New Book: Us, in Progress: Short Stories About Young Latinos by Lula Delacre

  •             Age Range: 8 – 12 years
  •             Grade Level: 3 – 7
  •             Hardcover: 256 pages
  •             Publisher: HarperCollins (August 29, 2017)
  •             Language: English
  •             ISBN-10: 006239214X
  •             ISBN-13: 978-0062392145


Acclaimed author and Pura Belpré Award honoree Lulu Delacre’s beautifully illustrated collection of twelve short stories is a groundbreaking look at the diverse Latinos who live in the United States.

In this book, you will meet many young Latinos living in the United States, from a young girl whose day at her father’s burrito truck surprises her to two sisters working together to change the older sister’s immigration status, and more.

Turn the pages to experience life through the eyes of these boys and girls whose families originally hail from many different countries; see their hardships, celebrate their victories, and come away with a better understanding of what it means to be Latino in the U.S. today.


“Middle grade readers will appreciate reading stories that reflect their lives, not their parents’ or grandparents’ stories” (, in their article “10 Exciting New Middle Grade Books with Latinx Main Characters”)

“This welcome update to short story collections such as Gary Soto’s Baseball in April and prose alternative to Alma Flor Ada’s Yes!: We Are Latinos is a solid addition to libraries and would also add much-needed diversity to classroom study.” (School Library Journal)

“Pura Belpré honoree Delacre’s chronicles—each different from the next—offer moving snapshots of family heartbreak, disadvantage, dysfunctionality, heartbreak, privilege, and joy.” (Kirkus Reviews (starred review))

“Beautifully written with candor, honesty and perfect brevity…Delacre illustrates as well, providing a gorgeous mixed-media portrait of each story’s main character. A collection not to be missed.” (Booklist (starred review))

“Portraits are indeed beautiful…will surely inspire discussion of current issues.” (Bulletin of the Center for Children’s Books)

“Delacre’s collection challenges existing misconceptions by giving readers an intimate and varied look into what it is like to be young and Latino in the United States today.” (The Horn Book)

Three-time Pura Belpré Award honoree Lulu Delacre has been writing and illustrating children’s books since 1980. Born and raised in Puerto Rico to Argentinean parents, Delacre says her Latino heritage and her life experiences inform her work. Her 37 titles include Us, In Progress: Short Stories About Young LatinosArroz con Leche: Popular Songs and Rhymes from Latin America, a Horn Book Fanfare Book in print for over 25 years; and Salsa Stories, an IRA Outstanding International Book. Her latest picture book ¡Olinguito, de la A a la Z! Descubriendo el bosque nublado; Olinguito, from A to Z! Unveiling the Cloud Forest has received 20 awards and honors including an NCTE Orbis Pictus Honor and an ALA Notable for All Ages. Delacre has lectured internationally and served as a juror for the National Book Awards. She has exhibited at The Eric Carle Museum of Picture Book Art; The Original Art Show at the Society of Illustrators in New York; the Museum of Art of Puerto Rico and the Museum of Ponce in Puerto Rico among other venues. More at


original post found here:

New Books from University of Texas Press

Coming to a book store near you…

Cover of Nuevo South

Nuevo South: Latinas/os, Asians, and the Remaking of Place

This unique comparative study of Latina/o and Asian immigration to the American South investigates how migrants, immigrants, and refugees—and reactions to them—are transforming regional understandings of race and place

Series: Historia USA

November 2017
Not yet available
Cover of They Came to Toil
They Came to Toil: Newspaper Representations of Mexicans and Immigrants in the Great Depression

Recounting a forgotten episode in the Long Civil Rights Movement, this book analyzes how news reporting of forced deportations of Mexicans in the 1930s created representations of Mexican Americans that endure today.

January 2018
This is a print-on-demand title. Expedited shipping is not available.

