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•í/(^^t^ Q U A R T E R L Y BOOK SERIES

YEAR VII

BOOK 3

MARCH-MAY 1974

Address all c o r r e s p o n d e n c e t o : P.O. B o x 9275, B e r k e l e y , C a l i f o r n i a 94709

Copyright © 1974 b y Q U I N T O SOL P U B L I C A T I O N S , I N C . A l l r i g h t s r e s e r v e d . N o part o f this publication may be reproduced in a n y m a n n e r without permission i n writing, e x c e p t in the case of brief quotation s embodied in critical articles a n d reviews. Second Class P o s t a g e P a i d at B e r k e l e y , California 9 4 7 0 1

Editorial O f f i c e s : Z l S O S h a t t u c k A v e . , Suite 1 0 0 6 , B e r k e l e y , California 9 4 7 0 6 EDITORS HERMINIO RIOS-C OCTAVIO I. R O M A N O - V . , P h D Literature D i v i s i o n Behavioral S c i e n c e s Quinto S o l P u b l i c a t i o n s University o f C a l i f o r n i a Berkeley CONTENTS

INTRODUCTION Herminio Ríos C . 5

REYES CARDENAS 10

ROBERTO PASTOR 27

CECILIO GARCIA-CAMARILLO 29

RUBEN RODRIGUEZ 46

OCTAVIANO "Chico" ROMANO , AGE 11 53

ROY CASTILLO 56

JOSE BARRIGA 60

ARMANDO ESTRELLA 62

JOSEPH FRANCIS MORALES 65

LETICIA ROSALES 68

REYMUNDO GAMBOA 70

JOSE ANTONIO BURCIAGA 75

Layout and design: Octavio I. Romano-V JOSE A N T O N I O BURCIAGA INTRODUCTION

The poetic v o i c e o f t h e C h i c a n o is as d i v e r s e as t h e C h i c a n o himself. It is diverse in aesthetic sensibility, themes, hnguistic systems, style, a n d structure. T o view Chicano poetry in its f u l l diversity o n e m u s t give it h i s t o r i c a l as w e l l as linguistic perspective. C h i c a n o poetry is n o t s i m p l y a p r o d u c t of t h e last f e w y e a r s , nor is it confined to o n e l a n g u a g e . It i s n o t a t e n a b l e position to p r e s e n t C h i c a n o p o e t r y i n one language, a n d f r o m a r e d u c e d period of t i m e and c l a i m it is a c o m p r e h e n s i v e overview of C h i c a n o poetry. M a n y primary documents are r e a d i l y a\ailable to g i v e us a m o r e balanced, a n d h i s t o r i c a l l y m o r e accurate, p i c t u r e o f C h i c a n o poetry (see the e x t e n s i v e b i b l i o g r a p h i e s p u b l i s h e d in E l G r i t o , V o l . I \ ' : 4 ; V o l . V 4 ) . In this i n t r o d u c t i o n w e w i s h only to p r e s e n t t h e b r o a d e s t overview which will serve mainly to underlin e the e n o r m o u s task before us o f f i l l i n g in t h e e n o r m o u s gaps in o u r k n o w l e d g e about C h i c a n o poetry, a n d literature in g e n e r a l . In reading the p o e t r y of a m i d - 1 9 t h century writer, J u a n B. H i j a r y J a r o , w h o wrote in S a n F r a n c i s c o , w e find interesting contrast a n d s i m i l a r i t i e s w i t h Chicanos writing m o r e than 100 years later. J u a n B. H i j a r y J a r o p r e s e n t s a v i e w that m a y or may not h a v e been shared b y his c o n t e m p o r a r i e s . Further research into t h e litera- ture o f t h a t period is o b v i o u s l y needed. In 1 8 6 4 , J u a n B. H i j a r y J a r o , i n r o m a n t i c exaltation, w r i t e s about his p a i n f u l departure from Mexico and h i s arrival in the United States. H e readily embraces the flag of t h e U n i t e d States, w h i l e still w r i t i n g lovingly a b o u t his n a t i v e soil. " T r e m o l é el p a b e l l ó n d e l a s estrellas." ¡Tierra! g r i t a r o n t o d o s , y al i n s t a n t e Tronó el c a ñ ó n , q u e saludaba el p u e r t o , Y el e s p l é n d i d o sol, e n e l l e v a n t e , Alumbró d e c o n c i e r t o La ciudad, l a s m o n t a ñ a s y el desierto. Tremolé el p a b e l l ó n d e l a s estrellas. Entre cien b a n d e r o l a s . Que empavesaron, c o n belleza s u m a Al gigante v a p o r , e n t r e las olas, Sobre los c a m p o s d e p l a t e a d a s e s p u m a s . ¡Allí d e j é los d i l a t a d o s m a r e s Y dije a d i ó s a m i s b e n d i t o s l a r e s !

From the romantic pose of Juan B. Hijar y Jaro, we \iew a more somber judgment in 1 9 7 4 . R e y e s C á r d e n a s , p r e s e n t e d in t h i s i s s u e o f £ / G r i t o , writes: Quetzalcóatl, ¿te d i g o u n s e c r e t o ? Tu gente y a n o e s a z t e c a , y a n o es m e j i c a n a , a h o r a e s c h i c a n a . ô EL GRITO

And in a more severe tone Reyes Cardenas continues: Bandera blanca, verde, águila, y víbora, ya n o eres n a d a m í o . Tú vives p a r a el s u r , e n las m o n t a ñ a s . El aire t e a c a r i c i a c o n las m a n o s de soldado Lástima que n u n c a fuiste l i b r e , lástima q u e tu c a r a e s t a n f e a .

If for one pOet it is painful to tear himself away from Mexico, and his soul remains in its M e x i c a n cradle, " y dije a d i ó s a m i s benditos lares," t h e Chican o of 1974 openly declares h i s i n d e p e n d e n c e . A n d if J u a n B. H i j a r y J a r o w a s to w a v e "el pabellón de las e s t r e l l a s , " h i s C h i c a n o d e s c e n d e n t s w o u l d not necessarily e m b r a c e it 100 years later. F o r many Chicanes, their spiritual loyalty is b o u n d to Chicano symbols. I n P e r r o s y Antiperros, S e r g i o Elizondo w r i t e s : Tengo u n a b a n d e r a A p a , Colorada sin rayitas, ni e s t r e l l a s , ni t i r i t a s de o r o r o b a d o , p o r a c á . Tiene u n a águila n e g r a , alas i g u a l e s hecha d e p u r o algodón.

Within this same period, mid-19th century—1974, we not only find diversity in attitudes, but also in aesthetic sensibilities. W e also find areas o f continuit)-. T h e romantic plaint of Juan B. Hijar y Jaro echoes the theme of "el destierro," t h e escape o f t h e r o m a n t i c . Más allá d e los m a r e s m e dijeron: Parte a l e j a n a s t i e r r a s . En busca d e o t r o a s i l o , Como las t i e r n a s a v e s q u e partieron Su adiós c a n t a n d o con valor t r a n q u i l o Así y o triste a t r a v e s é l o s m a r e s Y dije a d i ó s a m i s b e n d i t o s l a r e s . That romantic song finds echo today among Chicano poets such as Juan Guevara. Y o sé d e u n a c a n c i ó n conmovedora, y es p o r ella q u e m i alma tanto implora

Es la c a n c i ó n d e B e q u e r y Darío, que al o í r l a p r o d u c e escalofrío Con sus n o t a s q u e v u e l a n tiernamente.

If w e see glimpses of romantic sensibilities in Chicano poetry, w e also see reflections of surrealism in Richard Garcia's poetry in w h i c h the poet s p e a k s f r o m the twilight w o r l d between sleep a n d wakefulness. Awake I see m y s e l f dreaming Climbing the s t a i r w a y s o f m y throat YEAR VU, B o o k 3 7

Knteringmy head Always the h a l f - l i g h t s t a i n s m e Always I h e a r b l u e d o o r s Opening a n d closing in m y b o d y .

We also find a poetry that does not pretend to capture delicate images in romantic exaltation or from the surrealist world of d r e a m s , b u t rather from a socialist r e a l i s t p e r s p e c t i v e o f c l a s s s t r u g g l e . J o r g e A l v a r e z w r i t e s : I am fighting a war I d i d n o t m a k e , Became its s o l d i e r By design: A Mexican and h i s w i f e crossed a line Drawn b y H e a r s t f r o m S a n S i m e o n ; Rockefeller spread oil c a r p e t s ; Tampico w a s bleeding While m y father Followed the a r t e r y :

Linguistically, Chicano poetry ranges from the strictest adherence to "standard Spanish" a n d " s t a n d a r d English" t o t h e m o s t sensitive c o d e switching. C o d e switch- ing in C h i c a n o poetry is n o t s i m p l y a device to create an atmosphere, which is probably the c a s e in t h e p o e t r y o f T . S . E l i o t a n d E z r a P o u n d in w h i c h they employ German, Latin, G r e e k , or, specifically in t h e c a s e of P o u n d , C h i n e s e ideographs. Code switching in C h i c a n o poetry is a reflection o f e v e r y d a y s p e e c h in w h i c h t h e social situation determines, t o a l a r g e e x t e n t , t h e f r e q u e n c y a n d t h e l o c a t i o n w i t h i n the sentence where the c h a n g e s from one system to another will occur. Code switching can a c h i e v e great poetic force. T h i s f o r c e is c r e a t e d b y t h e j u x t a p o s i t i o n of t w o l i n g u i s t i c s y s t e m s . P s y c h o l o g i c a l l y the r e a d e r e x p e c t s linguistic c o n t i n u i t y i n one system. The violent switch into another system gives p o w e r to t h e p o e t i c expression. I n " A q u e l l o s V a t o s , " b y T i n o Villaneuva, w e s e e ; La C h i v a d e M c A l l e n w h o n e v e r let h i m s e l f d o w n ; Always h a d a m o v i d a c h u e c a s o m e w h e r e uptown. Then there w a s la P o l l a d e S a n A n t o — l i v e d Across t h e c r e e k , y tenia u n ranfle s e n t a o P'tras, ¿ m e e n t i e n d e s ? From JoséMontoya's "La Jefita": When I r e m e m b e r the c a m p o s y las n o c h e s a n d the s o u n d s O f those n i g h t s e n c a r p a s o Vagones I r e m e m b e r m y j e f i t a ' s palote A device that serves a similar function in Spanish poetry is the "desplazamien- to d e c a l i f i c a t i v o . " B u t w h e r e a s t he " d e s p l a z a m i e n t o d e c a l i f i c a t i v o " is s i m p l y that, a m o d i f i e r displaced from one w o r d class t o a n o t h e r , in C h i c a n o poetry w e find a language system displaced by another at j u n c t u r e s which may vary according t o context o r s o c i a l situation. F r o m Federico G a r c í a L o r c a ' s p o e m , " L a G u i t a r r a , " w e 8 EL GRITO

see a very effective use of the "desplazamiento de calificativo" in which an adjec- tival f o r m serves a n a d v e r b i a l function. La g u i t a r r a l l o r a callada.

