New Book: Cabañuelas by Norma Elia Cantú

Nena leaves Laredo, Texas, and moves to Madrid, Spain, to research the historical roots of traditional fiestas in Laredo. Immersing herself in post-Franco Spain and its rich history, its food, music, and fiestas, Nena finds herself falling for Paco, a Spaniard who works in publishing. Nena’s research and experiences teach her about who she is, where she comes from, and what is important to her, but as her work comes to a close, Nena must decide where she can best be true to her entire self: in Spain with Paco or in Laredo, her home, where her job and family await her return.Norma Elia Cantú is the Norine R. and T. Frank Murchison Distinguished Professor of the Humanities at Trinity University. Her recent works include Transcendental Train Yard: A Collaborative Suite of SerigraphsCanícula: Snapshots of a Girlhood en la Frontera, Updated Edition (UNM Press), and the coedited anthology Entre Guadalupe y Malinche: Tejanas in Literature and Art.




New Book: Ballad of a Slopsucker by Juan Alvarado Valdivia

Check out this new book from UNM press!

A young widower visits Chichén Itzá to honor his wife; family dynamics unravel at a child’s birthday party; the lead singer of a high school metal band faces his dreaded tenth reunion; a serial killer believes he’s been blessed by God to murder bicycle thieves—Alvarado Valdivia’s debut collection of short stories ranges from dark to light and is written with a storyteller’s skill and compassion. Based in Northern California and examining a variety of themes, including love, family, and masculinity, these stories offer an important new perspective on the experiences of Latinos and Latinas in the United States and complicate ideas of nationhood, identity, and the definition of home.


Juan Alvarado Valdivia was born to Peruvian parents and raised in Fremont, California. He is the author of ¡Cancerlandia!: A Memoir (UNM Press).

Cómix Latinx Interview: DESIREE RODRIGUEZ

A riveting interview done by Chris Hernandez for

Bring up a comic book title with another reader and you might get asked who wrote it or who drew it. It’s very rare, if ever, that you will hear a book referred to by the name of the colorist, letterer, or editor. The rest of the team if even remembered is often relegated the status of hired help: paid to neither be seen or heard. Though comic book culture tends to elevate one job over the other, editor Desiree Rodriguez points out that it is more than just a one person effort. “Every part of the team is important,” Rodriguez says. “The most obvious aspects of a comic – the art and storytelling – get a lot of focus which is completely understandable, but lettering, colors, and editing all play a huge part in the creation of that book”

Rodriguez, a Boricua and New Jersey native, knows exactly what she is talking about: her job as editor is to orchestrate the team, the story and art of a comic book story. “I believe a good editor is there to make the book better, to help enhance the story,” she says. Rodriguez is an editor for Lion Forge’s Catalyst Prime line, was co-editor for the Puerto Rican Strong anthology, and wrote a story that is included in the Ricanstruction anthology. She not only helps to shape plot lines and characters in comics but is also helping to shape and promote the Latinx narrative in comic books. She has spoken on and written a number of journalistic pieces centered around Latinx identity and even coined a hashtag, #BeingLatinxinComics, to further the discussion online. I got in touch with Rodriguez to find out more about the importance of an editor in the comic book creation process and to discuss Latinx creators in comic books today.

Chris C. Hernandez: Tell me about your relationship with comic books.

Desiree Rodriguez: When I started reading comic books it was more stuff like Fruits Basket, Rurouni Kenshin, Red River, that was the stuff I grew up on. As I got older I started reading more DC trades with some X-Men and Avengers stuff thrown in.

I had always loved western comic stories, I grew up watching Spider-man, Teen Titans, Justice League, Static Shock. The entire DC animated universe was really formative for me in the same way anime shows like Sailor Moon, Dragon Ball Z, Yu Yu Hakusho all were. They told these stories of heroes, fighting against incredible odds with optimism and compassion.

My favorite sort of character was always the one who was kind, compassionate, even in the face of their own traumas. You know the ones people always say are boring or naïve or dumb? Those were my favorite characters. Also, Scott Summers but people give me a lot of grief for that. But those characters always inspired me the most.

CH: When did you decide to make comic books a career?

DR: Oh gosh, like most Latinas I was always taught to get a stable job, stable career, get married and have kids. I was originally going to be a teacher and treat writing online as a side gig. You can’t make an actual living writing is what I always told myself. But when I moved, I sort of restarted my life a little bit. And with it, decided, what the heck I’ll really put my all into making a career out of doing something in comics. So I wrote, and wrote about comics, movies, television but always about the characters and stories I grew up loving.