CfP: Label Me Latina/o

I’ve worked with these folks on two occasions now and they are wonderful…

Label Me Latina/o



Label Me Latina/o is an online, refereed international e-journal that focuses on Latino Literary Production in the twentieth and twenty-first centuries. The journal invites scholarly essays focusing on these writers for its biannual publication. Label Me Latina/o also publishes creative literary pieces whose authors self-define as Latina or Latino regardless of thematic content. Interviews of Latino or Latina authors will also be considered. The Co-Directors will publish creative works and interviews in English, Spanish or Spanglish whereas analytical essays should be written in English or Spanish.

Scholarly submissions should be between 12-30 pages, double-spaced, 12 point font and should follow the MLA Style Manual. Please use End Notes rather than Footnotes and place page numbers in the upper right hand corner. Original, unpublished submissions in Microsoft Word (PC compatible format) should be sent electronically to both of the co-directors: Kathryn Quinn-Sánchez and Michele Shaul

We do accept simultaneous submissions of creative works. Scholarly articles under consideration should not be submitted elsewhere.

Creative poetry, essays and short fiction should not exceed 30 pages, 12 point font, double-spaced.

Deadline for the Spring 2018 issue: January 15, 2018.

Please include the following information in the body of the email:

  • Full name
  • Institutional Affiliation
  • Telephone number
  • Email address
  • Regular mail address
  • Title of the submission
  • A brief biography to be included with publication should your submission be selected.

Please make sure that the actual manuscript bears no reference to the author’s name or institution.

Label Me Latina/o is an academic journal and as such follows the parameters of definitions set by the academic community. In that community when we refer to Latina/o Literature, we are referring to writers of Latin American heritage that live and write in the United States. These can be first generation Latino or fifth but they live and work here in the U.S. Some of these writers write in Spanish, others write in Spanglish like the Nuyorican poets and many of them write in English with a little Spanish thrown in (or not). Scholarly essays should address the work of these writers. The authors of these scholarly essays may be of any ethnicity or nationality. Creative works should be authored by writers who self-define as Latino and live and write in the United States.

Label Me Latina/o is indexed by the MLA International Bibliography, is listed in the MLA Directory of Periodicals and is a member of Latinoamericana: Asociación de revistas académicas en Humanidades y Ciencias Sociales. Our articles are discoverable on EBSCOhost research databases. ISSN 2333-4584

Fellowship in Afro-Latinidades in the United States

For original post, go here:

The Program in Latina and Latino Studies at Williams College invites applications for a two-year pre-doctoral fellowship or a one-year post-doctoral fellowship in Afro-Latina/o/x Studies beginning in the fall semester of 2018. The program seeks a scholar of Afro-Latinidades in the United States whose research and teaching embraces and advances interdisciplinary approaches rooted in the humanities and/or social sciences, including but not limited to literary and visual studies and criticism; performance studies; social movements and activism; and/or studies of social and structural inequalities.

A successful pre-doctoral fellow candidate will devote the first year to the completion of dissertation work while also teaching one course in the study of U.S. Afro-Latinidades. The second year of residency (ideally with degree in hand) will be spent on academic career development while again teaching one course. A successful post-doctoral fellow candidate will dedicate the year to their current research and teach one course each semester in the study of U.S. Afro-Latinidades. The Latina and Latino Studies Program has demonstrated success in mentoring and supporting pre- and post-doctoral fellows, and we are especially interested in candidates from under-represented groups as well as individuals who have experience in working with diverse student populations. Information about the program can be found at

All applicants should send the following materials to the program chair, Mérida M. Rúa, via Interfolio at : a cover letter detailing their research and teaching interests; a C.V.; and three letters of recommendation. Pre-doctoral fellowship applicants should send a copy of the dissertation prospectus, preferably limited to 10-15 pages and a timetable for completion of the degree. Postdoctoral applicants should submit a writing sample, preferably limited to 25 pages.