The power resides in the fact that psychologically we are prepared for an adverbial form, " c a l l a d a m e n t e " w h i c h would modify "Hora," b u t w e are g i v e n t h e adjectival form as t h e m o d i f i e r o f t h e verb. Along with the juxtaposition of l i n g u i s t i c s y s t e m s w e also f i n d the juxtaposi- tion of i m a g e s w i t h i n a h i s t o r i c a l c o n t e x t . I n t h e p o e m "Grietas p a r e d e s , " byAluris- ta w e see the c o n t e m p o r a r y image o f a d y i n g city in w h i c h the b u i l d i n g s b e c o m e "calaveras u r b a n a s " and the cracks o n the w a l l s a r e t h e fissures o n the " c a l a v e r a s urbanas." This contemporary image is j u x t a p o s e d to a P r e c o l u m b i a n setting o f "selvas d e fruta f r e s c a " i n w h i c h one feels t h e b r e e z e of t h e " e c u a r i a n o E h é c a t l . " But, in a c o n t e m p o r a r y reality t h i s P r e c o l u m b i a n setting c a n only be a n illusion, a "mango i l u s i ó n . " Grietas p a r e d e s —calaveras u r b a n a s

Selvas d e f r u t a fresca —mango ilusión Y la brisa d e d i o s —el e c u a r i a n o E h é c a t l .

It is b y such juxtaposition of images that Alurista actualizes our Precolumbian archetypal experiences. It is t h e process o f actualization that renders g r e a t p o e t i c force. The structural diversity in C h i c a n o poetry manifests itself in m a n y forms. It may be the rigid, E n g l i s h style, s o n n e t structure with its f i v e f o o t iambic verses, such as i n A n g é l i c a I n d a ' s " S o n n e t I " Poor k i t e , unlucky b a n n e r c a u g h t o n h i g h By branches s w a y i n g t o a n d fro in light.

The structure may be the equally rigid Spanish sonnet of Tino Villaneuve with its 14 hyndecasyllable verses, a n d well measured internal beats on syllables 4 - 6 - 1 0 ; 2-6-10 .4 , 6, 10 Detras s e a s i e n t a e l p o l v o c o n c e r t e z a 2 6 10 y barre t o d a h u e l l a q u e h a s d e j a d o 2 ^ 10 un e c o v a g o v i b r a d e l p a s a d o Of course, we also find poetry without a fixed metric structure, obeying only the psychological state o f t h e p o e t . One suspects that a s t u d y of t h e r h y t h m i c p a t t e r ns o f C h i c a n o p o e t r y w o u l d b e very productive, f o r o n e can s p e c u l a t e t h a t i n a p o e t r y w h i c h reflects t w o l i n g u i s t i c systems, t h e r h y t h m i c p a t t e r n s o f E n g l i s h a n d S p a n i s h m a y c o m e into g r e a t tension. Another structural p a t t e r n f o u n d in s o m e Chicano poetry is w h a t Carlos B o u - soño a n d Dámaso Alonso call " p l u r a l i d a d e s b i m e m b r e s , t r i m e m b r e s , e t c . " I n "Mo- YEAR VII. B o o k 3 § saico Mexicano," Octavio Romano presents a complex, but well orquestrated struc- ture w h i c h is m o d u l a t e d by the e n t r y , build up, w i t h d r a w a l , a n d reentry of p a r a l - lelistic structures. A n excerpt will illustrate the structural composition. Identical letters i d e n t i f y parallel t r i a d s . T h e s u b i n d e x identifies e a c h m e m b e r of t h e t r i a d . MAN— where are you from? A Woman— where are y o u f r o m ? Aj CHILD— where are y o u f r o m ? Aj

SPEAK B Unveil the p o l i s h e d sun C Unwind the s h a w l ' s b l a c k thread Cj Strike a u g m e n t e d chords o n t h e g u i t a r C2 Are y o u — D from sky r e a c h i n g y e l l o w c a c t u s flower D ' rooted deep in d u s t y arid l a n d ? D" Are y o u — Dj from winter's trickling A z t e c m a n t l e Dj ' a silver s h r o u d for a s l u m b e r i n g m o u n t a i n ? Dj " Are y o u — D2 from rigidb l a d e o f b l u e m a g u e y D2' from cinnamon stick a n d v i r i d i a n m i n t D2" progeny of w h i t e a n d a m b e r flame's d a n c e ? D2'"

A structural formula would be this: A — -B-—C— -D —D'—D" A, c, Di-4),'-Di" A2, C2 D2^2'-*2"-D3"' We thus present this issue of E l Grito, n o t as a comprehensive overview of Chicano poetry, b u t a s a m e a n i n g f u l contribution t o t h e g r o w i n g c o r p u s o f C h i c a n o poetry, which should be v i e w e d historically and linguistically, a n d should be a n a - lyzed f r o m different critical p e r s p e c t i v e s : h i s t o r i c a l , biographical, formalistic, arche- typal, humanistic, M a r x i s t , a n d stylistic.

Herminio Ríos Editor L A A U T O B I O G R A F I A D E R E Y E S CARDENAS

1

The Texas poet is a Mexican who breaks horses f o r W i l l i a m W o r d s w o r t h . m The N e w York poet is a n Iroquois w h o 2 seeks a g i r l n a m e d Marie S a n d o z . ^ « The O r e g o n p o e t is a S c o t t i s h lass w i t h ^ Susan B . A n t h o n y love. e« > The P e n n s y l v a n i a p o e t is a B e a t p o e t w h o tí Pi makes w i n d o w s s h a p e d like N e w Orleans.

The Wyoming poet is Benjamin Franklin, the b e s t k n o w n surrealist d o c t o r .

The Civil W a r w a s a s h o e - m a k e r d i s p l a y i n g red a n d purple b a n n e r s f o r H e r b e r t H o o v e r .

The Spanish-American War was Napoleon landing o n the s h o r e s o f R h o d e Island.

The Korean War was Charlemagne killing K i n g K o n g in Crete.

The Crimean War was President Eisenhower smiling w i t h E m p ö r e r J e r r y L e w i s .

The Vietnam War was Alexander the Great looking f o r a h o r s e t h r o u g h o u t M a i n e .

10 YEAR VU, B o o k 3 ti

I

Isn't it fun thinking of what Lord Byron did to B e t t y Boop?

He clung to her breasts until Audie Murph\' ya toldhimof t h e W a r o f 1812. < g Lord B y r o n b e c a m e sad-faced. E v e n t u a l l y the B public l a u g h e d h i m out o f b u s i n e s s , a n d o u t < of P o l a n d . ^ m But t h e P o l i s h b l u e j e a n m a r k e t set u p h i s factory in t h e P h i l i p p i n e s . 0á

It is true that his mistakes have caused him s o r r o w , b u t h e h a s r e c o v e r e d , a n d h i s tables a n d chairs a r e a l w a y s b e i n g b o u g h t bv G r o v e r C l e v e l a n d , m v eccentric b a r b e r .

4

It's interesting h o w George W a s h i n g t o n finally s e t t l e d i n I o w a .

I picture him in Miami Beach.Or in Indonesia,sunning h i m s e l f a n d h i s mistress.

I picture him wearing pajamas along the coast o f A l g e r i a w i t h a b a n j o a n d a f r i e n d .

I picture him in Texas bathing in the Rhine, but I can n e v e r p i c t u r e h i m in I o w a . N o matter h o w hard I trv 12 EL G R I T O

I w o u l d just b e t h i n k i n g o f y o u w h e n you would c o m e .

I relished your visits because you would always r e l a t e t o m e tales o f B u f f a l o B i l l .

You would tell me how he bought California from the D u t c h for o n l y t w o - t h o u s a n d dollars.

Buffalo Bill drove a 1962 Chevrolet,he was Irish a n d his w i f e w a s f r o m O h i o .

His enemies were from Finland ;they wore grass skirts.

You would tell me that without Buffalo Bill t h e r e w o u l d be n o m o d e r n M e x i c o .

I believed you,and I'd ask:

When will you visit again?

With m y American h a n d s I fashion basketballs f o r M a n i l a .

I build houses for Randolph Scott,the San Francisco T . V . r e p a i r m a n .

I go to college to study under Sam Houston, 2 the p o e t l a u r e a t e o f N e w Jersey. . . g

My mother,Davy Crockett,makes hamburgers. ^ She's w a i t i n g f o r m e at t h e d o o r . c/3 M >" I p l a y g u i t a r a n d I write s o n g s f o r W Sacco a n d Vanzetti;I t h a n k t h e m for making T e x a s i n d e p e n d e n t . I t h a n k t h e m for d e s i g n i n g t h e T e x a s flag. YEAR VII, B o o k 3 «

I l i k e t o p r e t e n d I a m Jefferson D a v i s e x p l o r i n g the r u i n s o f T h a i l a n d , o r J o h n Berryman making g u i t a r s t o h e l p t h e M o h a w k s .

I like to pretend I am Currier and Ives climbing t h e M a t t e r h o r n until I reach t h e m face o f M i l l a r d F i l l m o r e , o r u n t i l I touch K noses w i t h G e n e r a l C u s t e r .

9 I like to pretend I am a poet named Columbus, <; or a P u e r t o R i c a n singer n a m e d Boss T w e e d . u M I like t o p r e t e n d I a m Wilfred O w e n the O k i e . >- u Pá i Edward Tav lor is a Mormon plumber.

Sidney Lanier is a Boston policeman.

Edgar Allen Poe is La Llorona.

Robert Service is a fireman.

Amerigo Vespucci is a poet.

9

Arthur Rimbaud is the best dentist I've been to.

Ezra Pound is the best swimmer I know.

Boris Pasternak is the best Spanish writer.

Sylvia Plath is the worst California waitress.

Richard Brautiganis the worst Victorian lady

The Beatles are the worst Greeks. 14 EL G R I T O

10

At Christmas I write songs for the Armenian flag.as is customary of M o s l e m g u i t a r i s t s .

At Eastertide I wear yellow dresses and holler H a r i K r i s h n a .

On the Fourth of July I celebrate because < it's V i v a P a n a m a W e e k . Z Q O n Thanksgiving D a y I stand a r o u n d 5 Times S q u a r e thinking o f M a r c o Polo. U W O n m y birthday I smile like m y favorite >< novel w r i t t e n b y either B u r t L a n c a s t e r o r ^ Thomas E d i s o n .

11

In E n g l a n d trees a r e a l w a y s f o u r f e e t tall.It is w h a t t h e p o e t s s a y , a n d w h o would know better? Not t h e Q u e e n .

In England the red fox wears a German glove.Because G e r m a n gloves a r e b l u e , a n d then g r e e n .

In England the mice invade Paris.They are not a f r a i d o f t h e T u r k s a n y m o r e . T h e y d o n o t even f e a r t h e M e x i c a n A r m a d a .

