and song Latin American Vanguard, a literary move.: kfl0Wer /being temporary natural 'beauty; merit Which began in 1920 to 1950's Ohara' solig,being a melody that iseternally pre- aCterizea by indivicinal en Ors ,noire' cious because it 'recreates original experi- than schOols in which expe tattoo is ti. ence),.- the maximum goal. - 1 Fuentes, Carltiti Mexican essayist and nov- low -Sider commonly found in baos, repre-' elist (1928'-) who is known for his experi- sentsn unique art forth as .a customized car :mental endeavors in the novel and his scru- with a lowered body and elaborate aeSili414' :, tiniaing essays. His majnlireoccupation is May also refer to the driver. I' Mexieo's identity and its respective mean- ,magical realism a vision' of Width ing which he developed in La region' rnds true and unbelievable eyetits m found' lransparente and La muerte de Anemic) in the stne plane without seeping incOn- Cruz. gruous.attire! phenomena is closely as.., Guzmin, Marti:FLO MeXican reporter and sociated to supernatural beliefs,.thtts cre- novelist (107;) who is .known for his ating a magical atmosphere. novelikic' reconstruction of events and lead- marlins! the act of beini left out, ignored or' ers from the' Mexican Revolution. Adept alienated frOrb/ by/ in society. at mixing historical :,.facts with fictional techniques, especially in El dguila y la Mesttlinic related to Messiah or the belief that a chosen savior Or liberator will come in the . serpiente. ,nearjuture. haiku a form of Japanese pOttry which cap- mestizaje the. Process of people of different ' sulize thought or an image with a mini- . ethnic backgrounds miking; melting pot in. munl number of verses (usually three). the Latin American sense; miscegination. hermanilad -- 'brotherhood. mestizo 'a person of Indian, and Eurifpean Iconoclast .7. one who does not consider any- blood; a half-hreed with lt positive mean- thing sacred; attacks etterished beliefs and ing: the Chicano or La Reza. traditions. montage a deriVative of art, in literature also imagery the poetic system of images useckby refers to a process of making a composite in author; lively, descriptions which impress picture by bringing together into aingle the images of things 'on the mind. composition ,a number of different nar- Interior inonologue. the Act of expressing what rations or parts of. narrations and arrang-- oust is thinking to oneself. Records the in= ing these, as bY, 'Superimposing one on an- ternal emotional. experience of the Aar- ther, so that they form a blended i'4hole while remaining distinct. Especially used . acter. . in cinematography by'running a sapid se- Joyce,"James Irish author ,(1882-1941) who quince Of very short scenes to show a rapid has greatly influenced contemporary novel GLOSSARY