Review of applications will begin on December 15, 2017 and will continue until the position is filled. All offers of employment are contingent on the completion of a background check. Further information is available at:

Williams is a coeducational liberal arts college located in the Berkshires of western Massachusetts. The college has built its reputation on the teaching and scholarship of its faculty and on the academic excellence of its approximately 2000 students. Please visit the Williams website ( Beyond meeting fully its legal obligations for non-discrimination, Williams is committed to building a diverse and inclusive community where members from all backgrounds can live, learn, and thrive together.

New Book: I Love My Women, Sometimes They Love Me

Korima Press, a California-based independent publisher dedicated to putting out Chicanx and Latinx LGBTQ voices, has teamed up with Cathy Arellano for a new collection of poems. You can order the book here:

In these pages, Cathy Arellano portrays the lovers we’ve been and the lovers we’ve had. We haven’t always been fair; they haven’t always been kind. Arellano leads us through much travail, often with playful rhythm and rhyme, as she illustrates desire and disaffection in lesbian relationships. These poems do not guide how to do relationships as much as warn against the obvious and the ambiguous landmines embedded within. These poems compel us to consider what we keep at bay, for the poet knows actions and feelings must be acknowledged if they are to be altered, if we (and our liaisons) are to be transformed. In this collection, Arellano rips off her máscara and removes ours stanza by stanza.

4 award-winning books to check out

Cuatro Award Winning Books of the 2017 International Latino Book Awards are listed below…


·      Poetry of Resistance: Voices for Social Justice,


·      Corazón y una lengua peregrina: poesía y narrativa,


·      Diáspora: narrativa breve en español de Estados Unidos, and


·      Tinta negra / Black Ink


Together, let’s celebrate these accomplishments and the many authors in these libros de poesía y narrativa.




Poetry of Resistance: Voices for Social Justiceedited by Francisco X. Alarcón and Odilia Galván Rodríguez, foreword by Juan Felipe Herrera (University of Arizona Press, 2016).


“Our Anthology Poetry of Resistance: Voices for Social Justice has won Best Poetry Book—Multi—Author, at the 2017 International Latino Book Awards.  Thanks to Maestro Francisco X. Alarcón and all the poets who contributed to this timeless work”.  –Odilia Galván Rodríguez



Corazón y una lengua peregrina: poesía y narrativa by the Latino Writers Collective, selección y edición: Gabriella Gutiérrez y Muhs, Ph.D. (39 West Press, 2016).


Esta antología es un nuevo mar de voces hondas, energías de Rosario Castellanos, Neruda y Borges—añoranzas, micro-historias que nos iluminan.  Celebremos estos poetas de infinitos horizontes.” –Juan Felipe Herrera



Diáspora: narrativa breve en español de Estados Unidos, edición de Gerardo Cárdenas (Vaso Roto Ediciones, colección Umbrales, 2017).


“Hablar de la literatura en español que se produce dentro de los Estados Unidos es hablar de una criatura híbrida, en permanente proceso de cambio, de pasado ambiguo y futuro desconocido.  Es intentar asir la constante metamorfosis de una comunidad que, por número, constituye la minoría más numerosa de Estados Unidos y es integrante y descendiente de su mayor ola migratoria y que, desde la lengua, tiene los pies puestos a ambos lados de fronteras geográficas y culturales. Es un reto constante para la propia crítica literaria estadounidense, tan amiga de ponerlo todo en cajas y de ordenar estas en ficheros y anaqueles inmutables.” 

–Gerardo Cárdenas




Tinta negra / Black Ink by Xánath Caraza, translated by Sandra Kingery (Lobo Estepario Press, 2016)


‘¿Qué es una frontera? Límites creados / culturas forzadas a darse la espalda’.  In her ownLeaves of Grass Xánath Caraza assigns aromas to all living things.  Her purposefully titleless poems in the Tinta negra / Black Ink collection, hit the target, which is our sensibility to beauty, nature reinterpreted, and emotion.  These poems, translated into English by Sandra Kingery, prove to stimulate both the monolingual and the bilingual reader.  I find Pablo Neruda in Caraza’s poems.”  —Gabriella Gutiérrez y Muhs