The Industrial Revolution has really changed things Oh to b e in E n g l a n d n o w that Browning's d e a d !

The England of today is the only modern country with e n o u g h guts t o call N e b r a s k a dirty n a m e s . YEAR VII. Book 3 /5

12

There are smiles that belong to Chester A. Arthur,the p o e t .

There are smiles that belong to Mademoiselle from Armentieres,the l e a d e r o f Israel.

There are smiles that belong to Zen,the industrialist. en Z There are s m i l e s t h a t b e l o n g to n o one,the g bank-robber A b e Lincoln. g^ < There are s m i l e s t h a t b e l o n g to A l a b a m a , ç/3 home of t h e S t a t u e o f L i b e r t y . W

There are smiles that belong to America, * the s h o e l e s s E n g l a n d .

13

William J e n n i n g s B r y a n of C o l o r a d o w a s a l u m b e r j a c k w h o s e real n a m e was P a u l B u n y a n .

Stephen F.Austin was a cartoonist whose real n a m e w a s W a l t D i s n e y

Emiliano Zapata was a steam-boat captain whose real n a m e w a s P a t G a r r e t . 16 EL G R I T O

BOOK TWO

14 noche para rosa

Querida,pareces una guitarra en la cama vieja.

En la noche la cama es tan ruidosa como la g u i t a r r a .

Amorsito,la vida es redonda como mi sombrero.

En la noche mi sombrero bostecea pero no duerme

El cariño es el dueño de la noche.

15

En la mañana el aire es como tu rostro.

El sol rueda por la tierra todo el día.

Tus besos de anoche quedaron como rosas en m i s h o m b r o s .

Me hicieron dulce,y la cama es azúcar.

échala en el té,después vamos a bailar Z por l o s á r b o l e s f l o t a n t e s . Q ÇÍ Tu vestido r o c i a d o s u s p i r a e n m i s manos. (A m Mujer,sin ti ¿para qué quiero ser hombre? gj YEAR VII, B o o k 3 17

16

Cuando te rasures las piernas no te cortes, una c i c a t r i z m á s y j a m á s t e quiero.

Una cicatriz más y no esperes que te acaricie.

¿Hacemos un trato? Tú me rasuras mi barba, ** yo te r a s u r o t u s p i e r n a s . ^ S Una p r e c a u c i ó n . ¿ E s t á b i e n ? öS y 17 m

Si no fueras parte de mi vida,estos poemas ¿i no existieran. m

Tampoco esta tristeza,pero es mejor haber conocido t u s labios que pasar la v i d a s i n t o c a r , s i q u i e r a b r e v e m e n t e , una de las cosas más bellas del mundo.

18 poema s u i z o

En un banco suizo el dinero crece como el tiempo

Por las calles de California muere mi fe en a y e r .

Sin tu cara,o sin tus brazos este poema fuera otro d o l o r

Por las calles de Texas muere mi fe en mañana. -

Los americanos quieren todo. 18 EL G R I T O

19 la m u e r t e d e z a p a t a

El arte de los Zapatistas era simple, tierra.

Pero el arte de los generales era más simple, sangre.

Ese día salió Zapata de los árboles, blanco y n e g r o .

Para la tarde ya era colorado.

20

El a i r e c a l i e n t e d e C h i h u a h u a d e j a l o s n ú m e r o s de las s e ñ o r i t a s e n los o j o s d e los h o m b r e s , y e n las n o c h e s la ú n i c a floresitad e C h i h u a h u a sale p o r m á s calles q u e las q u e h a y e n t o d o w < Méjico. m P El v e s t i d o e n v u e l t o e n la c a b e z a , s i n z a p a t o s ^ sin c e j a s , p o b r e la m a d r e d e la niña,solamente '-^ el h o m b r e del c a b a l l o b l a n c o s o n r í e e n la n o c h e [ij prieta >^ (H "Prietita,prietita,te q u i e r o c o n m i s o j o s prietos,mis o j o s s i n e s t r e l l a s y sin l u n a . " YEAR VII, B o o k 3 tß

21 poema para Joaquín murrieta

Tu corazón florea en las calles de a l e m a n i a .

^ Tu sangre es un río como el Mississippi < de V i e t N a m . Z m ö Tu tierra n o es l a t i e r r a d e P a n c h o V i l l a ^ pero la r e v o l u c i ó n e s igual.

^ Reies López Tijerina es tu hermano.

pi Con carabinas se cumplen muchas cosas.

Con dedicación,con justicia,con amor se c u m p l e t o d o .

Tú eres el bandido de California.

Tú eres la Virgen de Guadalupe,tú eres m i v i d a .

22

Este adiós es para Rubén Salazar.

Este adiós es para todas las cosas tristes q u e p a s a n e n L o s A n g e l e s .

Este " iAjúa!" es un poema

Ya n o v a m o s a c a n t a r l o q u e n o sea c a n c i ó n .

Desde este día en adelante nuestras c a n c i o n e s v a n a v o l v e r s e h o m b r e s .

Ill 20 EL G R I T O

23 the americans

A veces los trenes son para pasajeros nuevos.

Pero esta mañana me quieren a mí,con su h u m o .

Y con las tierras mejicanas que atravesaron anoche.

Tristementa admito que se acabó la guerra buena.

BOOK THREE

24

El último tolteca corre por el Paseo de la Reforma.

Tolteca, ¿quién crees que eres? ¿Cantinflas? ¿Dónde dejaste t u c o r b a t a ?

¿Dónde está tu traje blanco? ¿En tu mapa no h a y u n a estrella e n T u l a ?

¿Conociste a los clásicos? ¿Conociste a los apaches?

ai Azteca,son m u y lagañosos t u s h i j o s y 9 muy pervertidas t u s h i j a s . •<

Aquí están en los Estados Unidos. W

Aquí están hablando inglés y español. ^

Sacrifican zapatos,es todo ¡sacrifican botellas d e C o c a C o l a , e s t o d o .

En California andan en las uvas como coyotes. YEAR VII, B o o k 3 21

26

Quetzalcóatl,cte digo un secreto?

Tu gente ya no es azteca,ya no es mejicana,ahora e s chicana.

Pues esta canción es dedicada a ti.

Aquí en tejas todos quieren bailar contigo.

27

Zapata era mi hermano,mi bigotón.

% El único hombre en Méjico.Pero tú eres un § bastardo.

y Lo mataste.Las rosas cambian de color todavía. m >. Mejico.ni p o r A c a p u l c o te p e r d o n o . iá

28

A Pershing le g u s t a b a n las m u j e r e s , p o r e s o nunca a l c a n z ó a Villa.

Y a Carranza le gustaban los hombres por eso n u n c a t u v o hijos.

A Benito Juárez le gustaba la justicia por e s o e s e l p a d r e d e los comunistas.

Así e s l a vida,igual q u e el a m o r . 22 EL G R I T O

19

Bandera blanca,verde,áquila,y víbora,ya no eres nada m í o .

Tú vives para el sur.en las montañas.

Yo soy delgadito y poeta iconoclástico. ^ Z El a i r e t e a c a r i c i a c o n las m a n o s d e g soldado. C^ < Lástima q u e n u n c a fuiste l i b r e , l á s t i m a q u e ^ tu c a r a e s t a n f e a . ^ u 30 ^

Estas son las palabras de mi abuelita:

Este burro era una guitarra muy hermosa.

Pero la revolución cambió los guitarristas.

Mira cómo están viejos como yo.

Mira como ni la marijuana los hace caminar.

Por eso es que me dan gusto tus canciones, porque m e hacen b u r l a h a s t a a m í .

31

Pancho Villa montó su caballo y dijo a sus amigos:

Vamos a los Estados Unidos,vamos a ver a las g r i n g a s chulas.

Vamos a Ciudad Juárez,a acostarnos en la plaza,bajo l o s árboles.

Es el verano más bonito de mi vida. YEAR VII, B o ok 3 23

32

Los españoles con calzones prietos como la noche, conquistaron a T e n o c h t i t l á n .

Cortez sonreía arriba de su caballo dormido.

Por la mañana se peinaba el pelo largo v brilloso.

Y los Aztecas se sentaban alrededor de Cortez y n o h a b í a v i d a e n n i n g ú n o j o .

Pero los pájaros cantaban algo en las pirámides. < Z M Q Oí < u üi 33 2

Alamo, ¿te acuerdas de Méjico?

Alamo, ¿te acuerdas de DavA' Crockett? Sí,el de los p i e s g r a n d e s .

Alamo, ¿te acuerdas de la película?

Santa Anna,no seas cabrón, ¿dónde está la navaja d e B o w i e ?

¿Dónde están los labios de la historia?

Alamo, te manda saludes mamá. 24 EL G R I T O

34

Dios dice que al Río Grande lo hizo para que h u b i e r a m o j a d o s . on

A San Antonio nada más para mejicanos. öj

Dios dice que a las señoras las hizo para que < destendieran las t o r t i l l a s . ^ Üi

Î5

Cuauhtemoc,si no me das a tu hija voy a llorar.

Inmediatamente hulló Cuauhtémocjamás puso sus p i e s e n M é j i c o .

Así son los héroes de ayer.

Y la hija está en mis brazos,el perfume de sus o j o s e s m á s d u l c e q u e los senos.

Así son las hijas de héroes.

Solamente los poetas son peor. YEAR VII, B o o k 3 25

BOOK FOUR

36

No que sea importante,pero los poetas de España son m a n z a n a s .

Después de la guerra hasta García-Lorca parecía pan francés.

En Portugal los toros brincan al mar Baudelaire.

Los tres caballos de Granada duermen en mi poema, sin alemanes.

37

San Francisco sin tranvías o sin puente de oro, termina.

Queda descolorido el azul pacífico,lomas abiertas. m ^ Las n i ñ a s d e S a n Francisco m e quebran l o s til dedos. % < Toco u n bolero c h i s t o s o e n la guitarra. m ... W Es m e j o r vivir e n S a n J o s e . U tS4 26 EL G R I T O

i

JOSE A N T O N I O BURCIAGA YEAR VII, B o o k 3 2?

E L BARRIO

Un ambiente de acción y el aire c o n el o l o r d e t o r t i l l a s calientitas.

Los chavalitos descalsos corriendo por d o n d e q u i e r a .

El Nacho abajo del carro, Virgie a r r i b a o y e n d o su r a d i o .

En la esquina un bonche de chávalas e n c h o r t s .

_ Al otro lado, Q H Los c h a v a l o s c o n los p i t o s p a r a d o s . "í; Jefitos a f u e r a e n s u s T-Shirts -. Abuelitas c u i d a n d o s u s m a t i t a s I g El i c e - c r e a m m a n con su m i s m a ^ musiquita. fia Mamá hablando c o n la c o m a d r e y Al m i s m o t i e m p o p e l i a n d o c o n los m o s c o s .