succession of associated ideas or mental prevail. images' Out of the apParent chaos arises pathology -.:- from medicine, deals with the na- a total impression. ture of diseases, theircajisfs and symptoms.. mysticism -- a philosophical and relious doc- Inliterature;refers To psycho-physical trine which pursues perfectiony having weaknesses in characters personality. the soul unite with God ao spiritual penitentes a religious cult popular in northern body, thus finding the truense of love. New Mexico known for their penitent cere- mythic. -- referring to a basic human relation- ., monies and traditions during Lent. ship (Inan-woman-child). . . pequefio-dios meaning small god; refers to a 11.0iogistas the use of new invented words in alassical concept in which the poet is be- language. lieved to be nothing more than a medium of narratioat.of multiple perspectives when a expression inspired from above. stoty is narrated from various points of personification -- a literary technique in which sous to involve more perspectives. inanimate objects or ideas are given human' . nattiralhm a' philosophy of literature which ' qualities, thus bringing that thing to life, claims %o tte a-type of realism -based on the picardia humorous mischievousness; also an principles arid methods of a group of 19th- approach o life through the extensive use . century writers such as Emile Zola, Gustave of hurous dements. Flaubert and Guy de Maupassant,. who be- picaresque novel a chronicle, usually autobio- lieved that the writer should apply scien- graphical, which presents the life story of tific objectivity in his observation and treat- a rogue engaged in menial tasks and exist- 'ment of life. As a pseudo-science, it claimed ing more through his wits than his industry. to address itself to the "nature" of man; that is, that he is victim of imself and that natur- pkaro in literature, refers to a rogue, gen- al forces are superi r to him, no matter erally an amoral low class character, who what his efforts are. exists by being a social parasite and around whom social criticism can be derived. omniscient narrator narrator Who knows everything about the characters (inside-and pinto a' term used by Chicanos to refer to a out) and' handles all aspects rejared to their prison inmate. lives.- plastic imagery images created through words pachuco a Chicano dude from the barrio that are identifiably visual, allowing a sen- characterized by dress, his invented lan- sation that images become objects which guage, behavior and social clans. can be molded or shaped. originally a derogatory term used by parable a. short, simple story from which a pocho moral lesson may be drawn. Mexicans with reference to Chicanos supposedly claiming the latter's loss of Mex- ?itradox a statement that seems contradictory or absurd "but may actually contain, a ra- icanness. , tional truth in itself that can be unraveled. Prometheus Greek god of fire who was an initiator of the first human civilization. pastorela a type of pastoral poem or short play in which the countryside and the coun- racconto a literary technique of placing a try folk are exalted. Usually involves a de- story within the main plot, often serving as 'bate between a shepherdess and her suitor, a parallel, emphasis or an analogy to the and wherein the girl's arguments normally main story.

114 i09 GLOSSARY /

RIM literally meaning a race of people but third person narrator a narrator who. ex- used by Chicanos as a spiritual-cultural presses distance with his characters by re- term to refer to other Chicanos or Latin ferring to them as "he said" or "she saw." Americans in emphasizing a common bond. This narrator tends to be limited and usually. iebozo shawl or muffler. stays on the surface in the development of Renaissance of the Chicano = the idea of rebirth his/her characters. in which the Chicano has reaffirmed himself troubadour a wandering, lyrical poet. culturally in the contemporary world. versimilitude the quality .of appearing 'to be retab10 an altarpiece with religious figures real or true. which represent a story. viejita .affectionately means a little, old lady. roinance a traditional Spanish ballad form characterized by an assonant rhyme scheme in paired verses and consisting of eight syl- lables. Rulfo, Juan Mexican novelist and short story. writer (1918-) known for his experimentation with an apparently illogical narration. His literary reputation rests on his ability to radiograph (x-ray) a people and to invade the territory of death as a living thing. fk sensorial imagery images that are created by wbrds that appeal to and stimulate the senses. social realism a critical approach to representing society whereby the author manifests a pogition before his novel and also tends to propose or imply solutions. soliloquy the act of talking to oneself in theatre (being alone,in that particular action). stream-of-consciousness a literary technique in narrating by having thoughts, feelings or perceptions flow without any apparent effort to organize them into coherent blocks of expression. surrealism an art and literary movement which tries to out-do what visual reality has to offer by using those things that are real, imaginary or irrational to create a supra- ,reality. Also known for portraying or inter- preting the workings of the subconscious mind as manifested in dreams. tecato in the Chicano dialect means,a heroin addict.

