'Cajas de carton is the first title in the literary series 'Nuestra vision: U.S. Latino Literature, which features original works by Latino authors living and working in the United States. This work is the Spanish version of the author's award-winning collection of stories, 'The Circuit. Jimenez'12 independent but intertwined short stories chronicle the experiences of a Mexican-American family of migrant farm laborers, as narrated by one of the children, Panchito. Unlike many readers for this level, which anthologize standard works, this book presents authentic, outstanding literature and themes that are highly relevant to native Spanish speakers in the U.S.
'This poetry is of the barrio yet stubbornly refuses to be confined in it-Rodriguez's perceptive gaze and storyteller's gift transport his world across neighborhood boundaries.'-'Publishers Weekly' on 'Trochemoche' 'While filled with the heart and words of Chicano culture, Rodriguez's poems transcend the scope of race and ethnicity. The topics he addresses in this book-relationships, justice, love, and the irony of daily life-are, or should be, the subjects that envelop us all. It is this universality, cloaked in the specific encounters of his life that make his writing as gripping to readers living in inner-city America as to those living in small-town USA.'-'Sojourners' on 'Trochemoche' 'My Nature is Hunger' is the first poetry collection in five years by this major award-winning Latino author. It includes selections from his previous books, 'Poems Across the Pavement,' 'The Concrete River,' and 'Trochemoche,' and 26 new poems that reflect his increasingly global view, his hard-won spirituality, and his movement toward reconciliation with his family and his past. Though Rodriguez is the most authentic voice of the barrio, many reviewers have commented on the universality of his work. The son of Mexican immigrants, Luis J. Rodriguez grew up in Watts and East Los Angeles. He began writing in his early teens and eventually won national recognition as a poet, journalist, fiction writer, children's book writer, and critic. He is currently working as a peacemaker among gangs on a national and international level. After spending 15 years in Chicago, Rodriguez returned with his family to Los Angeles, where he helped create Tia Chucha's Cafe & Centro Cultural, a multi-arts, multimedia cultural center in the northeast San Fernando Valley.
While there are volumes that fall into the category of children s literature, there appears to be relatively few that explore the needs of bilingual learners and the linguistic and sociocultural context of Latino children s literature. This volume makes a needed contribution by addressing the social, cultural, academic, and linguistic needs of Latino bilingual learners who are still underserved through current school practices. We aim to conceptualize different forms of social knowledge so that they can serve as cultural resources for learning, acquiring knowledge, and transforming self and identity. This volume presents a balance of theory, research, and practice that speak to authentic multicultural Latino literature and helps ensure its availability for all students. The intended outcome of this volume then is to create a heightened awareness of the cultural and linguistic capital held by the Latino community, to increase Latino students social capital through the design of critical pedagogical practices, and for the formulation of a new perspective, that of Latino multicultural literature for children.'
Liturgical celebrations and the work of justice are tightly woven threads of the same cloth. The essays in Liturgy and Justice explore this intrinsic relationship and its promise for the ongoing renewal of church life. The authors write about the vision of the modern liturgical and social reformers, building just communities, reuniting worship and justice, globalization, rural life, church leadership, women in the Church, justice and prayer in Latino and African American communities, liturgy as a school of discipleship, forming catechumens as disciples, the catechesis of liturgy-justice, preparing just liturgies, and preaching justice. Authentic discipleship demands that the already existing relationship between our liturgy and our mission as ministers of justice be lived. Those serving in all areas of church ministry will find this book helpful in striving for justice in the Christian life. Contributors are Gilbert Ostdiek, O.F.M.; Eleanor Josaitis; Msgr. William Linder; Walter J. Burghardt, S.J.; John P. Hogan; Br. David Andrews, C.S.C.; Zeni Fox; Frances B. O'Connor, C.S.C.; Daniel Lizarraga; C. Vanessa White; Mary Alice Piil, C.S.J.; James M. Schellman; John Roberto; Tom East; Godfrey Mullen, O.S.B.; Del Staigers; and R. Kevin Seasoltz, O.S.B.
Through the most outstanding examples of children's and adolescent literature, readers of this widely popular guide gain a deeper appreciation and understanding of the rich cultural heritage embedded in authentic multicultural literature-and see how to share that appreciation and heritage with children and young adults. Through the most outstanding examples of children's and adolescent literature in the cultures of African American, Native American, Latino, Asian, Jewish, and Middle Eastern literature, adults interested in evaluating, selecting, and sharing multicultural literature written for children and young adults gain a valuable resource to use in their classrooms, workshops, seminars, and at home. Throughout this guide, the author presents a balance of research about the culture and the literature, discussions of authentic literature for students from early childhood through young adults, and teaching activities designed to develop higher cognitive abilities. She organizes each chapter into two distinct sections, one that discusses specific nonfiction and fiction literature that develops a historical perspective of the culture, and a second section that develops the techniques and methods adults can use to help children, young adults, and interested adult learners develop an understanding of the culture and an appreciation for its literature.