El teléfono sonando Perros l a d r a n d o Sol c a y é n d o s e

Moción y emoción ruido y m ú s i c a todos j u n t o s , f o r m a n d o la t a r d e e n el barrio. 28 EL GRITO

EL JALE

Humo, máquinas, hard h a t s , sol c a h e n t e , sed, polvo, g ampollas, agua f r í a , < el m a y o r d o m o , eu. el l a m b i ó n , g IS trabajo, m sol c a l i n t e , m más t r a b a j o , O cemento duro, »5 palas, arena, cemento awado, sudor, calor, dolor. Que Chinga.

DESTRUCCIÓN

Lloran las moscas se m u r i ó el m o s c o . ¿Qué pasó mosco? Llegó el S h e l l S t r i p .

Lloran las ratas se f u e el r a t ó n . ¿A dónde? Se lo l l e v ó el R a i d .

Lloran los h o m b r e s . Porque Se j u n t ó , S h e l l , R a i d , G u l f . YEAR VII, B o o k 3 29

CECILIO GARCIA-CAMARILLO

espíritu

se acostó y el pelo s e g a n c h o e n las piedras.

y c o m o espuma que b r o t a d e la n a r i z d e u n á q u i l a , gorgoreo el espíritu y se d e s p e g ó como arcoíris como suspiro como p o e m a cristalino como lo m á s rígido d e u n e c o . cuentista lo central del espíritu como lo hacía siempre sorbió la i n m e n s i d a d en e l t i e m p o d e a z t l á n de los p l a n e t a s pero s e s i n t i ó v a c í o salía del agua como los h u e s o s d e u n c a d á v e r . su c u e r p o v e r d e a z u l entonces el espíritu acobijados por la luna de la d i o s a d e a z t l á n la r a z a aztlantina cayó c o m o una luz q u e a l u m b r a se sentaba a o í r s u s c u e n t o s un lago d e o j o s al c u e r p o . perlas bronceadas resbalando e n u n v a s o d e l u z los carnales de aztlán le trajeron jugo d e n a r a n j a y e l o t e s pidiendo la d e f i n i c i ó n d e l espíritu.

hablando como por entre caracoles la d i o s a d i j o el espíritu e s t á e n la c a r n e .

en ese momento un árbol magenta se f r a g m e n t ó e n 3 0 m i l m a r i p o s a s . 30 EL G R I T O

el e m b r u j o d e l frijol

en los comienzos en a z t l á n en a z t l á n el frijol se r e c o g í a e n t e r o como corazones y se g u a r d a b a p a r a c o n s u m i r .

una tarde manchada d e g r i s como enfermedad el príncipe m a y o r después d e v a r i a s h o r a s d e p e s a d í a donde 2 0 v e c e s s e a r r a n c a b a el p i e d e r e c h o se l e v a n t ó .

bambaleó al s ó t a n o d o n d e e s t a b a el frijol y lo q u e b r ó a p a t a d a s .

desde entonces cuando los c i u d a d a n o s d e a z t l á n se m i r a n e n e s p e j o s las c a r a s s e b a ñ a n d e t e l a r a ñ a s .

y un balazo de electricidad chispea d e las c é l u l a s m e n t a l e s y n o para h a s t a c o l o c a r s e e n el e s t ó m a g o .

se dice que este embrujo paralítico es eterno. YEAR VII, Book 3 31 correr en aztlán en s u s c o m i e n z o s el andar era como una sonrisa 2 de n i ñ o *^ era c a l m a d o ^ como la c o n c i e n c i a g del m a p a d e t o d a la c a r n e <

se a n d a b a d e s d e el centro se a n d a b a p a r a q u e los m ú s c u l o s S se hicieran a m u l e t a s ^ regalos r e s p i r a d o s al s o l q

el sol que tostaba y pieles cafeces c h i c a n a s Q con la suavidez de u n s u e ñ o d e u v a s

pero de la conquista gringa acá sólo a n d a m o s p a r a c o r r e r

corremos porque todavía sentimos el h o r m i g u e r o de l a s balas g r i n g a s en n u e s t r o s pies página

pinche imagen se e v a p o r ó .

poema:jueguito de descubrir.

(Goldmund's eyes son p e y o t e s )

(la vida wrestles en la p á g i n a )

(jefita, open y o u r w o m b ) . 32 EL G R I T O

abuelo

abuelo c i r c u l a r : gigante a z u l O con bigotes d e e m i l i a n o z a p a t a

arrebata mi mano y la s e r r u c h a

dolor gancha < cienes d e f o t o g r a f í a s de m i m a n o oí < como araña s e c a 2 y como nube de t a c h u e l a s u M explota silencio h i r v i e n t e U de la s o m b r a del a b u e l o

pajaro de arena aletea corro e n en m i garganta el c h o r r o tijereteando de sangre resuello que convulsa

sangre porque cielo derrite is riveting la t i e r r a el p a r á l i s i s un agujero nomas y es a g u a

mi espejo donde m e escondo y m i sangre le e s c r i b e a l a b u e l o YEAR VII, B o o k 3 33

mano

mano encerrada en las h o r a s

que dibujan flores como triángulos de p a s i o n e s m i n u t e r a s

es la sangre estancada en el c r á n e o

O en un espacio rubio

Oí en una estrella como ojo de gato

w la b o c a necesita b a t e r í a s eléctricas

necesito un paquete de mechas entre l a s piernas

amarla

pero no puede ser

estoy enmohecido en la s o l e d a d d e u n s u e ñ o lleno d e a g u a )' c o m o un reloj m e ahogo 34 EL G R I T O

dientes d e Ia n o c h e

los dientes de la noche sonríen i r o n i c a m e n t e q

los árboles escurren puñaladas Z < el h u m o de c i g a r r o ^ es u n a o r e j a d e g i g a n t e -^ donde tú y y o d e p o s i t a m o s e c o s < como piranas g o r d a s '^ < los o j o s d e l g a t o d e la s e ñ o r a z a m a r r i p a son l á m p a r a s j a p o n e s a s a z u l e s

el gato es gordo \ escandaloso porque a l o s h u e v o s r o z a e l m i e d o

antes estábamos tejidos como el c a n t o d e l s i n s o n t l i como la r a í z d e u n a n u b e a m a r i l l a

\ o le buscaba estómagos a las metáforas ios f r i j o l e s e r a n la l l u \ ia que a h o g a b a n los a u l l i d o s d e l h a m b r e los f r i j o l e s c o m o pedazos d e c h a p o p o t e se p e g a b a n p a d i b u j a r p a l a b r a s

mañana sapos rojos tomarán c a f é las b o c a s e s c u p i r á n cuchillos p l á s t i c o s querida la l u n a e s u n a niña l e o n a preñada c o n o d i o como los p o z o s d e l c o r a z ó n

las imágenes no s o n n i t ú n i \"o son e s e i n s e c t o i d i o t a que p a r e c e a u t o m ó v i l YEAR VII, B o o k J Í5

crimen la p i e d r a detiene el a g u a con su r e d o n d e z en una botella de tinta gritos s e d e s p e g a j a n una ristra de agujeros se t r a g a u n a g o t a d e sangre las costillas de una flor son g u s a n o s el sol es u n n u d o de g r i l l o s calles

las calles están vacillas el egoísmo de la escena es u n barco y son negras que se h a c e o j o d e a g u j a las conversaciones son un Hacho de vidrios q u e b r a d o s e n las p a t a s

no se mueve ningún deseo en el e s p e j o p á l i d o

la luz de mi cuarto es l a c e n i z a d e m a r i p o s a s muertas S

2 como flores amarillas pariendo flores a m a r i l l a s fueron m i s ilusiones entre risa y llanto < u sangre angustiada < y perros d e s t r i p a d o s a h o r a son m i s sueños

o recordar es meterme en un humo sordo

u sentado y solo u el u n i v e r s o e s l o d o y y o m e hundo 36 El GRITO fingersliquid fingersliquid autistic a s t r e e . plague. undone. nocolor in s e l f s w a l l o w . killedmonday as c r i m i n a l . hangednirvana. like off, cabeza like h u n g e r .

de tu cabeza mediacomida blocked, nonnerve. por c á n c e r p a l a b r a s gorgorean only waterjerks. gusanos g r i s e s a m i s h u a r a c h e s de tu cara b l a n c a c o m o pantalla de tus o j o s d e h u e s o b l a n c o .

eres olor negro O del m u e r t o .

tarde es color a toro, m e rodea u n silencio < como madera pa u n a silla.

< sentado en la tarde: U QU eres i n s e c t o s e c o < pa m i comida. o poco a poco Ö mis o j o s unos desarmadores u te a f l o j a n . YEAR VII, B o o k 3 37

domingo

tarde. retorciéndose. se m e t e e n tus uñas.

tu brocha. como s i r e n a . O nada e n tu s a n g r e m o r a d a .

ai vour r a w m u s c l e s . < como resortes s e a r r e m a n g a n . < U sirena e s c u p e . < garrapatas. D < campanean en los s o b a c o s del aire. ^ la c a í d a d e l s o l l a s chupa. O d como un r e m o l i n o . pQ garabateas u n a v a s c a n a t u r a l . U ojos. dos v e n t a n a s t e l a r a ñ o s o s dos s o f á s reventados. te t i e n e n e n f o c u s .

tu cara. de p e r r a e n r a b i a d a . se sacude. se h a c e b o l a .

también la arrebata. el r e c h i n i d o d e l p o e m a . 38 EL G R I T O

haikus like w i l d c r o w s : they don't let m e sleep.

in l i v i n g r o o m mirror the s a n d í a m t . a n d i : kuiuuuuu.

otli otli: meltingsnow blackboots v e r y w e t .

footprints swim by h u t o n r i v e r b e d : * winterend.

like c a r i b o u antlers los c a m i n o s q u e h e c o r r e t e a d o

m u m u mu vaca se p i e r d e e n el c a m i n o .

blue like h e r o n ' s e g g la tarde. YEAR VII, Book 3 39 goatherd scrambles through U f e H n e o f m y hand.

milkyway drinks w a t e r from m y sohtary d r e a m

i'm looking for t h e m a n z a n o mts cactus.

factory s m o k e s pull o v e r llanos: cuernos d e t o r o .

parrot cállate: sunset.

montana esposa: double p r o f i l e

crow hair and in-between: o m e n

CECILIO G A R C I A - C A M A R I L L O 40 EL G R I T O

M K

s IX s ^ ^ !?."%**. . ^ ^ t f o D t n i é i n s o m n i a i ^ x ^ V' <^insomniaiasomniain^^!«^insomniaiosomniai ^ ^."^^ "^insomniaineomnia i n s o m n i a i n e o m n iî a i n s o i & i ^ ^^ * insonmiainsomniainsomnÄ insomniainsomniainsomnia insomniainsomniainsomnia insomniainsomniainsomnia •Î n « n n mliainsomniainsomniainsomni - î a 1 n Q r i n m 1 a 1 n c m i m i a a liaiosomniainsomniainsomnia liainsomniainsomniainsomnia