115 110 iNDEX

Acosta, Osear Zeta: The Autob °trophy ofa Biown Buffalo, . Castillo, Ralph Cruz: 91. 39.73.105; The Revolt o he Cockroach People. 39,99, Castillo, Raul: 88, 89. 105. Castillo, Roy: 89. :Acosta Tones, load: Cachito mio, 53. Castro, Felipe: 6t. Aguilar, Ricardo: Caravana enlutada, 17. Cervanles, Lorna Dee: 104. 'Ns" Aguirre, Maria: 105. Chacem,'Eusebio: El &Jo de la tempestad. 41; Tras la tor- Alarcon, Justo S.: 74.: minta la calnta, 42. Almeida, Jog: 105. Chavez, Albeit: Yearnings; 65. Alorista: 60;67, 69, 75, 89, 90, 93, 98. 100, 103, 106; Flora- Chavez, Denise Elia: 97. canto in Azildn. 17, 18,65; Nationchild Plumaroja, 17: Chavez, Fray Angelico: 75; Clothes With the Sun, 19; Eleven Elombligó de. Aztldn, 18; Timespace Huracdn. 18, 73. Lady-Lyrics and Other Poems, 19; Selected Poems, 19; -Alvarez, Jorge: 69, 98, 99. New Mexico Triptych. 53. . . . Mies Periini. Tetesinha: 104, 105. Chavez, Mario: 99. Any.; Rudolfo: Bliss Me, Ultima, 39, 69, 73, 74, 89, 95, 99, Cobos, Georgia M.: 69, 98. .14.104; Nears of Artkln, 40. Cabos, Ruben: Refranes esPailoles del suroestel Spanish AMIN*, Cloth Vasquez; 31. Proverbs of the Southwest, 81. Acedijiat, Auto's: 104. Cody, James: 92, 93.. ArsUino, Malmo: Los pottladores nuevomexicanos y su Contreras. Guillermo: 23. , poealts.'65. Davila, Luis: 103. AiRdlantl, Estevan: 92, 93; 96, 97; Entre verde y seco. 81. Da Colores: Journal of Emerging Raza Philosophiese.94. Arellaiso,'Manuel: 65, 94, 95, 97. DcHoyos, Angela: 104, 105; Arise, Chicano and Other Arius; Rom.66, 92, 98. 103,105; The Road to Tamazunchale,. .* Poems, .,21; Chicano Poems for the Barrio, 22; Selei.- '41,66. clones. 22. Anus, Jog: 91, 95. De la Pella, Carlos; 90. Arnujo. Teresa: 96. De la Torre, Alfredo: 99; El lednjtaild e la jdula, 88, 89, 90, Arreola, Jests Asensio:5n: 68.. 92. Arteap, Alfred: 67. De Leon, Nephtalf: 68. 90, 91, 92./3; Chicano Poet. 23; 5 -Avila,. Chelo: 91. Plays. 59. AzIldn: Chicano Journal of the Social Sciences and the Delgado, Abelardo: 23, 27, 34, 68, 75,90, 93;'BaJo el sol Arts, 87. de Arndt': 25 soles de Abelardo, 20; Chicano: 25 Pieces Baldwin, Lewis M.: Voices' of Azildn. 67. of a Chicano Mind, 20; It's Cold: 52 Cold Thoughts- Barrio, Raymond: The Plum Plum Pickers, 42, 67, 68, 87, Poems of Abelardo, 20, 92; Los cuatro. 21; Reflexiones, Barribs, Gregorio: 92. 21. Hearse, Grace M.: 104. De Piedra, Jost: 88. Bobbin, 6rturo Silvano: And This Is What We Said, 19. Dokcy, Ricardo: 68. Bonham, Frank: Viva Chicano, 99. /09. Dyarte-Clark, Rodrigo: 61. Dwyer, Carlota Cardenas de: 90; Chicano Voices,-66. _ Bowie-Qutierrez, Irene: 10,1, 103. !Into,. A risteo: 31, 73. Eidelberg, Nora: Inscppe, 31: Brox:Luis Marfa: 74. El Cuaderno: 96. Bruce-Novoa, Juan 31. 95, 97, 105. El Grito: Journal of Contemporary Mexican American Burciaga, Jog Antonio: Restless Serpents. 35. Thought, 97. 'Burnie', Francisco 0.: 98, 99. Elizondo, Luis: 90, 91: ,Susie, William: 66, 67, Elizondo, Pedro Way& 103. 106; Perros y antiperros: Una epics Calderon, Tongs: 93. . . Elizondo,r, Sergio: Camps. Arthur L.: 75; Spanish Folk Poetry in Afrew Mexico, jn23 n6,:910919 81. cEmiliahnicoa,n, Canales, Rita: 67. Espinoza. .Aurelio M.: 75. Espinoza, Rudy: 69, 98, . Candelaria, Freder k H.: 98: CantO, Roberto: 73 74. Fallis, Laurence S.: 31. Capin, Miherva l,4ez : 100. Ferdln, Maria: 93. Fernandez, Jose: 104. Caracol: 88. , Cardenas, Maria Victoria: 89, First Chicano Literary Prize: 66. Cardenas, Margarita Cota (La plonqui): 93; Noches desper- Flores, Jog B.: 91. tando intOnciencias. 19. Flores; Joseph A.: Songs & Dreams, 67. CirdenasACyci: 88, 89,90. 92, 93. Frack, Seth Alexander: Menu& 23, Casa, Cabo:. Peldn,Drop Outs, 101. Fraderman, Lillian: From the Barrio, 69, 104. Casimir°. Jog: 94. Galan. Mar-edit T.: Chicana Themes: Manua Poetry, 24. .