I can’t say there was a single point in time when I was like, “yes I’m going to make comics my career” because there wasn’t. It was a slow-going process, a lot of learning, a lot of work, and a bit of luck. Joe Illidge gave me my first job as his part-time assistant working at Lion Forge on the Catalyst Prime line. I was honestly shocked. I always tell people that when he called me I thought we were going to talk about Batman and instead he offered me a job! Now I’ve been at Lion Forge for two years, working full time, editing my own books, I’ve been blessed really.

CH: Why is an editor an important part of the comic book creation team?

DR: Every part of the team is important, the most obvious aspects of a comic – the art and storytelling – get a lot of focus which is completely understandable. But lettering, colors, and editing all play a huge part in the creation of that book.

For editing, a good editor will try to enhance a story’s potential. Where can the story be improved? Let’s change the art here a bit to enhance this scene. Maybe change this character a bit to add some more diversity to the cast. Stuff like that. As well as keeping the team together, keeping the flow of communication moving, getting that book to print so it hits the shelves and gets into the hands of the readers.

But I believe a good editor is there to make the book better, to help enhance the story, but not be the writer, or the artist, or the colorist. I respect every aspect of creating a comic because I respect the time, effort, and craft that goes into that part of the work.

CH: Tell me about some of the different aspects of being an editor? At what point do you come into the comic book making process?

DR: We’re there right at the beginning. When a writer pitches an idea or a story we’re there to help form that idea into a fully fleshed out story or suggest ways it could be better. Maybe there’s a story beat that’s missing, or one that could be expanded upon.

CH: What skills or qualities should a person have to become an editor? What do you have to study to become an editor?

DR: I was lucky, I had a good mentor in Joe, and I can still ask him for advice today. He’s been someone I really respect and admire whose helped me in my career a lot. Then there’s all the amazing editors I work with at Lion Forge.

One thing in particular I love is there’s so many women editors I work with, from Senior level to Assistants, it makes for this great unique environment where you don’t feel like the only woman in the room. Which has happened for most of my time in comics.

There’s also many editors in the industry I really admire like Joamette Gil, Kat Fajardo and Tanaka Slotts. All three are amazing women of color who have award winning books under their belts that didn’t require any big publisher help. They’re telling stories that are wide-spread about various marginalized communities and killing it.

I think some of the skills of a good editor include: good communication skills, respect for others, networking, and understanding the medium top to bottom. You have to understand how an artist works, and the work that goes into drawing a page or a cover for example. I can’t draw, but I’ve been studying just, basics ya know? So I can understand how they work, from line art to colors to letters. I’m still learning though, which I think is another important skill to have, the wiliness to learn. You’ll never know everything and that’s okay, be open to learning new things.

Oh, and technology, keep up with the tech it’ll help you stay organized.

CH: Of course, language adds another aspect to the process of editing a Latinx-centric comic book, but are there any other differences?

DR: I would say the cultural aspect. I’m proudly Puerto Rican, but if I’m editing a book with say, a Mexican-American lead that doesn’t mean I automatically know everything there is to know about what it’s like to be Mexican-American. Sure, there’s crossover, but I haven’t lived that particularly experience. Just like an editor who may be Mexican won’t know the exact experience of what it’s like being Puerto Rican. There’s nuances there you have to respect, learn, and research.

CH: What is your opinion of the current state of Latinx comic books?

DR: I think it could be better, that’s not to say we haven’t made progress, we have. There’s more Latinx characters, creators, and stories in the industry today then say ten or twenty years ago, but we can’t settle. We can do better, and we should always strive to be better.

I’m really excited to see that the La Raza Anthology was recently nominated for an Ignatz Award, and I’m so happy to see Eric Esquivel writing a Vertigo book called Border Town of all things. Like that shit right there is dope, that’s the stuff I want to see. Then you have brands like LatinxGeeks that go to cons, run panels, organize hashtags, promote Latinx written and centric books, comics, TV shows, movies everything.

So, there’s certainly been huge improvement and I think what needs to happen is the continuation of that improvement. We need more Latinx voices within the industry from top to bottom – editors, writers, artists, design, etc. And those voices need to be diverse voices, Afro-Latinx voices especially tend to be drown out or forgotten when discussing Latinx creators or Latinx representation in general. But we can’t have true inclusion nor true, honest, and real representation until we acknowledge all parts of our community and work to uplift the entire community.