LLUVIA MARXISTA

CECILIO GARCIA-CAMARILLO YEAR VII, Book 3 41

\

\

losilencicsilencies nciosilenciosilencii

1lenelosiiene 1 lien gSîilSèiSSîîlAcifsi ..SS:ncios lene I B S 1encía1 e n e s1 » ïencilenic

eBCl ncivsiiencivsiirnci« enci»silenci»sîlenci •silenci«9ilenci»sil

encitsi enci«siienc

CECILIO GARCIA-CAMARILLO 42 EL G R I T O

rwiaterwinl »inte

?SîiîÎ?5î çi?îî;iïi?iîi«i?sîàîs?îîA?i?sî?iïi?îîAîifïî?i? erwinterwinïerwinïerwin -w

CECILIO GARCIA-CAMARILLO YEAR VII. Book 3 43

: I

^ ^ ^^i

CECILIO GARCIA-CAMARILLO 44 EL G R I T O

l »r •\ s i ï e n c i 1

île. SI'' nciQ. 03 íMlífti k +6éîfg^o enci xlencioaî^ |§8è osilencios Î3lle>. IeScio9ilencio8 ^^i enclos,,_. /silenciosileni-- .0 nciosileni,ileni., w B t I e n c I o a " — ãèiSãíigièi8i!i?gèí§§'enciQsiIenciosilenciosilenc i losiîenoiosiîenç1031^oipaiIenoioailencT 1^11 en encioailenoio'" 010 Aim .-DCIOS -palier Il cioailer enoioaile' ipaïlen'

loïoa. xleni,,., ilenc 8î§i iish, Oioailev C109ne1 1 0 'S§è?§èÎî'e^ l§èSc nci •^iS8î?iri 03i^'1 ^ Iencio3iIencioai enciosiisnc] /¿iî?| 5cio! |î8||îl|iîP' ni 10! ençiosiTençioSiIençiosiT ïosîièncioaiîènciosi

aire triste

CECILIO GARCIA-CAMARILLO YEAR VII, Book 3 45

ituraleza es cadaver

^

0Eq33ODE5330 M ID it

330DB533

tácete tacotl « tacóte ¿o taco t e j ^ tácete

CECILIO GARCIA-CAMARILLO 46 EL G R I T O

RUBEN RODRIGUEZ

priests are human beings in disguise some people take off their masks when they are recognized others keep keep a them mask on close only to to your fool bedside themselves for a stranger might if knock you, on wear your a door mask this to weekend strangers you probably disguise yourself to friends YEAR VII, B o o k 3 47

your eyes M sometimes say Ü to me D O what Pi your when m heart I m has learn not to the walk courage straight to my believe shadow will take not off be your crooked mask once take in off a your while mask for before the entering wrinkles m y in house your for face I will don't become want the a dark stranger crevices in in m y your room heart 48 EL G R I T O

many live everyone only has to an please extra that's mask why in by the others foyer they of are their never soul released N Hi U 2 Q O

many z you people have know been themselves someone by else words too spoken long by now others that that you is are why yourself they people call always you faceless a within stranger themselves HHHHHHIHHHHIII'm YEAR VII, B o o k 3 49

you are not the artificial girl flowers that are I for used artificial to lovers think \ou were yesterday when I saw • do you 4- not today \ worry t^ about # what ^ your 1^ next 4 door neighbor will •. say because L your 1^ front \ \ door one " % probably t . thinks ^ the r^. [^ opposite of V what ^ he ^ believes in 50 EL G R I T O

• do \ not 1^ worry ^ about ^ what 1^ people \ say ^ behind 1^ your ^ back \ for \ they ^ are ^ probably ^ whispering ^ something ^ about ^ you \ in ^ front ^ too you wanted to be yourself to you that day but your other self kept you from RUBEN RODRIGUEZ being the real you YEAR Vil, B o o k 3 51

RUBEN RODRIGUEZ do not live to please others always for you try will to be be like yourself the in slave spite who of turned what down they his might chance say to if when be you you free ever don't receive talk a to letter them from m y heart read it to the public or else keep it closed 52 EL G R I T O

O

r ?

RL F-RtNTE

JOSE A N T O N I O BURCIAGA YEAR VU, B o o k 3 53

EL SOL THE S U N O Z <; The S u n beats d o w n ;^ on the e a r t h O On the p l a n t s a n d t r e e s on the s e a . g

The sun smiles : upon O you a n d m e . < > <

O

THINK O F LIFE A S A GUITAR

The guitar played happv notes and I was j o y f u l

The guitar played sad n o t e s and 1 cried The guitar p l a v s o n f o r e v e r . 54 EL G R I T O

O some or < the E a r t h is g soft 0Ü f Û some of 3 the E a r t h U is h a r d 1^ Z Some of t h e E a r t h is p l e a s a n t a n d quiet '^ some of it is n o t >

The Earth is beautiful in many ways ^

and y o u and I walk w i t h the E a r t h through s p a c e a n d t i m e .

THE C I T R U S FRUIT

My heart is a citrus fruit

which life gently flows upon as i t g r o w s .

LIFE IS A LIGHT BULB

Life is a light bulb that g o e s o u t after m a n y years ««4: *** *** YEAR Vil, Book 3 55

O THE SPIKE Z S Death is a spike, g which : you trip o v e r , f a l l u p o n 8 or d e l i b e r a t e l y r u n i n t o . p O Z < > < H O I S A W A BIRD

I saw a bird above m y head then the b i r d f l e w s t r a i g h t d o w n at m e and I w a s e n g u l f e d b y the s e a and I knew nothing more.

The city is a s t o n e in w h i c h nothing m o v e s .

The forest is a quiet thing in w h i c h everything is alive and comfortable

Always alive and moving slowly

and in a p l e a s a n t w a y . 56 EL G R I T O

ROY ARBORETUM ARBITRATIONS CASTILLO

Before me I see rails of rhyme, A greying s k y , a b r i g h t e r t i m e . I s e e t h e m a n that I should b e And let t h e p o e t o u t in m e . I t h i n k a r o u n d the call o f b i r d s And piece t o g e t h e r m o d e s t w o r d s . A stone I cast a n d in its path A creature s c u r r i e s o f f i n rathe. The city's r o a r I still can h e a r But s e n s e it b e i n g n o w h e r e n e a r . A poet's w o r d s n o l o n g e r s t a l e Increase in d e p t h f r o m rail t o rail. Each board I'll u s e t o r e p r e s e n t A memor)' o f t i m e w e l l s p e n t . Each littered c a n a l o n g t h e w a y

Shall b e r e g r e t s o f y e s t e r d a y . I t u r n a n d see a b e n d i n g t r a c k And years o f life a s 1 look b a c k . I s e e t h e m a n y things W e done— The battles l o s t , the b a t t l e s w o n . I c a n n o t s e e b e y o n d that b e n d And that's w h e r e m \ ' r e f l e c t i o n s e n d — I c a n n o t q u e s t i o n binding n a i l s That set t h e p a t t e r n f o r t h e s e rails. And I must l o o k a h e a d to f i n d The w a v to s a y w h a t ' s in m v mind. So t o w a r d s t h a t s k y I n o w will w a l k and t o w a r d s t h a t b r i g h t e r t i m e . A cane o f w o r d s I'll use t o s t a l k those e n d l e s s rails o f r h \ m e . YEAR Vil, B o o k 3

PONDERINGS

An oily r a i n b o w stared at m e And drowned a d \ i n g leaf. I c r i e d a n d crossed a b r o k e n t w i g To lighten n a t u r e ' s grief. A tree r e a c h e d h i g h b e h i n d m e Its fingers n e e d i n g s u n A frantic g a s p a i m e d at t h e s k y Was h o p e l e s s — T h e r e w a s n o n e . A wind g a v e c a d e n c e to t h e s t r e a m , The r a i n b o w n e a r e d m\- feet. Wy face b e c a m e a d a r k m i r a g e O Cemented on the street. The sad r e f l e c t i o n r i p p l e d b y , d A soundless w a v e it caught. m I s a w m \ s e l f i n silence S And lost m \ s e l f i n t h o u g h t . > O SS

BIENVENIDOS

.\ house stands s t a r k with floors o f dirt, A hungry b a b \ - cries i n hurt, A lawyer h u s t l e s f i f t y bills and p r o m i s e s t o c u r e t h e ills. Pregnant a n d w o r n the w i f e a p p e a r s That this a m o u n t .And s m i l e s a b o u t will m a k e it "clear. the t h i n g s s h e hears. He signs a p a p e r Her n a i v e h u s b a n d , he c a n ' t r e a d blind t o t h i e v e s . .And p r o u d l y thinks Pays t h e s u m that's a l i h e n e e d s . and still believes The l a w \ e r l e a v e s — That's a l l it takes his w o r k is d o n e . to k e e p h i m " h e r e " No food to e a t . . . 58 EL G R I T O

ROY CASTILLO

PHILOSOPHY W I T H HOMINY

Life is like a b o w l of m e n u d o - At t i m e s d e l i c i o u s , at o t h e r s terrible. It's easy to f i n d o n weekends But n o t g e n e r a l l y t h o u g h t a b o u t o n M o n d a y s . Some love it, Some hate it, Some are t o o a f r a i d t o tr\' it. Recipes f o r it a r e rarely alike Some are totally s e c r e t . It's b e e r ' s b e s t c u r e at t h r e e in t h e m o r n i n g . It's p a r t o f a c u l t u r e m a d e up of v e r y special ingredients Foreign to s o m e , Familiar t o m e . It's s o m e t h i n g y o u have to taste t o a p p r e c i a t e . YEAR VII, B o o k s 5S

Í

Tb\iK.Cftór^'7a

JOSE A N T O N I O BURCIAGA 60 EL G R I T O

JOSE BARRIGA

POST-DATUM 1325-1521

Tenoch sabio guerrero llegaste A tu valle Aquí el m o n o ágil llegó A su c u m b r e De las arboledas j a d e Panorama de t o r r e s Oro y p l a t a Alta l u n a r a y a b a s u l a g o El A l b a . Sol fértil regó El c a l o r r o j o En c u m b r e s d e j a d e .

Estruendo Metálico Marcha Marcial

Águila sin alas asió El a l t o v u e l o f u g a z Plomo y c e n i z a En el p e c h o De rosas v e r d e s

Sol jadeante Harto Sin Luz. YEAR VII. B o o k 3 ëi

Fragment of a d a y dream

En el bar la cantina Sin g r i n g o s sin s o f t d r i n k s La m ú s i c a es g r a v e y alegre M e apuro c o n el Mexican tequila Mixto con cerveza c o o r s

(la d i o s a piel c a n e l a s i r v e s u té) yelT.V < un latin s i n g e r f r o m a Texas s l u m oí < Director del opportunity career center CQ pide u n "Scotch o n the R o c k s " U CA O My friends look the opposite way.