New Resource: Latinx Talk

Hey folks, if you have something to say, here is a new platform to do so. Keep in mind that I’m not affiliated with this group, but I believe that they offer a great opportunity…



Who We Are

Latinx Talk is an online, interdisciplinary, peer-reviewed, and moderated forum for the circulation and discussion of original research, commentary, and creative work in brief and diverse formats such as essays (500-1800 words), multimedia presentations, podcasts, and short video. We believe in providing a space for ideas, research, and creativity that may foster critical dialogues. As a forum, we host conversations on important topics and publish single-author or collaborative work. We welcome reader’s comments on the site

Latinx Talk welcomes submissions from Latinx, Chicanx, Gender and Sexuality, and Comparative Ethnic Studies scholars. We also welcome essays, reports, and opinion pieces from individuals and organizations involved in organizing on issues of concern to these multiple communities. All publications represent the views of individual authors. All submissions are reviewed by two Board members to ensure that they are appropriate for this venue, offer an original and interesting analysis or perspective, cite relevant research, and meet our length requirements.

Latinx Talk employs a partially blind peer review process for short-form research, informed commentary, reports, and creative work. In a partially blind review, the identities of authors are unknown to reviewers at the time of review, however authors will know the identities of reviewers. Roundtable submissions are collectively peer reviewed by participants and Editorial Board in open peer review (identities of authors and reviewers are known to both). Our peer review processes are aimed at maintaining intellectual integrity and fairness, while also enacting a feminist woman-of-color editorial ethos in which we recognize our shared responsibility to each other and to our fields. Additionally, we allow reviewers to read each other’s review once the review process is complete. This process grew out of our publication history: Latinx Talk began in 2011 as Mujeres Talk and under that name published over 130 essays/submissions. From 2011 to 2013, we functioned as an edited and reviewed site. From 2013 to 2017 we maintained non-anonymous Editorial Board peer review of all submissions. In May of 2017 we stopped accepting submissions to Mujeres Talk. In September 2017, we launched Latinx Talk with an expanded Editorial Board and a new Advisory Board.

Latinx Talk strives to include in its Editorial and Advisory Boards individuals from varied regions; disciplines; ethnic/racial/gender/sexual subjectivities; and life experience.

What We Do

Latinx Talk publishes work on a wide range of topics of interest to academics, community members, and the general public.

Latinx Talk publishes original work, written for our site, and occasionally republishes work relevant to our vision and goals from other online and print venues, always with permission.

Latinx Talk also publishes simultaneous cross-posts with peer sites provided the essay, multimedia or creative work appears on both sites on the same day and both sites agree to note simultaneous publication.

Latinx Talk currently publishes new work online twice a month. We send notice of new work to our subscriber list (sign up!). Please see our “Latinx Talk Archive” for previous publications. Please also see our “Mujeres Talk Archive” for publications between 2011 and 2017.

Latinx Talk solicits submissions and accepts unsolicited submissions. Further information is on the “Submission Guidelines” page.

How We Work

Latinx Talk is governed collaboratively by an all-volunteer Editorial Board and an Advisory Board. Please see pages on Editorial Board and Advisory Board for further information on editorial staff.

Latinx Talk believes in the active role that community plays in the production and reception of ideas, and we encourage our readers to submit responses to published pieces. Our Editorial Board moderates comments on the site to avoid flaming, spamming, and messages of hate. Please act with respect and consideration for all in discussions on this forum. All comments are archived with essays to ensure future access by readers, writers, activists, and scholars.

Latinx Talk subscribes to the following Creative Commons license: Attribution-NonCommercial-NoDerivs or CC BY-NC-ND. Readers and users may download and share content from this site for non-commercial purposes provided that they credit Latinx Talk and author or authors (for example, reposting a publication on your site with proper credit or assigning it for students to read). Readers may also cite unaltered content on commercial or non-commercial sites with proper attribution, as is common practice in academia. Readers and users may not change, alter or modify any content from our site in re-use, or use content from our site for commercial purposes.