116 INDEX

Galindo, P.: 99. Landy, Ricardo: 101. Gamboa', Harry: 102. Leal; Luis: 102, 104. . Gamboa, Reymundo: The Baby Chook.and Other Rem - Lefler, Clara B.: 98. . "nants, 24. Limon, Jane: 68. ' Garatusa, Arturo: 91, 92: .t Lopez, Antonio: 61. Garcia, David: And This Is What We Said 19. LOpez, Jost Timoteo: Breve reseila de la literatura hispana Garcia', Juan AntOnio: 69, 99, 105. de Nuevo Mexico y Colorado, 82. . . Garcia,- Nasario: 95, 106. 1.74pe' z, Salvador: 103. Garcia, Richard: 100; Selected Poetry, 24: Lostanau, Frank A.: 66: Garcia, Yolanda A.: 54. Lovato, Alberto: 96, 97. Garcia-Ckmarillo, Cecilio: 90; 91, 92. Lucero, Judy:y: 94. Garcia,Camarillo,.Mia: 88, 90,:91, 92. Ludwig, Chicanos: MexicaF,American\Voices, 67. Garza, Abel: 91, 92. " , Lujan, Betty: 23: Lujan, Frank: 97. Darn, Daniel: 67, 68. Maciai, Ysidro R.: 60. Garza, Robert J,: 60;,' Contemporary Chicano Theater, 59. Manueflo, Amalio: 67. Garza, Sabino:482 Madrid-Barelai Arturo: 87. Geomez-Quifiones;Juan: 5th 'and Grande Viva, 24, 74, 105. Maldonado, leaflet: 98; Paesta ehfcana: Alurista, el mero Gonzales, Er linda:I05. chingon. 74. GOnzales, Gloria: 90. . Manzanar. 92, 93. "Gonzales, Raymond: 88, 90, 91. Mares, E. A.: 96, 97. Gonzales, Rodo If° "Corky": 39, 69,15; / Am Joaquin' Yo Martinez, Cesar Augusto: 89. - Soy Joaquin, 25, 73, 95. o Martinez, John J.: 97, 7 Gonzales, Sylvia Alicia: 94.; La chicana piensa. 26. Martinez, Josh: 97. Gonzalez, asar A.: 66. Martinez, Max: 88, 89. Gonzalez, Jorge: El ombligo de Azildn, 18. Martinez, Orlando: 92. Gonzalez, Josue M.: 97. May-Gamboa, Carlos: 95. Goniellez. Rafael Jesus; 69:98. 99. McKenna, Teresa: 87. Gonzalez, Ramona: 100. McKesson, Novena Alarcon: 104. Gonzalez, Teresa: 88. Medina, Robert C.: Two Ranges, 43. Grito del Sol:LA Chicano Quarterly. 761. Mendez, Larry: Expressions and Ideas/ Expresiones e ideas, Guerrero, Atnador. 89', 92. Guerrero, Gloria: 88. 27. Mendez M., Miguel: 31,98,103,104; Los crladeroshumanos Guerrero, Miguel: 99. (ipica de los desamparaos), 27; Peregrinos de Azildn,. Guevara, Juan G.: 99. 43, 73, 74, 95. Gutierrez, Jose Angel: 61, 97. . Mendoza, Durango: 68. Guzman, Mary: 67. Mendoza, Rita: 66. Harth, E: Dorothy: Voices of Aztldn: Chicano Literature of Mester: 73. Today, 67. M oesser, Alba Irene: La literatura mejico7americana del sur- Head, Gerald L.: 73. oeste de los Estados Unidos. 75. Hernandez, Alfonso C.:;100, 01. M ondragem, Lloyd, Expressions and Ideas! ExpresiOnes Hernandez, Maria: 66. -Herrera, David M.: 104. e ideas, 27. Herrera; Juan Felipe: Robozos of love! we have woven/ Mondragon, Maria: 96. Montalvo, Jose: 89;93. suitor de pueblos' on our-back, 26, 73, 88. Montejano, David: 88. Hinojosa-S., Rolandcf R.: 74, 91:92, 95, 100, 10); Estampas del valley otras'obrasl Sketches of the Valley fad Olher Montoya, Jose: 69; El sol y los de ahajo and other R.C.A. F. ; Works, 53, 69,99.,104, 105; Generaciones y sem- . Montoya,JuanAntonio:90, 91, 92, 93. blanzas, 74. Huerta, Jorge A.: 87; El rearm de la Esperanza, 60. Mora,Ricardo: The Black Sun; 28. Jasso, Richard: 92. Morales, Alejandro: 74; Caras viejas y vino nuevo, 44.. jauregui, Socorro: 100. M oorraenleos: JDuoarnin: d6a1 . Jimenez, Francisco: 99. La mujer es la tierra: La tierra da vida, Jimenez, J. Philip; 97. 29. Kanellos, Nicolas: 102. . Kirack; Alex: Spoil, Flutes and Barrio Paths. 27. M ureno Caarqiu9es1:2639,991992, Morton, 100, 102; White Heroin Win- Lamadrid, Enrique: 67. , ter, 29. Landy, Lino: 101.