DREAM

Siento q u e m e dejan t r e n e s . Noche tras n o c h e m e Siento q u e m e dejan t r e n e s . Arrebata u n a r a m a Sueño tras s u e ñ o m e Filo d e c a n g r e j o Arroja a u n p r e c i p i c i o Y al llegar a l T é r m i n o Cumbre que n o v e o Un viejo c e j u d o Y al llegar a l a b i s m o (que v e n d e c h u r r o s ) Un niño m e habla Me grita c o n u n Con sus d e d o s Reloj en la m a n o en la b o c a .

Siento que me dejan trenes. Siento que me dejan trenes. Sombra tras s o m b r a m e Vuelo tras v u e l o m e baña u n a lluvia gris Deja u n aeroplano Aguas d e p l o m o (el piloto e s t á c i e g o ) Y al e s t o r n u d ar al p a ñ o Y al aterrizar m e Una s e ñ o r a v e s t i d a d e l u t o Manosea las bujías Me d i c e : Fosforescentes. No sufras m á s hijo m í o . Duerme. 62 EL GRITO

ARMANDO ESTRELLA DREAM

I live in a world of fantasies I l i v e i n a w o r l d o f d r e a m s Here I can love a n d l a u g h Here I can w e e p m y tears Here I a m king I c a n fight a n a r m y And I w i n a l o n e In t h i s w o r l d I can sing a n d d a n c e And shout f o r j o y I c a n fly t h r o u g h t h e s k y And laugh w i t h g l e e The sky is m y space And the s t a r s a r e m y friends Blue is m y friend And red is m y friend Pink is m y love And dark is m y night Here I have p e a c e o f m i n d Here t h e s e a is blue a n d clear a n d f r e e The sky is rich a n d b r i g h t The fields a r e g r e e n And the w h e a t is y e l l o w The girl i s g e n t l e , kind And sweet She's y o u n g a n d f i r m a n d g o o d Someday w h e n m y life i s d o n e I'll stay h e r e w i t h m y friends Until t h e n , s a y f a r e w e l l Till a g a i n I s l e e p t h e n i g h t Wait f o r m e . . . I'll b e b a c k . YEAR VII, B o o k 3 ^-î

M Y WORLD

I am from a Different World, Yet I a m from the S a m e W o r l d . I laugh, Yet I a m sad. I a m proud, Yet I a m disgusted. I love. Yet I have p r i d e , Though I have P r i d e As y e t I still Desire. 1 a m accepted, Yet I a m Rejected. 1 a m respected. Yet I a m scorned! I a m from a D i f f e r e n t W o r l d — I a m from the c o o l R a i n y M i s t . I a m from the s a n d d u n e s in t h e m o r n i n g , From the t u n n e l s o f a w a v e . I a m here, Yet I a m there. I a m from a S h a n g - G r i - L a , On a c l o u d y s u m m e r d a y . I a m of t h e S e a , The S k y , The R a i n , M y plains, _^ LISTEN! Listen, listen t o t h e r a i n , J The whispering w i n d , J]^ The rolling s u r f , Ä The sea g u l l s c a l l . t« Faces a l l a r o u n d m e , ^ Yet I a m all alone. q Z

< 64 EL G R I T O

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OCCUPATION OF T H E ß w R E W Of i N D l M i / \ F F M R S B L D f r £> NOVEKBER 197Z

JOSE A N T O N I O BURCIAGA YEAR VU, B o o k 3 65

QUESTION T O A FATHER

to my beloved father

"Where was I before you first saw me?" queried his e l d e s t s o n .

Moved deeply, the father knelt on his knee and said, "Listen, m y son.

You were in my developing mind, in m y toys, and in m y infancy.

You were in all that I could find, even in a l l that I could s e e .

Years passed, and I grew older and c o u l d h a n d l e a j o b . JOSEPH FRANCIS You kept me warm when I held her MORALES and c o n s o l e d m e when I sobbed.

Your tender s o f t n e s s i n c r e a s e d , and in m y young b o d y

My hardships soon decreased, even w h e n m y feet w e r e m u d d y .

As memories passed by, and the y e a r s s p e d ,

Even when the time was nigh for y o u r M o t h e r a n d I to w e d ,

You, like the sun rises in the East, flew f r o m the R i v e r o f L i f e

And finally appeared as if to a great feast, For t h e r e v o u were, .full of l i f e ! " 66 EL GRITO

JOSEPH F R A N C I S MORALES

THE P R I N C E O F DAWN

Indeed it was a very dark night. Again to e a r t h it s h o w e d its horrible sight. Slaughtered five m e n times f o u r ; Bloodless b o d i e s found lying s e a - s h o r e . Upon hearing t h e p u b l i c - d e s t r u c t i o n , The King o f D a w n , s a d d e n , g a v e i n s t r u c t i o n To hunt t h e e v i l - c r e a t u r e o r b e a s t To South, N o r t h , W e s t , a n d E a s t . They went o n their r e s p e c t i v e s e a r c h Meditating first a t t h e n e a r b y c h u r c h . To find t h e e v i l - o n e a n d t o d e s t r o y . To reverently p r o t e c t t h e m and to t h e k i n g d o m , j o y . Went over hills, valleys, o n w a r d the s p r e e . Until t h e y r e a c h e d the giant-sea. Day and night t h e y s e a r c h e d in vain. Each w a s tired b y the s e a - s h o r e lain. Came the s i x t h n i g h t ; t h e m o o n was f u l l . And fog a l m o s t d e n s e c o v e r e d a l l . The brave-four c a m e together i n p l a c e . Two bright r e d e y e b a l l s s t a r i n g a n d a h o r r i b l e o l d f a c e . It h a d a m a n ' s s h a p e a n d m i g h t y . It k n e w the n i g h t w e l l , n o w little b e f o r e F r i d a y . Silence w a s b r o k e n , t h e K i n g ' s s o n a p p e a r e d . Surprised t h e b e a s t , n o w it laughed a n d s n e a r e d . "To defeat y o u , I have c o m e . M y Father's W i l l m u s t b e d o n e ! " The man-beast w a s e v e r s o g l a d Seeing t r i u m p h u p o n the P r i n c e , a l a d . First t o h i m he c h a l l e n g e d t h e fight. YEAR VII, B o o k 3 67

"Please, L o r d , S i r , please n o ! " Shouted the t r o u b l e d - f o u r . But e a c h b e g a n with all his m i g h t . And the f o u r r e m a i n to w i t n e s s A battle n o m a n can e v e r g u e s s . Such excellent s w o r d p l a y ! B u t t h e l a d k n e w well That t h e e v i l - i t m u s t return t o H e l l For t h e infelic n i g h t w a s g o i n g And the b l e s s e d - b l a z i n g d a y a c o m i n g . Exhausted with s w o r d s t h e P r i n c e fell. The evil-it h a d d o n e w e l l . Now for t h e e x e c u t i o n b u t n o u g h t For t h e b r a v e - f o u r c a m e a n d f o u g h t Another y e t m o r e bitter struggle Told t o m e by an old-gentle sea-gull. The swordless l a d g r a s p e d a s e a - s h e l l h a r d . Came u p o n the evil-it a n d stuck it into its heart. The angels s a n g a n d the s u n r o s e m i g h t i l y into its sky. The beast is d e a d , t h e b e a s t is d e a d , n o w the s e a - g u l l s fl\ And there in t h e s a n d t h e b e a s t y - b o d y soon d e c a y e d Then nothing, n o t h i n g t h e r e l a i d .

JOSEPH FRANCIS MORALES 68 EL G R I T O

HOY

Hoy no he escrito un poema N o porque m i a l m a n o este d e s g a r r a d a sino p o r q u e el l l a n t o y a t o d o lo h e v a c i a d o

El sol fue más intenso que ayer La p e n a m á s l a r g a El p e n s a m i e n t o m á s p u n z a n t e

Hoy la queja mía se asusta El c u a r t o s i g u e s o l o Y o no soy m á s

El radio sigue chillando con s o m b r a s q u e p e r d u r a n al c o m p á s d e p e n s a m i e n t o s l o c o s

Mis ojos se hunden en el espejo ío N o los q u i e r o m i r a r m á s ^ Boca d e b o u r b o n , l l á m a m e m g O Mi s o m b r a y a n o p u e d e c o n su c a r g a Mi e s p a l d a s e q u i e b r a y Mi p e n s a m i e n t o está m u t i l a d o H S Un tumulto d e v o c e s m e siguen La t u y a la c a r g o c o n u n a s o n r i s a al l a m e r m e los l a b i o s b u s c a n d o tus b e s o s

Hoy he bebido leche Comido pan pero m i s f u e r z a s s e a c a b a n al n o masticar t u a l i e n t o

El frío me sigue por la sala, el comedor, la cocina La n e g ra m o n t a ñ a m e mira e n s i l e n c i o Soledad m e abraza y besa

Llanto seco que no cesa Y o aquí c o n m i l á p i z Tú allá c o n a l g u i e n YEAR VII, B o o k 3 69

LETICIA ROSALES

BAR

Cabellos b r o n c e a d o s e n m i m e n t e Bar q u e se m u e v e Circo l l o r a n t e Mi c u e r p o s e a p r i e t a a o t r o Tú, allá M e and B o b b y M c G e e , ¿ r e c u e r d a s ? Humo Cerveza, cognac, b o u r b o n , m a r g a r i t a s . . Senos i n f l a m a n t e s Piernas q u e se m u e v e n Gotas d e s u d o r Sangre Desprecio Sueños Pesadillas b l a n c a s Amarguras r o j a s Tú y y o n o s d e s g a r r a m o s al c o m p á s d e las arrugas que n o s m i r a n Velas Siéntelas El m i n u t o d e m o r i r l l e g a Vivamos Metamorfosis 70 EL G R I T O

M y Grandfather A s k s

Mundo m y mind has b e e n b e n t and j u d g i n g b y the w a t e r it m a y be m e l t i n g . REYMUNDO Before it evaporates GAMBOA tell m y why it is only in t h e S t a t e s that I a m expected to sit under a c a c t u s a n d s l e e p .

La p a l a b r a

El español palpita en m i s e n t r a ñ a s , el s i l e n c i o l o h a c e s a l t a r tan f u e r t e q u e l l e g a a m i g a r g a n t a . Y a ahí, la l e n g u a le a y u d a por h a b e r s e a t r e v i d o Dado a l a l u z y al aire se p u r i f i c a . C u a n d o hablo me eschucho y h a y v e c e s que e s c r i b o . Chairing A Chingón

I will not be forced to a b a n d o n m y jefito while still within his solitude.