Check them out here:


How ‘The Brief Wondrous Life of Oscar Wao’ Changed the Future of American Literature

Original post by Alejandra Oliva found here:

When The Brief Wondrous Life of Oscar Wao  Junot Díaz’s coming-to-America and coming-of-age saga first came out in 2007 – it took the literary world by storm. The story itself was one we’d hardly seen, especially in the form of a novel. Over the course of 352 pages, Díaz weaved the tale of Oscar, a “disastrously overweight ghetto nerd” longing for a transcendental love, layered over the story of a hereditary curse, and folded into the history of the Dominican Republic. These storylines were all frosted with references to comic books, anime, sci-fi/fantasy classics an inch thick, and served up by a regretful, wise-cracking narrator (slash minor character) in the form of Díaz’s avatar, Yunior. This groundbreaking novel changed the literary landscape and paved the way for a younger generation of writers.

Michiko Kakutani, the former New York Times’ chief book critic, called the work an original that could “only be described as Mario Vargas Llosa meets Star Trek meets David Foster Wallace meets Kanye West,” dropping names of classics, and mad respected modern writers all in one go. Other reviewers called it “one of the best first novels of recent decades,” “a smorgasbord of languages and a celebration of their diverse powers of meaning,” and “a massive, heaving, sparking tragicomedy.” It won 2007’s Pulitzer Prize and National Book Critic’s Circle awards, made the BBC’s 2015 “Best Novel of the Century So Far” list, and garnered its author a MacArthur Fellowship, better known as a “genius award.”

So what made Oscar Wao so great? In the vast number of articles and reviews online – from the MacArthur committee to the vast majority of Goodreads reviewers – everyone mentioned one thing: the voice. Whether absolutely infuriated by the mix of references and Spanish, or absolutely entranced by it, Díaz’s voice is an inescapable feature of Oscar Wao. This is true regardless of whether Díaz pulled from “high” culture and used words like “vertiginous” and “indefatigable” and made references to the curse of the House of Atreus (subject of the ancient Greek play cycle The Oresteia) or borrowed from “low” culture and used curse words, Spanglish, and called back to pop culture staples like the X-Men.

The differences between “high” and “low” culture are totally arbitrary. But for many, these lines exist, though they’re beginning to shift. The idea of “high” culture is that in a society where being “well-educated” means understanding a lot about dead white dudes, understanding the curse of the House of Atreus (which started because one guy fed another his own son) is seen as way more valuable or important than understanding the X-Men (a comic that uses its forms to discuss integration vs. separatism). One isn’t inherently better than the other, although the terms “high” and “low” certainly don’t do anything to push back on that. Díaz fucks with these distinctions and the idea of ranking knowledge by putting it all on an even playing field.

In an interview with The GuardianDíaz said that he was going for a sort of creolization, that is, a blending of forms and languages. This creolization spreads across multiple dimensions of the book — the Spanglish that peppers it, the wide array of references, and deeply, the structure of the story itself. Oscar Wao is an epic by another name.

Epic poems – in the style of Homer and the Greeks – tell the story of a hero and his quest, usually against a backdrop of grandest history. Think Odysseus trying to get back home to his wife after the Trojan War, or Frodo attempting to reach Mount Doom to destroy the Ring. Back in the olden days, Homer would pick up his walking stick and wander from city to city, reciting his stories to listening crowds, adding in embellishments for the home crowd — maybe a mention of a distant relative (literally) killing it at Troy, or Odysseus’ stop at a nearby city. Going back to the idea of “high” and “low” cultures: nobody loves the ancient Greeks like the academy, and Homer is considered the OG storyteller of Western Culture (massive scare quotes around that whole sentence, you guys).