So, we’ve made progress, we’re making progress, but we still have a long way to go and grow.

CH: In reviewing and writing about Latinx comic books I’ve noticed that there appears to be a lack of Latina comic book creators that are telling their stories as well. What do you think can be done to change this?

DR: I think it’s not so much there’s a lack of Latina creators, more so there’s a lack of opportunities provided to them. When we were putting together Puerto Rico Strong, one of the things we all pushed for and agreed upon was that a majority of the talent would be Latinx. We also made it a point to reach out to Latina and Latinx creators. They exist, there out there, you just have to look, and give them the opportunity.

I’m a part of a really great Facebook group for Latinx creators and there’s tons of women in the group, heck it was started by a Latina! It’s just a matter of putting in the effort of looking. It’s easier, I think, to create a Latinx character and say, hey my friend – who happens to be a white guy – is a great writer he should be on this book as an editor. And that guy probably is a great writer! I’m not discounting that, but was there any effort to find a Latina to write that character? When the topic comes up,

I’ve seen a lot of arguments that amount to “well there just aren’t any Latinas out there” or some fans will go “well the job went to the best person (who happens to be white)”. It rings false to me because I know there are talented Latina writers out there who are making great indie comics and just haven’t been given the chance to break into the larger industry. No fault of their own, they’re talented as hell, they’re just not being looked at. I don’t think it’s straight up refusal, more like soft ignorance. This is why it’s important to have these discussions, to uplift the community, to learn more about the untapped talent and audience pool at hand.

I firmly believe there are two ways to cure ignorance, one is education the other is empathy. You have to learn about a marginalized community to understand the specific oppressions they’ve faced and still face, but you also have to have empathy for them and want to learn and be a real ally. When it comes to comics, we have to expand our horizons both on the page but also behind it. We have to have creators of all backgrounds existing in various places in comics. And not just as Editors but higher up as well, so we can get the best stories that can be as inclusive and true as possible.

CH: What are some good books that you recommend reading for people wanting to expand their experience with Latinx comics?

DR: Okay so I already mentioned the La Raza Anthonlogy, so that one for sure.Power and Magic isn’t strictly a Latinx comic book but a publisher run by an Afro-Cuban editor so I would support them and their books which are all fantastic.

Frederick Luis Aldama has an entire library of great books that talk about Latinx representation in comics so if you’re looking for something more academic he’s a great place to start, especially his recent book Latinx Superheroes in Mainstream Comics (Latinx Pop Culture).

Edgardo Miranda-Rodriguez is another easy pick with his La Borinqueña series, including his charity anthology with DC, Ricanstruction: Reminiscing & Rebuilding Puerto Rico.

I’m going to throw in some shameless self-promotion and say Puerto Rico Strong, which was a charity anthology Lion Forge published that I worked on as well.

I would also recommend folks check out the #BeingLatinxInComics and #LatinxCreate hashtags on Twitter for more recommendations, and to find more Latinx creators to support.

Learn more about Desiree and her current projects on her website:

Brothers co-author New Mexican folklore novel

by Elena Mendoza for KRQE:

ALBUQUERQUE, N.M. (KRQE) – A fictional children’s book based on real New Mexican folklore started as a dream for two local brothers and now they’re trying to make it a reality—but they’ll need your help getting it onto bookshelves.

Set in the village of Algodones in 1949, “Under the Cottonwood Tree: El Susto de la Curandera” incorporates New Mexico’s rich history while sharing a valuable lesson about forgiveness and friendship.

“It’s highlighting just the same way Mark Twain highlighted that culture of that time, we’re hoping to highlight our culture,” said co-author Carlos Meyer.

It’s a fictional tale of a curandera who lives alone in the bosque. She casts a spell on a village boy that turns him into a calf, and the rest of the book involves a quest to turn him back.

“The children have an adventure that day amongst the cottonwood trees in the Bosque, and they would discover why the curandera has turned into a witch,” said co-author Paul Meyer.

Albuquerque natives, co-authors and brothers Paul and Carlos, grew up playing in the bosque.

The book itself is based off a dream Paul had as a boy about a talking calf.

“I said, ‘Wow, that’s a pretty cool dream,’ so I wrote it down. I wrote it down and I said I’m going to write a little story about it,” said Carlos.