I m u s t m a i n t a i n and n o t a l l o w h i s s a n d to m i x w i t h dirt since I a m created in h i s image. YEAR VII, B o o k 3 71

This S h e a r s I s N o t for P r u n i n g

Eight cents per vine does n o t h i n g for t h e p a i n of a p u n c t u r e m a d e by a p r u n i n g s h e a r s which I had l e f t in a p r e y i n g p o s i t i o n . O M That it w a s t i m e t o f i n d a n o t h e r j o b ^ was u n d e r l i n e d h \ a n o c t o p u s ' red t e n t a c l e s Ô which appeared s p o n t a n e o u s l y ; O their p r e s e n c e p r o p e l l e d § to m y vocal c o r d s a n d f o r c e d 3 a t i g h t r o p e a c t in G o d ' s n a m e . > oWi This h a p p e n e d m o n t h s b e f o r e at a g r a p e v i n e w h i c h has e m b a l m e d my anger, but a g l o s s y s c a r has n o t l e t m e forget o r glorify this n e c e s s a r y s e a s o n that s u s p e n d e d m e in M o n d a y s .

The scar has moved from the cup side of my thumb to t h e d o m e side — into f u l l view.

Though wanting to forget I w e n t t o t h e p o r c h , the s h e a r s h u n g t h e r e on the w a l l o f m y room. 72 EL G R I T O

While o b s e r v i n g it I f e l t m y healing s c a r knowing that t h e s h e a r ' s p e r m a n e n t n i c k s remained like t h o s e left o n hard p e o p l e .

Heft passing u p m y whim to g r i p it to e x a m i n e it closely.

This s e a s o n I have realized its function. I c a n o n l y h o p e that w h e n m y brother p i c k s it u p its j o b will b e d o n e o n h i m while h e c a n still react to t h e p a i n a n d the b l e e d i n g .

For H i s t o r y

Man, like the tadpole tries t o rid h i m s e l f of h i s tail.

Anuncio cósmico

Yo ofrezco mi libertad d e p o d e r p e c a r a a l g ú n á n g e l ;

REYMUNDO GAMBOA YEAR VII, Book 3 73

REYMUNDO GAMBOA His H o l i s t i c a l R e g a r d

My voice echoes within t h e v a l l e y but it is n o t h e a r d on t h e m o u n t a i n . Spring I am listened to, like the w i n d b r u s h i n g b y Re-runs on tv; the p l a n t s c r y i n g Papá p i c k e t s f i e l d crops; the m u l e s b e l l o w i n g . it is s p r i n g again.

I must go to the top of t h e h i g h e s t ; t h e n there w i l l b e o n e less reason for n o t b e i n g h e a r d .

Grooks

The truth corrects lies that h a d b e e n t r u t h s .

The plume of the quetzal may be s h o w n til the s u n t a k e s its color.

Though she was always on her back, he w a s o n his k n e e s , b e i n g h e r e q u a l .

Padres

As trees l o s e t h e i r l e a v e s they m a k e less cool s h a d e , a n d r a i n falls through to t h e g r o u n d . 74 EL G R I T O

< < u Oí a o

o z < m O

--'•-^mn ^

•*«;3iF'JT'! YEAR VU, B o o k 3 75

UN TORERO

Un toro salió del toril Embriagado d e r o s a s Pintadas e n s u s c u e r n o s

Un torero salió a la arena Embriagado d e n e r v i o s Pintados e n s u s o j o s

El toro falló, jOSE . ... a r r a s t r a n d o s u s n e r v i o s ANTONIO El t o r e r o s a l i ó DiTr>/-iA/-A j BURCIAGA . a r r a s t r a n d o s u s rosas Sus nervios en los cuernos Sus r o s a s e n s u s o j o s

Regresaron aquellos d í a s p a s a d o s Yerma solitud. . ., píntalos resfriados

Paseando en la vereda Un viento, frío y l a s i o Rotó las hojas o x i d a d a s Y volando, b e s a r o n m i rostro, cayendo e n m i p a s o

Que verde se vistieron en su primavera También mis s u e ñ o s s e l u c i e r o n

Silencia mortandad Doblando corazones y m u d a n d o oraciones

Y todo calla sólo el frío desvistiendo ramas y retretes Y la g e n t e y a n o piensa, helados l a b i o s b u s c a n f l a m a s Y hojas s e c a s s u s u r r a n d o y arrastrando. .

Aquellos pensamientos. . . mi lecho frío, donde a n d a b a h a c e u n a ñ o donde iré m a ñ a n a . QUINTO SOL PUBLICATIONS, I N C . editorial o f f i c e s : 2150 S h a t t u c k Ave., =1006 Berkeley, C a l i f o r n i a 9 4 7 0 4 mailing a d d r e s s ; P.O. B o x 9275 Berkeley, California 9 4 7 0 9 Telephone: ( 4 1 5 ) 5 4 9 - 1 1 7 1

iiFIFTH E D I T I O N - R E V I S E D A N D EXPANDED!! EL ESPEJO - T H E MIRROR SELECTED CHICANO LITERATURE Octavio I. Romano-V. and Herminio Ríos Editors Tomás Rrvera, R u d o l f o A . A n a y a , R . R . H i n o j o s a - S . , O c t a v i o I. R o m a n o - V . , N i c k C . V a c a , Estela Portillo, Steve G o n z a l e s , R a q u e l Moreno, R u d y Espinosa, J u a n García, Sergio Elizondo, José M o n t o y a , R . J. G o n z á l e z , Alunsta, E r n i e P a d i l l a , J o r g e A l v a r e z , T i n o Villanueva, Georgia Cobos ISBN 0 88412-056-2 paperback $3.75 288 pages ISBN 0-88412-055-4 hardback $6.75

REVISED, E X P A N D E D , U P D A T E D REVISED, E X P A N D E D , U P D A T E D VOICES: READINGS FROM EL GRITO 1967 1973 (revised Edition) SEVENTEEN CHICANO AUTHORS-on~Social Science Methodology, Bibliographies, H i s t o r y , Jazz, C o m m u n i t y Organizations, H u e l g a and the C h u r c h , H u e l g a a n d Legal/Legislative S t r u g g l e s , Desegregation and Legal/Legislative Struggles, Acculturation, Special Education, I.Q. T e s t i n g , Linguistics, T h e Neighborhood, Drug Use Trends, Prison Populations, Affluence and Poverty, Advertising, T h e Modern State. Octavio I. Romano-V., Ph.D., Editor Miguel Montiel, R a y m o n d Padilla, A r m a n d Sánchez, R i c h a r d & Gloria Rodriguez, R o n a l d Arroyo, Salvador E. A l v a r e z , César C h a v e z , G u a d a l u p e Salinas, M a n u e l Ramírez III, Frank Ortega, Steve Moreno, R o s a u r a Sánchez, F e r n a n d o Vázquez, S a m u e l Alvidrez, Jorge Del Pino, T h o m a s M . Martínez, Octavio I. R o m a n o - V , The most comprehensive volume on Chícanos and Social Issues ever published. Over 4 5 0 pages Another Qu.nto S o l First ISBN 0-88412 0 5 8 9 paperback S3.95 "... y n o se l o t r a g ó la tierra" ". . . a n d t h e e a r t h d i d n o t p a r t " by T O M A S RIVERA Winner of First Annual $1,000 Quinto Sol Literary Award, b y the d i s t i n g u i s h e d Texas C h i c a n o a u t h o r . Dr. T o m á s Rivera o f t h e U n i v e r s i t y o f T e x a s a t S a n A n t o n i o . Favorable r e v i e w s in U . S . , i n M é x i c o , B r a z i l . Dr. T o m á s R i v e r a p r e s e n t l y is the o n l y Chicano writer o f s h o r t stories w i t h an international r e p u t a t i o n . H e has b e e n c o m - pared to J u a n R u l f o i n h i s faithful p o r t r a y a l o f t h e c a m p e s i n o , to O c t a v i o P a z in his ability t o capture t h e p h i l o s o p h y of a p e o p l e , a n d to H e r m a n Hesse in h i s ability t o penetrate i n t o t h e i n n e r p s y c h e o f i n d i v i d u a l existence. SPECIAL F I R S T E D I T I O N - BUingua! 199 p a g e s ISBN 0 - 8 8 4 1 2 - 0 5 4 - 6 paperback $3.75 ISBN 0-88412-053-8 hardback $5.95

BLESS M E , U L T I M A by Rudolfo A . A n a y a Winner of Second Annual $1,000 Q u i n t o Sol Literary Award. A story of a b o y growing u p in N e w Mexico. C a l l e d b y H e r m i n i o R í o s " T h e best C h i c a n o novel ever written." 1 h e a u t h o r is a N e w M e x i co e d u c a t o r , a n a t i v e N e w Mexican. 264 p a g e s ISBN 0 - 8 8 4 1 2 - 0 5 1 - 1 paperback $3.75 ISBN 0-88412-050-3 hardback $ 6 . 7 5

PERROS Y ANTIPERROS by Sergio Elizondo, C h a i r m a n of the D e p a r t m e n t of Foreign Languages at N e w Mexico State Uni\ersity. T h i s e p i c p o e m has t o b e t h e most p o w e r f u l poetic s t a t e m e n t reflecting t h e e x p e r i e n c e o f t h e C h i c a n o a z t l a n e s e written t o date. FIRST E D I T I O N - Bilingual 76 p a g e s ISBN 0 - 8 8 4 1 2 - 0 5 2 - X paperback $ 1 . 7 5

SELECTED P O E T R Y , b y Richard Garcia, a y o u n g poet w h o w a s b o r n a n d raised i n San Francisco. T h r o u g h o u t his p o e t r y there is a search for the pure a n d precise poetic image. T h i s b o o k will undoubtedly establish Richard Ciarcia a s o n e o f t h e finest young poets i n t h e U . S . ISBN 0 - 8 8 4 1 2 - 0 6 7 - 8 paperback $1.75 64 p a g e s ROLANDO R. H I N O J O S A - S . : ESTAMPAS D E L i A L L E > O T R A S OBRAS Estampas del Valle y Otras O b r a s is t h e winning entry in the 1972 national Premio Quinto Sol for Literature. E s t a m p a s del Valle y Otras Obras establishes R o l a n d o R. Hinojosa as a w r i t e r o f i T i a n \ d i m e n s i o n s . Estampas del Valle y O t r a s O b r a s is presented in b i l i n g u a l f o r m . The translation from the Spanish original w a s r e n d e r e d b\- ( j U s t a \ o X ' a l a d e / . of S t a n f o rd University, a n d J o s é R e y n a of I e,\as A & l University Hino- josa's w o r k is s u i t a b l e for use in h i g h sehools, c o m m u n i t y colleges, and universities. The bilingual dimension makes the work accessible to monolingual Lnglish speaking students, a s w e l l as b i l i n g u a l students a t different levels. Estampas del Valle y Otras Obras is the fifth major Quinto Sol publication to be published in bilingual form, the others being: E l Espejo: A n t h o l o g y of C h i c a n o Literature, y no s e l o t r a g ó l a tierra. Cachito W i o , à w á P e r r o s y A n t i p e r r o s . ISBN: 0 - 8 8 4 1 2 - 0 5 9 - 7 hardback $ 6 . 7 5 ISBN: 0-88412-060-0 paperback $ 3 . 7 5