117

112 INDEX

Murgula, Alejandro: 28, 67,103; Oracifia a la MOM po- American, 76. derosd. 30. d Reyna, Thelma T.:'99. t Muro, Amado: 67. . Rios,Francisco Armando: 98. Nava, Pedro 1.: 90, 91-, 92. Rfoi, Herminio C.: ,98:E1 EspejolThe Mirror, 459: Navarro, Jose Antonio: 68.. Rivera, Ana Castillo: 104... Navarro, Jose Luis: Blue Dity on Main Street, 54, 100. Rivera, Tomas: 67, 68, 69;74,75, 89, 90, 98, 102, 103; ":. . Y ' Nelson, .Eugene: The Bracero, 109... no se lo tragd la;tierra"1".. Ansi the earth dittnot part;" Nichols, John: The Milagro Beanfield War, 110. 46, 69, 95, 99, 104.,./Vew Voicefin Literature:The.Mexi-

n Noriega, William: 101. can American, 76. V..7 Willa, Edgar: Breveresefla de7a7iteratura hispana de Ntievb.' .Rivero; E. S.: 31: Robe, Stanley: Antoffigfa---del Saber Popular: A Selection Mixico.yColorado, 82. . '1 Ochots, Jesus ,B.: -A Soft Tongue Shall Break Hardness, 30. From Various. Genres, of Mexican Folkloie Acrols, I. Ochoa, RodrigO Pigacios: 101. BorderS, 83. ' Robinson, Cecil: With the Earsof StrOgers:' The Mexican, Off,, Maria MirqUp.97. . in Anterioint Literature, 76. Olivares, Gustavo: . , Olvera, 'NW: 93, 101M. 7 - . Rocha, Rina: 104,' Ortego, Philip D.: 23; ritlettround of Mexican' American Rodriguez, ArmandORafael: The Gypsy :Wagon: Un son- Literature, 75; New Vole* In Literature: The Mexican cocho de cuentos,sobre la experencla chicana,54. American, 76; We Are Chicanc4148. Rodriguez, Edmundo: 93, Otero Peralta,.Rosalie: 96. *k Rodrigdez, Juan: 73, 74, 99, 103, 104. Ortiz, luau Luciano: 67. Rodriguez, Luis Javier 100. Ortiz, Roman: 66. Rodriguez, Mario: 66.1" Ortiz, Rudy: 89, Rodriguez del Pino, Salvador 67, 73. . Ortiz-Vasquez, Pedro: 91. Rojas, Guillermo: 95. Pacheco, Consueld: 97. Romano, Octavio I.: 97,98,99,101, 102; El Espejo The.Mir- Pacheco; Heuricus: 94: ''ror, 69, 98, 104. Padilla, Ernesto.: 69;.98; 99; The Baby Chookand Other Rontero, Leo: 31, 97. -.Remnants, 24. Romero,. Orlando: 