Over the years it’s taken on many forms. A short version was even picked up by famed Chicano publisher Octavio I. Romano.

This latest one has been eight years in the making.

“Being a native New Mexican, I really wanted to shine a light on this culture that isn’t represented a lot in television or literature,” said Paul.

The 166-page graphic novel is now complete.

The brothers have reached out to the public via Kickstarter to help raise money to print the first set of books.

“There’s a lot of expenses for printing a book so that’s what we’re hoping to do. We’re hoping to help with the printing cost,” said Carlos.

“It started as a literal dream, and now is metaphorically a dream that is coming to fruition,” said Paul.

The brothers are currently about a third of the way to their $6,000 goal.

CFP: Special Issue of Performance Matters

CFP: Special Issue of Performance Matters
Sound Acts: Unmuting Performance Studies
Deadline: Full submissions by 15 May 2019

Patricia Herrera (University of Richmond)
Caitlin Marshall (University of Maryland College Park)
Marci McMahon (The University of Texas Rio Grande Valley)

Let’s jam. If the history of performance studies has been a slow dance with “how to do things with words,” (J.L. Austin), then this special issue is an introduction to “how to do things with sound”. Luminaries working between sound and performance studies have entreated scholars to move beyond sound as a purely aesthetic object of study, harkening our ears towards understanding fault lines of power surrounding categories of difference (Brooks and Kheshti, “The Social Space of Sound,” 329-335).
This special issue of Performance Matters places theater and performance on the map in sound studies by tracing out how sound acts. “Sound acts” underscores how sound inaugurates bodies and power, and how bodies and power in performance produce meanings and significations for sound. For this special issue of Performance Matters, we solicit scholarly essays, sonic performance scripts, interviews with or manifestos from sound artists and practitioners that investigate sound as an aesthetic possibility and mode of resistance for minoritarian subjects. Our publication will be field defining in coalescing the sonic reverberations emerging in theater and performance studies.

Over the past decade, scholarship by and about people of color, as well as queer, indigenous, trans, and disability scholars has contributed exemplary studies of radical performance through sonic modes of analysis. This emergent work decenters the rapidly normalizing trend of sound studies as a white, able-bodied, masculinist, technological, and presentist enterprise, and has contributed theories of “sonic slave narratives” (Brooks), Latinx “sounds of belonging” (Casillas), the radical aesthetics of “the break” (Moten), black feminist “sonics of dissent” (McMillan), indigenous “sonic sovereignty” (Piatote), America’s “sonic color line” (Stoever), and “listening in detail” (Vasquez). Our special issue moves beyond reception studies to pump up the volume on theatre and performance studies methodologies, prioritizing the close analysis of embodiment, drama, and socio-cultural and political mise en scène of sound. This is a move that pays attention to sound in performance, how sound is an enactment of the body, and how sound shapes the listening body: how sound acts. What does sound do? What does sound stage? What are the new stages for sound in theatre and performance studies?

We’re interested in cultivating submissions around sound as it intersects with:
● Asian American studies
● Latinx studies
● African American and Afro-diasporic studies
● Black studies
● Indigenous studies
● Critical race studies
● Crip studies
● Queer studies
● Transgender studies
● Transnational feminist studies
● Critical disability studies
● Global south studies
● Circum-Atlantic studies
● Post/decolonial studies
● Theater/performance history (particularly methods for performance analysis pre-1900)

We solicit scholarly essays (7,000-9,000 words), sonic performance scripts and/or artists manifestos, and interviews (1,000-3,000 words). Submissions and inquiries should be e-mailed to by 15 May 2019.

Accepted submissions will be notified by mid-June and the co-editors will send feedback by mid-July. Authors should be prepared to commit to revisions during summer 2019, followed by a public symposium and additional publication workshop at the University of Maryland in September 2019. Submission for external peer review will follow, with a tentative date of publication slated for May 2020.

Newish book: Morena by Eva Marisol Crespin

I’m a little late on this one – it came out in 2017 – but better late than never right? Looks like a fantastic read…

Eva Marisol Crespin’s premiere poetry collection, Morena, was written in Albuquerque, New Mexico and spans a five-year evolution of personal growth and truth. Morena explores heartache, identity, love, and loss, with the dream of inspiring others to share and speak their truth.