JOSE A C O S T A TORRES: CACHITO M I O Cachito Mio ma\- be thoroughly enjoyed b\- c h i l d r e n as w e l l as b y adults. It is f o r this r e a s o n that it m a k e s an e.xcellcnt r e a d e r for b i l i n - gual-bicultural classes, h i g h school Spanish classes, a n d college S p a n i s h classes. A t the e l e m e n t a r y school level. Cachito M í o ma\' b e u s e d at the fourth or fifth grade levels a n d above. C a c h i t o M i o ma\- be used as a second or third \ e a r r e a d e r in h i g h school Spanish classes. High s c h o o l classes in which Spanish is t a u g h t as a first l a n g u a g e m a y use Cachito Mio after t h e first s e m e s t e r , c e r t a i n h ' a f t e r t h e first \ ' e a r . C a c h i t o . W i o may, o f c o u r s e , b e read a n d studied in c o l l e g e c l a s s r o o m s p u r e l y for its literary v a l u e . ISBN: 0 - 8 8 4 1 2 - 0 6 1 - 9 paperback $ 2 . 0 0

SUSANA MADRID RIVERA EL P I O J O Y L A LIENDRE El P i o j o y la L i e n d r e , b y Susana M a d r i d Ri\era, i s an old p o e m , b u t at the same time it is \ e r y new. It is n e w in t h e sense that e a c h new singer m o d i f i e s a n d adds s t a n z a s a c c o r d i n g t o h i s o r h e r c r e a t i v e ability. Mrs. R i v e r a h a s a d d e d stanzas c o m p l e t e l y her o w n , c o n t r i b u t e d a trans- lation w h i c h is a l s o a n artistic c r e a t i o n , a n d illustrated the e n t i r e b o o k in full c o l o r . T h i s is a n e x c e l l e n t b i l i n g u a l b o o k for c h i l d r e n , K-2 g r a d e . Teacher's g u i d e a c c o m p a n i e s E l Piojo y la Liendre ISBN: 0 - 8 8 4 1 2 - 0 6 5 - 2 paperback $ 4 . 9 5 FROM QUINTO SOL

QUARTERLY B O O K SERIES O N CONTEMPORARY CHICANO S O C I A L S C I E N C E , A R T , P R O S E , P O E T R Y , AND O V E R - A L L B I - C U L T U R A L EXPRESSION

EL G R I T O is in its S E V E N T H year o f p u b - EL G R I T O contains c r e a t i v e art. lication. EL G R I T O is u s e d as a text a n d instruc- EL G R I T O enjoys national and interna- tional material b y college eth- tional circulation. nic c l a s s e s , race r e l a t i o n c l a s s e s EL G R I T O contains b i - l i n g u a l writing. and conferences. Chicano EL G R I T O contains Chicano prose and study programs as well as i n poetry. classes i n c o n t e m p o r a r y l i t e r a - EL G R I T O is u s e d extensively in p u b l i c ture. school s y s t e m s .

QUINTO SOL PUBLICATIONS IS T H E NATION'S LARGEST CHICANO PUBLISHING HOUSE. I N T E R E S T E D C H I C A N O W R I T E R S A N D A R T I S T S W R I T E F O R FEE S C H E D U L E : PAYMENT T O C O N T R I B U T O R S T O E L G R I T O . PLEASE ENTER MY SUBSCRIPTION T O EL GRITO Begin With Current Issue D 1 year $ 5 . 0 0 D Payment Enclosed D Bill m e later BACK ISSUES AVAILABLE - $1.25 EACH Vol. I, out of print Vol. II, Nos. 3 4 Vol. Ill, Nos. 1 2 4_ BACK ISSUES A V A I L A B L E - $1.50 E A C H Vol. IV, Nos. 3 _ _Vol. V, Nos. 1__2 3 4 Vol. VI, Nos. 1. -4, BACK ISSUE A V A I L A B L E - Si.95 ( 1 5 2 p p . ) Vol. VI. N o . 2 VoL VII, Nos. 1 _2 _3 _ $- ENCLOSED (A c h e c k o r m o n e y order m u s t a c c o m p a n y each o r d e r f o r b a c k issues) Print Name Streets N o . .

City State. Zip Make c h e c k s p a y a b l e Quinto Sol P u b l i c a t i o n s , Inc. New Sub D to a n d send to : P.O. B o x 9 2 7 5 Renewal D Berkeley, California 9 4 7 0 9

ORDER FORM QUINTO SOL BOOKS Quantity Price Amount DRomano/Rios: E L ESPEJO-Anthology of C h i c a n o L i t - erature, bilingual. 1 8 C h i c a n o a u t h o r s , 2 8 8 p p . p a p e r b a c k $3.75 DRomano/Rios: E L ESPEJO-Anthology of C h i c a n o Lit- erature, bilingual. 1 8 C h i c a n o a u t h o r s , 2 8 8 p p . h a r d c o v e r $6.75 DTomás Rivera: " . . . Y N O S E L O T R A G O LA T I E R R A / AND THE EARTH DID N O T PART"-Collection of $3.75 short s t o r i e s , bilingual, 2 0 0 p p . p a p e r b a c k DOctavio I. R o m a n o - V . , Editor: V O I C E S - S o c i a l Science Readings F r o m El G r i t o ; revised, e x p a n d e d and u p - d a t e d , $3.95 1973. 1 8 C h i c a n o a u t h o r s . 5 4 4 p p . p a p e r b a c k $3.75 DRudolfo A. A n a y a : BLESS ME, U L T I M A - N o v e l , 2 6 4 pp. p a p e r b a c k $6.75 DRudolfo A. A n a y a : BLESS ME, U L T I M A - N o v e l , 2 6 4 pp. h a r d c o v e r $1.75 DSergio Elizondo; PERROS Y ANTIPERROS-Epic poem, b i l i n g u a l , 7 6 p p . p a p e r b a c k $3.75 DRolando R. Hinojosa-S: ESTAMPAS DEL V A L L E Y OTRAS O B R A S (SKETCHES O F T H E V A L L E Y ) . B i l i n - gual: Spianish-English. paperback $6.75 DRolando R. Hinojosa-S: ESTAMPAS DEL V A L L E Y OTRAS O B R A S (SKETCHES O F T H E V A L L E Y ) . B i l i n - $2.00 gual: Spanish-English, hardcover $2.25 Djosé Acosta Torres: C A C H I T O MIO-Collection o f s h o r t stories, bilingual: Spanish-English, paperback $1.75 Dj. L. N a v a r r o : B L U E D A Y O N M A I N STREET-Collec- tion o f s h o r t stories, English, paperback .50 DRichard Garcia: S E L E C T E D POETRY (English), paper- back TOTAL Please s e n d t h e b o oCaliforni k ( s ) checkea r e sd i da e nb tos v ea dtd o :5 N% a S m t ae t e S a l e s t a x Shipping a n d Handling C h a r g e Address City & State Payment m u s t a c c o m p a n y orders Zip- Make checks payable and send to: QUINTO SOL PUBLICATIONS, INC. P.O. B o x 9 2 7 5 Berke>év, California 9 4 7 0 9

PREMIO QUINTO SOL 1974 CHICANO LITERATURE 1974 Premio Q u i n t o Sol, Q u i n t o S o l P u b l i c a t i o n s , Inc. PO Box 9 2 7 5 Berkeley, C A . 9 4 7 0 9 ITVE L I T E R A R Y A W A R D S FIVE L H E R A R N ' A W A R D S

UUInlU OUL iIIdLIUAIIUNo announces five awards for best literary worl

UUInlU wUL rUDLIUHIIUnò anuncia cinco premios por las mejores obras literarias-novela, col- Iccion d e cuentos, e n s a > o , u l n a c,\perimental-escrita por persona d e a s c e n d e n c i a mexicana r e s i d e n t e de E s t a d o s U n i d o s d e N o r t e - A m é r i c a . I.as obras p r e m i a d a s s e p u b l i c a r á n p o r Q u m t o Sol P u b l i c a t i o n s , (Vale \ ' , i f o s UUIIlIU OUL I U D L I U A I I U N O esta reganda lana (dos mil bolas) p o r los m e j o r e s jales htcranos- novela, ensayo, cuentos, vatosismos-escritos p o r v a t o s q u e c a n t o n e a n e n el U S A . l.os jales q u e se g a n e n la lana s e v a n a p u b l i c a r p o r Q u i n t o Sol P u b l i c a t i o n s ULTIMO D I A P A R A LINEA M U E R I A P A R A ENTREGAR S U O B R A MANDAR SU J A L E DEADLINE 31 d e e n e r o d e 1975 31 d e e n e r o d e 1975 January 31, 1 9 7 5 ANUNCIO DEL PREMIO CANTO D E L P R I W I O AWARD A N N O U N C h . M I M .n de m a r z o de 1975 3 1 d e m a r z o d e 1 9 7 5 .March 3 1 , lf'7 5 CAMPO ABI I K I t ) $1,000.00 OPEN LATEGORY Any person meeting the criteria a b o v e m a y enter in this category. This award is a b o v e royalties. ENTRIES M A Y B E I N S P A N I S H O R E N G L I S H , O R BOTH. All entries in addition to t h e a w a r d winning w o r k will b e c o n s i d e r e d for publication. Minimum length of entry-2ü() double spaced pages. DIVISION UNIVERSITARIA $500 1)0 COLLEGE S T U D E N T CATEGORN This c a t e g o r y is o p e n only to e n r o l l e d college and university students, regardless of major. E N - TRIES M A Y B E I N S P A N I S H O R E N G L I S H O R BOTH. In a d d i t i o n to t h e award-winning work, all other entries will b e c o n s i d e r e d for p u b l i c a - tion. Minimum length of entr\ - 1 5 0 double spaced p a g e s . DIVISION E S C U E L A SECUNDARIA .1 A W A R D S HIGH S C H O O L C A r E G O R \ 1st: 2 5 0 . 0 0 2nd: 150.00 3rd: 100.00 Three awards arc given in this c a t e g o r y for high school C h i c a n o students. E N T R I E S M A Y B E IN SPANISH O R E N G L I S H O R B O T H . In a d d i t i o n to the winners, all o t h e r entries will b e consid- ered for p u b l i c a t i o n . M i n i m u m length ot e n t r y - 20 d o u b l e s p a c e d p a g e s SO.ME PAST PREMIO WINNERS 1970: T o m á s Rivera of S a n A n t o n i o , T e x a s , for " . . , >• no se l o t r a g ó la tierra-And the E ^ a r t h D i d N o t Part," a c o l l e c t i o n o f s h o r t s t o r i e s . Award: $ 1 , 0 0 0 . 0 0 1971: Rudolfo Anaya of Albuquerque, N e w Mexico, for " B l e s s Me, Ultima," a novel. A w a r d : $1,000.00 1972: Rolando llinojosa o f K i n g s v i l l e , Texas, f o r "E^stampas d e l valle y otras o b r a s - S k e t c h e s of t h e Valley a n d O t h e r W o r k s , " a c o l l e c t i o n o f s h o r t s t o r i e s . A w a r d : $ 1 , 0 0 0 . 0 0

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