101; Nambe-Year One, 47. Padilla; Raymond: 99. Romero, Osvaldo: 73. Paiz, Patricio: 95. Rosaldo, Renato: 103. Pants: 92. Rosales, Arturo: 103. Paredes, Americo: 75;11,ith His Pistol in His Hand: 'A Bor- Roybal, Rose Mary(La manila): Fromla Lloronaro Envidia ' ?ler Ballad And Its Hero. 82; .. A Few Reflections,32. Rubalcaba, Maria. Leoncer. 91. Paredes, Raymundo: ,tle..vicat, A tnerican Authors. 68. Slienz, Gerardo: 103. Pcrales; Alonso M.: La lechuza: Cuentos de .mi barrio, 82. Saenz, Jose Maria "Chema": 96. Perez Diaz, Roberto: 91. . e Salas, Floyd: 87; Tattoo the Wicked Cross, 47; What Now Perez, Ray mundo "Tigre": 91, 93; Los cuatria, 21; Free, Wee My Love, 48. at Last, 30; Phases, 30, The Secret Meaning of Death, Salazar, Manuel M.: 97. 31. Salazar, Roberta,Felix: 68. Perez, Wile: 91, 92. Salinas, Judy: 92. Pino,,Frank: 104. Salinas, Luis Omar: 68, 103, 106; Crazy Gypsy, 32; From Ponce, Miguel: 98. the Barrio, 69, 104. Portales, Roberto "Chips": And This Is What We Said, 19. Salinas, Raul R.: 92; Viaje/ Trip, 32. Quintana, Leroy V.: 97, 103; Inscape. 31. .1 Sanchez, Ricardo: 23, 67, 68, 75, 90, 91, 95, 97, 98; Los Rael, Juan B.: Cuentos esp.:doles de Colorado y de Nuevo'' cuatro, 21; Cantoi liberacid y grito(y lloro m.! mides- .Mixico, 83. rnadrazgos), 32, 96; Hechizospells, 33. Raffel, Shifra: 90, 93. Sanchez Padilla, Beverly: 96. Ramirez, Angela: 92, Sanchez y Vasquez, Ramon: 89, 90,96. atinirez, Arthur p. 105. Sandoval, Roberto: 31. Ramirez, Frank: 61. . Santibkllez,James:.68. '-Ramirez, Orlando: Cambios Phideo, 31. Schmidt, Lorenzo Calvillo: 66, 100, 106. Rechy, John: City of Night, 44; The Fourth. Angel, 45; This Segade, Gustavo V.: 73,'95. Day's Death, 45. Shular, Antonio Castaiieda: Literaturachicana: Texto y con- a Revista ChicanO4Riquer1a: 102. testy, 69, 104. Reyes,Sabino: 97. Sierra, Ruben: 60. Reyna, Abel: 90, 91. Sifuentes, Roberto: 54, 88. Reyna, Jose R.:. New Voices in Literature: The Mexican