Burque native, Eva Marisol Crespin, is a slam poet, writer and activist. She has been writing and performing since the age of twelve. Coming off a win at the 2016 National Poetry Slam Group Piece finals, Eva has been a part of a Number of slam teams who have seen final stage. She continues to slam and write poetry in her hometown of Albuquerque. She is currently working towards her degree in social work, working as a server, and teaching writing workshops in schools, recovery centers, and in the community. She identifies as a Queer, Xingona, Xicana, who is sculpting words and ripping herself open to speak her truth.


CfP: Representations of Afrolatinidad in Global Perspective

Call for Papers

Representations of Afrolatinidad in Global Perspective

University of Pittsburgh

April 11-13, 2019

Conference Convened by the Afro-Latin American and Afro-Latinx Studies Initiative

Contact: Dr. Michele Reid-Vazquez, University of Pittsburgh,


Keynote Speakers:

Dr. Juliet Hooker, Professor of Political Science, Brown University

Dr. Nancy Mirabal, Associate Professor, American Studies, Director of the US Latina/o Studies Program, University of Maryland-College Park



The intersections of race, ethnicity, and representation have shaped historical and contemporary articulations of Afrolatinidad. As an expression of multivalent identity, both shared and unique, Afrolatinidad informs the experiences of over 150 million Afro-Latin Americans and millions more within diasporic communities in the United States, Canada, Europe, and beyond. The conference seeks to foster an international dialogue that addresses regional, national, and transnational links among the ways Afro-Latin Americans and Afro-Latinxs create, sustain, and transform meanings surrounding blackness in political, social, and cultural contexts.


This two-day symposium aims to engage multiple depictions of Afro-Latin Americans and Afro-Latinxs – whether self-fashioned or imposed. The varied portrayals in the past and present reflect the ongoing global realities, struggles, vibrancy, and resiliency of Afro-Latin diasporas throughout the Americas and elsewhere. The symposium will feature keynote addresses by Dr. Juliet Hooker, Professor of Political Science at Brown University, and Dr. Nancy Mirabal, Associate Professor of American Studies and Director of the U.S. Latina/o Studies Program at the University of Maryland-College Park. Their work on Afro-descendant politics in Latin America and Afro-Latinx discourses of race, gender, and territoriality, respectively, will spark broader exchanges around Afrolatinidad and representation among presenters and attendees.


We invite submissions that address aspects of Afrolatinidad, particularly through ethnicity/race, gender, history, technology, and expressive culture, such as music, dance and art. We are especially interested in papers that analyze these themes across a variety of conceptual frameworks, including Africana Studies, Anthropology, Caribbean Studies, Cultural Studies, History, Latin American Studies, Latinx Studies, Media Studies, Political Science, and Sociology.


Submissions need not be confined to these topics, but, if possible, please indicate at least two themes that correspond to your proposal.



-Slavery and Its Legacies in Latin America

-Politics of Culture/Cultural Expression

-Visibility and Invisibility

-Theorizing Afro-Latinidad

-Race, Gender, and Migration

-Diaspora, Community, and Technology/Social Media


Please submit a title, 250-word abstract, and 2-page CV by January 7, 2019, to If you have questions, please contact Dr. Michele Reid-Vazquez at and include “Afrolatinidad Conference” in the subject line. Authors of accepted proposals will be contacted by January 31, 2019, and paper drafts are due March 28, 2019 for pre-circulation with discussants and panelists. In addition to invited keynote, roundtable, and community and curriculum speakers, ten to twelve scholars will be selected to present their work at the symposium. Lodging and meals will be covered for all invited presenters.


This event and registration are free and open to the public. The tentative conference schedule is as follows:


Thursday, April 11, 2019

4:00-4:15pm   Welcome

4:15-5:00pm   Keynote-Afro-Latin America

5:15-5:30pm   Q&A

5:30-7:00pm   Post-Keynote Reception


Friday, April 12, 2019

8:45-10:00am – Session 1

10:00-11:45am – Session 2

Buffet Lunch

1:00-2:45pm – Session 3

2:45-4:15pm – Session 4

4:15-5:15pm – Pre-Keynote Reception

5:15-6:30pm – Keynote-Afro-Latinx


Saturday, April 13, 2019

9:00am-10:45am – Session 5 – Curriculum and Community

10:45am-12noon – Session 6 – Wrap Up Roundtable


Cosponsors: University of Pittsburgh Office of the Chancellor, Afro-Latin American and Afro-Latinx Studies Initiative, Dietrich School of Arts and Sciences, Year of Pitt Global, Humanities Center, Center for Latin American Studies, and the Department of Africana Studies

Malibu Jewish camps helped give life to the Chicano movement. They were destroyed in the Woolsey fire

Another banger by Alejandra Reyes-Velarde:

One of the first things Rabbi Alfred Wolf did after joining the Wilshire Boulevard Temple in 1949 was start a camping program for children. Wolf envisioned a place that would be the antithesis of the Nazi Germany he had escaped.