So with Oscar Wao, we have our hero, a belittled supernerd, on a quest for His Great Love, against the backdrop of post-diaspora Jersey and post-Trujillato Santo Domingo, all spun for us by our own Homer, Yunior. These are all things academia has not, historically, given two shits about: the Dominican Republic, New Jersey, comics nerds. Herein lies the genius of Junot Díaz.

And nowhere can you see this more than in his choice of epigraphs — particularly the two quotes that open the book. The first, a quote from the Fantastic Four: “Of what import are brief, nameless lives . . . to Galactus?” The second, a passage from a Caribbean remix of the Odyssey called “The Schooner Flight” by Nobel Laureate Derek Walcott that ends: “I have Dutch, ni**er, and English in me, and either I’m nobody, or I’m a nation.”

Where does this mix of established cultural references and callouts to subcultures (or non-white cultures) get us? A book only Díaz could have written. If you take the full sum of references in footnotes, Oscar’s speech, Yunior’s asides, they span an almost encyclopedic knowledge of Dominican history, fantasy and sci-fi lore around the 1970s and 80s, New Jersey geography, MLA conventions, music, myths and legends from around the world, and a deep and abiding love for slang, both English and Spanish. The end result being that everyone who picks up this book is going to wind up at least a little alienated, if not by the Spanish, then by the sci-fi. Every reader, like Oscar at high school, is on the outside looking in.

And this is the enduring legacy of The Brief Wondrous Life of Oscar Wao, 10 years onBecause it’s a story that, as Yunior says, gets “its fingers around your throat,” because it’s about being on the outside that makes you feel like you’re on the outside, because it’s still a story that hits deep in the guts even if you don’t know your bachata from your Batman, because of all this, Oscar Wao blew open the publishing game.

There’s a quote floating around that’s pretty commonly attributed to Junot Diaz: “Motherfuckers will read a book that’s one-third elvish, but put two sentences in Spanish and White people think we’re taking over.” However, attributing it to him is difficult. But is is the kind of thing you expect from Díaz, who has talked frequently about what lengths the reader is prepared to go with the author,  to what extent they are comfortable in their alienation or they close the book. Oscar Wao, with its riot of references and multi-lingual approach, gives us permission to stay unsure, to get comfortable in our lack of understanding, while giving us enough to keep us hooked.

And in an industry where #publishingsowhite, where only certain stories about people of color and Latinos are told over and over, a book like Oscar Wao, that blows the expected stories up, that takes risks, makes publishing other books like it so much easier. Publishers love winning Pulitzers. They love having books stay on The New York Times paperback bestseller list for eight months straight. They love getting interviews on NPR’s Fresh Air and all that stuff happens way less often than you’d expect. Oscar Wao made it easy for them to love unexpected books, weird books by authors who aren’t David Foster Wallace or Jonathan Safran Foer, made it possible for us to now have writers like Valeria Luiselli or Alvaro Enrigue or Samanta Schweblin. And best of all, it made it so that a ghetto nerd, wandering through a library, finds his own story set out on a page, and decides to do the same.

Rev. of The Latina/o Midwest Reader

Original post by David James Gonzales found here:

In The Latina/o Midwest Reader (University of Illinois Press, 2017) editors Omar Valerio-JimenezSantiago Vaquera-Vasquez, and Claire F. Fox bring together an exceptional cadre of scholars to dispel the notion that Latinas/os are newcomers to the Midwest. Through seventeen penetrating essays, this collection explores the trajectory of Latina/o migration, their demographic transformation of the Midwest, importance as laborers, neighbors, and community builders, as well as their struggles to obtain social and economic justice. Collectively, the essays within this anthology make several important interventions concerning the distinctiveness of the Midwest in the Latina/o experience and the effect it has had on identity formation and social activism. The presentation of the Midwest as a “border space” (i.e., contact zone) for Latina/o migrants from various parts of Latin America is a central theme that runs throughout the book. This anthology is an essential addition to Latina/o studies scholarship as it challenges the bi-coastal normativity and exclusivity of existing scholarship.