118 113 Simmen, Edward: The Chicano: From Caricature to Self- Zamora, Bernice: 92; Restless Serpents. 35, Portrait, 76. ramora, Carlos: 105. Slick, Sam L.: 105. ZamoiaM6nica: 94. ,Sermmers, icheph:, Literatura chicana: Texto ycontexiO. 69,

gteiner, Stan: Azildn: An Anthology of Mexican American Literature, 70, 104. Tafolla, Carmen: 92. Tafoya, EdWard: 97. Tapia, Betsy: 96. Tenorio, Arthur Blessing From Above, 48, Tenth, Herilfertis: 96; Vida de Ilusiones. 34.

Teita, Daniel: r06. ro Tijerina; RaM6n9. . Tlacullos, 34. .Teotoosis, prnest 88. Torres, J016 A.: 99,4100. Torres, Rafael. I.: 94. Torres4Ae4ger, Josepb: Below ihe Summit, 101. boyar, Ices 41::"74, 93.

Tovares, Rail D.: 89, 90, 6 Trambley: Estela Portillo dc: 60, 68, 69, 99, 100; Rain of Scorpions and Other,, Writings. 54, 101. Frece Aliens: -34. / Trujillo, Florencio: 95. Ulibarri, Sabine R.: Al cielo se sube a pie. 34: Tkgia,Ama- rillaL Stpries of New Mexico' Cuentos de 111*o Mexico, 53; La fragua sin Fuego/ No Fire for the Forge; o . 70t Urioste, Donaldo: 93. Vaca, Nick C.: 69, 9749. Guadaldpe:, 31, 96, 104. Valdez, Abelardo: 105. Valdez, Juan: Los Cuatro, 21. Valdez, Luis M.: 59, 67, 68., 90, 95; Actos, 62;,Aztlan: An Anthology of Mexican American Literature, 70, 104. Vasquez,, Richard: 87, 98; Chicano, 48. -Velazquez; Jorge: 89.. Verastique, Bernardino: 96. Verdugo, Creorge: 66. Verdugo, Jaime: 61. Vialpando, Roberto.Lara:. Breve respia de la literatura his- - papa de Nuevo Mexico y Colorado, 82.. Vigil, Cleofes: 96.. Villanueva, Tino: 68, 69, 0; 99, 102, 103, 105; flay viva voz

.POemS (1968-1971). 35. Villatreal, Alberto:- 98. Villarreal, Jose Antonio: 104;. Pocho, 49; The Fifth Horse- man, 49, 74; Villarellor, Edmund: Macl;o!, 50., Villavicencio, Silvio: 98. Weed, Silvia: 101, 102. \ Ximena: 96. Vbarra-Frausto, Tomas: Literatura chicana: Texto y contexto. 69, '104. C

119 .; AbOut the Authors . .., °Bornin Mexico, Frqnciscb A.' Lc:lila' moved with his fimily to California in 1954 when he was seven. Iteared in the an Diego area, he attended San Diego StaterUniversity, tarking a year off testudy literature at the Univeraidadde\COncepcien in Chile, arid,returning to San Diegel &tart?) receive his BA in Spanish in 1971. With'aFulbright-HaysGAint, he studied for a year at the IIniversidacl Nacional de Cuyo (Mendoia, Aigentina), interviewing welleitabt" fished:and promising young writers from, twhich he based his Masters Thesis titled aCuatro jOyenes escritores argentinos: TeStigos de su`tiempo y cipicos del arte." After haVingC0111 pleted his MA in 1974, he came tOstudy at the UniVersity of New Mexico(Alhuquerque New Mexico) with a Ford FaundatiOn FelIowship, where 'he is-presently completing his doctotal work in Latin American .Literattire and teaching in the Department ofModern and Classical