And it would be not only for Jewish children, but for other children from Los Angeles’ burgeoning and increasingly diverse communities. There they could organize and try to improve their lot and those of others, said his son Dan Wolf, 68.

The rabbi built two camps in Malibu: the beachside Hess Kramer and its sister camp Hilltop. In the 1960s, they became another home for a group of young Latinos who helped launch the Chicano movement.

This week, the camps’ director, Seth Toybes, confirmed that Camp Hilltop was destroyed by the Woolsey fire.

At Camp Hess Kramer, only a dining hall and a building that housed an infirmary and offices are standing — as well as a wooden menorah and the plaque that commemorated its founder. Out of 28 cabins, only one survived the fire.

The lonely menorah that sits atop Inspiration Hill serves as a literal and figurative sign that the camp will be rebuilt, and that its spirit of empowerment for young people will live on, said Dan Wolf.


Camp Kramer was the place that planted the seed for many Chicano leaders, including Vickie Castro, who attended the first Latino youth conference there in 1963. Castro would become the second Latino elected to the Los Angeles Board of Education.

“Camp Kramer gave me a voice,” she said after hearing the camp’s fate. “It gave me organizational skills, and it exposed me to a much larger world than my own little neighborhood.”


It was at camp, she said, that she met young people from all over L.A. County who experienced the same problems in trying to get a good education that she did at Roosevelt High School in Boyle Heights. She played a part in forming the Young Chicanos for Community Action, which would become the Brown Berets.

At the 1967 retreat, Lincoln High School social science teacher Sal Castro began to form the idea for a boycott — the East Los Angeles Blowouts of 1968. At least 10,000 high school students, including Castro, boycotted their schools to protest widespread racism and inadequate education standards.


Castro said the destruction of the camps deeply saddened her.

“So many good memories,” she said. “It was a life-changing experience for me.”


Dan Wolf said his father wanted the camps to be a beacon for positive change.


“My father was directly involved in saying come use our facility to make your plans to make change,” he said. “I’m sure back in those days there were places they couldn’t go.”


Since it was built in 1952, the camp has been a haven for generations of children, some coming from abroad and out of state.


“There’s this connection that develops with that place … and I believe when it’s rebuilt that connection will continue. That won’t be lost.”


Toybes and Wolf said they are already planning to rebuild the structures and will host camp in a rented space until construction is complete.


“We’re going to have camp this summer, no matter what,” Toybes said.

CfP: St. Sucia’s Last Issue

Submit to!


Last Call! We are opening submissions for our LAST ISSUE EVER! If you have always wanted to submit, but never knew what to send, this is an open call for everything! We have previously published all kinds of writing, visual art, and photos of media like film stills, textile work and sculptures. In the last 4 years we have achieved our initial goal of making space for Mujeres. We decided that instead of waiting to be invited into art galleries and book stores, we were gonna publish our own work. I’m that time we have published mujeres, gender non-conforming, two-spirit and non binary creators. We have published from as far North as Canada and as far south as Venezuela. Our community is so diverse with so many intersections and we tried to make space for voices of all Latinas: indigenous Latinas, Afro Latinas, boricuas, Dominicanas, xicanas, Centroamericanas, Mexicanas, Mexican-Americans, and Sudamericanas. Immigrants to the US and We-been-here-before-Columbus-came-to-the-US voices. Lesbian, Bi, Queer, Trans voices. Stories of factory workers and Latina PhDs. Stories generations old, and stories we never told anyone. Stories of pride. Stories of struggle. Stories of survival. All in our own words. By us, for us. We started out trying to get our work seen by more people. To show that we as, Latinas, as Latinx, have so much talent in our community of creators. We are so much more than stereotypes. We are writers, artists, photographers, film makers, publishers, everything. Just because no one is putting a spotlight on us, it doesn’t mean we aren’t here. Thank you to everyone who has ever submitted, been published, or bought one of our zines. Thank you to the students who wrote about us, librarians and professors who included us in academia. Because of y’all, these voices will live forever in libraries around the country and reach into spaces we never dreamed possible