A voice from the loudspeaker blared, 'Will the family who brought the little redheaded white girl to the Puerto Rican Day parade please come to the bandstand to pick her up.' I looked around. Wait a minute. I am at the bandstand. I am that lost girl!Michele Carlo, a redheaded, freckle-faced Puerto Rican raised in the Polish section of the Bronx, grew up as a permanent outsider. Too white for her proud, Spanish-speaking relatives and a mystery to her schoolmates, Michele braved a search for identity that was a long, rough and tumble ride. . . By turns heartbreaking and humorous, she recalls the family calamities, fumblings of first love, and all the people and events that shaped her. From her 'playground battlefield' in the not-so-wholesome summer of '69 to many adrenaline-fueled, graffiti-filled afternoons and her emergence as an artist with a unique and alluring voice, Michele's story is an homage to a New York City gone by. . .and an iconically American, unforgettable portrait of growing up. 'Warm and insightful. . .Michele's take on life as a Latina is the most original I have ever seen.' --Linda Nieves Powell, author of Free Style'Michele's humor, heart--and every sweet and razor-sharp note of her writing--reach far beyond the edges of this island.' --Dan Kennedy, author of Rock On'Poignant, funny, and authentic.' --Janice Erlbaum, author of Girlbomb Michele Carlo is a writer, performer and comedic storyteller who has lived in four of the five boroughs of New York City and remembers when a slice of pizza cost fifty cents. Her stories have been published in Chicken Soup for the Latino Soul, Lost and Found: Stories from New York and Smith Magazine. She has often appeared with The Moth and other NYC storytelling communities. Like almost every other writer in NYC, Michele is a Brooklynite (since 1988) with no plans of leaving anytime soon.
New York is a Latino cultural hotbed. With nearly well over 2 million people of Hispanic descent in New York City area, more and more of the city's food, shopping, nightlife, and cultural activity revolves around the Latino communities. Nueva York is the only guidebook that gives you the insider view of Latino culture in the city, from food and nightlife to shopping and cultural events. This book reveals the most authentic Latino cuisine in the city, from where to get the best Mexican tamales to the freshest Peruvian ceviche. With Nueva York in your hand, you'll have a completely new and exhilarating experience of New York City: - Taste one of the seven culinary wonders of the world along Roosevelt Avenue in Queens. - Dance to merengue, bachata, and reggaeton music at the hottest Latino clubs in the city. - Escape the city noise and bustle in rural-style casitas and community gardens in the Lower East Side and East Harlem. - Explore one of the city's vibrant Latino neighborhoods with the book's walking tours and maps. - Celebrate at one of New York's vibrant festivals and parades. - Shop for the city's best Latino foods, clothing, cigars, beauty supplies, candy, and more! - Learn how to speak Spanish, dance the tango, or negotiate with a livery cab driver.
Arguably the world's most popular partnered social dance form, salsa's significance extends well beyond the Latino communities which gave birth to it. The growing international and cross-cultural appeal of this Latin dance form, which celebrates its mixed origins in the Caribbean and in Spanish Harlem, offers a rich site for examining issues of cultural hybridity and commodification in the context of global migration. Salsa consists of countless dance dialects enjoyed by varied communities in different locales. In short, there is not one dance called salsa, but many. Spinning Mambo into Salsa, a history of salsa dance, focuses on its evolution in three major hubs for international commercial export-New York, Los Angeles, and Miami. The book examines how commercialized salsa dance in the 1990s departed from earlier practices of Latin dance, especially 1950s mambo. Topics covered include generational differences between Palladium Era mambo and modern salsa; mid-century antecedents to modern salsa in Cuba and Puerto Rico; tension between salsa as commercial vs. cultural practice; regional differences in New York, Los Angeles, and Miami; the role of the Web in salsa commerce; and adaptations of social Latin dance for stage performance. Throughout the book, salsa dance history is linked to histories of salsa music, exposing how increased separation of the dance from its musical inspiration has precipitated major shifts in Latin dance practice. As a whole, the book dispels the belief that one version is more authentic than another by showing how competing styles came into existence and contention. Based on over 100 oral history interviews, archival research, ethnographic participant observation, and analysis of Web content and commerce, the book is rich with quotes from practitioners and detailed movement description.
The promises and conflicts faced by public figures, artists, and leaders of Northeast Los Angeles as they enliven and defend their neighborhoods Los Angeles is well known as a sprawling metropolis with endless freeways that can make the city feel isolating and separate its communities. Yet in the past decade, as Jan Lin argues in Taking Back the Boulevard, there has been a noticeable renewal of public life on several of the city's iconic boulevards, including Atlantic, Crenshaw, Lankershim, Sunset, Western, and Wilshire. These arteries connect neighborhoods across the city, traverse socioeconomic divides and ethnic enclaves, and can be understood as the true locational heart of public life in the metropolis. Focusing especially on the cultural scene of Northeast Los Angeles, Lin shows how these gentrifying communities help satisfy a white middle-class consumer demand for authentic experiences of 'living on the edge' and a spirit of cultural rebellion. These neighborhoods have gone through several stages, from streetcar suburbs, to disinvested neighborhoods with the construction of freeways and white flight, to immigrant enclaves, to the home of Chicano/a artists in the 1970s. Those artists were then followed by non-Chicano/a, white artists, who were later threatened with displacement by gentrifiers attracted by the neighborhoods' culture, street life, and green amenities that earlier inhabitants had worked to create. Lin argues that gentrification is not a single transition, but a series of changes that disinvest and re-invest neighborhoods with financial and cultural capital. Drawing on community survey research, interviews with community residents and leaders, and ethnographic observation, this book argues that the revitalization in Northeast LA by arts leaders and neighborhood activists marks a departure in the political culture from the older civic engagement to more socially progressive coalition work involving preservationists, environmentalists, citizen protestors, and arts organizers. Finally, Lin explores how accelerated gentrification and mass displacement of Latino/a and working-class households in the 2010s has sparked new rounds of activism as the community grapples with new class conflicts and racial divides in the struggle to self-determine its future.