... ,Languages. During his years atan. Diego.State,he worked for a high school bilingual Oro- wrn, Was a member of MEC Ate( ( govimientO EStudantil deChicanos de Aztlan), and was involved with the Chicano Stu 'es7Publication Committee for the promotion of its literature. Alonjwith the publibation of thisbibliography,Lomeli has published various critical studies On Latin 'American literature and collaborated with Gustavo Segade on a traAlationof a rblished PoemS in / \i: .book by-a yOung Argentine poet, tRodolfo Eduardo Braceli. He has also p 0. Flor y canto 11 and otherjournals. ", ,' ^

4 Donald° W. Urioste was born in Trinidad, Colorado in 1947. Raised in that area, hat- tended local SchOols graduating froM the UniVersity of ColOrado at Denver in-1970with a BA in Spanish. Intensely involvecrin the ChicanoMovement,since.1969, he was a cofounder and active member of UMAS (United Mexican American Students) and waseMployed as academic counselor and part-time acting director for the Mexican American Educational Program in Denver from I9'70-to 1974. While employed, he received hisMA in Spanish and Latin American Literature at the University of Colorado in Boulder: In 1974 he.moved with his wife and family to Albuquerou$, New Mexico where hgois.preseritly working, naPh,D. in Latin AMerican and Chicano Literature at the UniVersity of New Mexico while t9ching in.. the Department of Modern and Classical Languages. By collaborating with fellow graduate student, Francisco Lorneli, on this annotated and critical bibliography .the first major pub - lication for both Urioste and Lomeli-can now be considered two upcoMing young critics or Chicano Literature giving it credibility and stature. They are also contributors to De Colores Journal, currently working on an issue dedicated exchiSixely.to Chicano literary criticism. Mary' Pezzano

120 LITERATURVAND LITERARY CRJTICISM CHICANO.PERSPECTIVES IN LITERATURE:A by Francisco A. Lomeli and Donald°

Finally, a comprehensive Chicano bibliography created strictly This bibliography will be an invaluable reference manual for IBR RESEARCHERS, STUDENTS and any reader of Chicant literature.

What same experts are saying about this book:

this work will surely be considered a lasting.contribution to La Razq literature. Teachers Tof Chicano literature may sometimes find the opinions expressed to be critical, but they are 'always fair." ARTURO T.TALAM4,ANT Instructor of Southwest Liieratpre Albuquerque High School ti

"Practical and operational:- ..Provides a pariorama of what is available and the quality of these works. The most complete of its kind." FRANCISCA RASCON, Mesa Jr. College Instructor San Diego, California

"Libreirians and studenti of Chicano literature have been looking for something like it. Well r ',overdue: should prove 'very valuable . .." GUSTAVO V. SEGADE, Ph.D. Chairman, Dept. of Spanishland Portuguese San Diego State University

".. a comprehensive overview of the development of Chicanoliterature and criticism up 11" to 1976." JUAN BRUCE-NOVO& Ph.D. Yale University

Painstaking and honest work by two young scholars." RUDOLFO.A. ANAYA Author: Bless Me Ultima "Other bibliographies will be judged by the standards and depth established by Lomeli,' and (irioste." JOSE ARMAS Editor: De Colores Journal

"The scholar, researcher and librarian will be pleasantly surprised . .this work is the most important compilation and evaluation of Chicano literature available." ROBERTO CABELLOARGANDORA Coordinator of BiographicResearch And Collection, Developmnt Unit UCLA PAJARITO PUBLICATIONS 2633 Granite N.W. Albuquerque, New .Mexicb 87104 11ri