Most Anticipated April 2024 Releases

Spring is officially here and what better way to enjoy the weather than reading a book outside? Check out some of April’s most anticipated titles and head to your local bookstore or library to add them to your TBR!

 

The Black Girl Survives in This One |Edited by Desiree S. Evans and Saraciea J. Fennell | On Sale April

Celebrating a new generation of bestselling and acclaimed Black writers, The Black Girl Survives in This One makes space for Black girls in horror. Fifteen chilling and thought-provoking stories place Black girls front and center as heroes and survivors who slay monsters, battle spirits, and face down death. Prepare to be terrified and left breathless by the pieces in this anthology.

The bestselling and acclaimed authors include Erin E. Adams, Monica Brashears, Charlotte Nicole Davis, Desiree S. Evans, Saraciea J. Fennell, Zakiya Dalila Harris, Daka Hermon, Justina Ireland, L.L. McKinney, Brittney Morris, Maika & Maritza Moulite, Eden Royce, and Vincent Tirado. The foreword is by Tananarive Due.

 

The Cemetery of Untold Stories by Julia Alvarez |On Sale April 2

Alma Cruz, the celebrated writer at the heart of The Cemetery of Untold Stories, doesn't want to end up like her friend, a novelist who fought so long and hard to finish a book that it threatened her sanity. So when Alma inherits a small plot of land in the Dominican Republic, her homeland, she has the beautiful idea of turning it into a place to bury her untold stories--literally. She creates a graveyard for the manuscript drafts and the characters whose lives she tried and failed to bring to life and who still haunt her.

Alma wants her characters to rest in peace. But they have other ideas and soon begin to defy their author: they talk back to her and talk to one another behind her back, rewriting and revising themselves. Filomena, a local woman hired as the groundskeeper, becomes a sympathetic listener to the secret tales unspooled by Alma's characters. Among them, Bienvenida, dictator Rafael Trujillo's abandoned wife who was erased from the official history, and Manuel Cruz, a doctor who fought in the Dominican underground and escaped to the United States.

 

The SalviSoul Cookbook: Salvadoran Recipes and the Women Who Preserve Them by Karla Tatiana Vasquez | On Sale April 30

In search of the recipes and traditions that made her feel at home, food historian and Salvadoran Karla Tatiana Vasquez took to the internet to find the dishes her mom made throughout her childhood. But when she couldn't find any, she decided to take matters into her own hands. What started as a desire to document recipes turned into sharing the joys, histories, and tribulations of the women in her life.

In this collection of eighty recipes, Karla shares her conversations with moms, aunts, grandmothers, and friends to preserve their histories so that they do not go unheard. Here are recipes for Rellenos de Papa from Patricia, who remembers the Los Angeles earthquakes of the 1980s for more reasons than just fear; Flor de Izote con Huevos Revueltos, a favorite of Karla's father; as well as variations on the beloved Salvadoran Pupusa, a thick masa tortilla stuffed with different combinations of pork, cheese, and beans. Though their stories vary, the women have a shared experience of what it was like in El Salvador before the war, and what life was like as Salvadoran women surviving in their new home in the United States.

 

Financially Lit!: The Modern Latina’s Guide to Level Up Your Dinero & Become Financially Poderosa by Jannese Torres | On Sale April 30

In many immigrant households, money isn't often a topic of discussion, so financial education can be minimal--especially when a family is just trying to survive the day-to-day. Despite being the largest minority group in the United States, the Latino community still faces cultural and systemic barriers that prevent them from building wealth. As a first-generation Latina, Jannese Torres, award-winning money expert, educator, and podcaster, knows these unique challenges well. She set out to pursue the traditional American Dream, becoming the first woman in her family to graduate from college, climb the corporate ladder, and secure the six-figure paycheck, only to find herself miserable and unfulfilled. She soon realized that everything she'd been taught about money and success wasn't as it seemed. After discovering the true meaning of wealth, Torres resolved to pave her own path, leaving the life she was told she should want for one of entrepreneurship, autonomy, and financial freedom.

Review and Author Q&A: A Maleta Full of Treasures by Natalia Sylvester and Illustrated by Juana Medina

In A Maleta Full of Treasures, a young girl named Dulce is watching her abuela pack maletas through a screen. Her paternal grandmother is traveling from Peru soon to visit her in Miami. Dulce hasn’t seen her in three years.

Abuela wants to know: “What would you like me to bring you, mi dulce?” 

“Just you,” Dulce responds.

But Abuela promises a surprise. And soon, Dulce is reunited with her grandmother who arrives with suitcases piled high as mountains. They settle at home and begin to open the maletas. Inside them, Dulce finds all kinds of treasures and a sweet, earthy smell. Abuela tells her it’s the scent of home.

From award-winning author Natalia Sylvester and illustrator Juana Medina comes a tender story about cherished family visits and the connections we nurture with people and places dear to us. Reading it felt like a warm embrace. 

Out on April 16 from Dial Books for Young Readers, A Maleta Full of Treasures is Sylvester’s first picture book. It was inspired partly by the special visits from relatives who live in Peru and would come to the US to spend time with Sylvester and her family. “They’d bring these suitcases full of candies and letters from family members, and photographs and little trinkets – whatever small gifts they could bring,” the author recalled. “Nothing that was really, I would say, expensive. I treasured them because they were priceless.”

La Maleta De Tesoros – a Spanish version of the forthcoming children’s book – will be published simultaneously.

Sylvester recently spoke with Latinx in Publishing about what inspired her first picture book, what the maleta symbolizes to her, and more.

This interview has been edited for clarity and brevity.

Amaris Castillo (AC): Congratulations on A Maleta Full of Treasures! This is your first picture book after years of writing for adults and teens. Reading it felt like a warm embrace. What inspired you to write this book?

Natalia Sylvester (NS): First of all, thank you for that. I’m so glad that it feels that way because that’s really what I had hoped it would feel. There’s two things that inspired this book. A) We had moved from Peru when I was four. And in the time between when I was four to around 12, we couldn’t go back until we sorted out (paperwork). As immigration, the system is so slow and full of many twists and turns, and ups and downs, that are different for everyone. In our case, it prevented us from going back to Peru for all those years, which was a huge portion of my childhood. And yet it never felt like Peru was absent from my sense of self and from my heart. That was really thanks to my relatives who would come visit. They’d bring these suitcases full of candies and letters from family members, and photographs and little trinkets – whatever small gifts they could bring. Nothing that was really, I would say, expensive. I treasured them because they were priceless. 

I remember my mom would ask relatives to bring Peruvian history books so that we could learn about our own history, since we weren’t learning it in US schools. And I wanted to capture that feeling and anticipation, but also the magic of having a relative visit you and all the ways that the home feels different. I remember the smells that they would bring with them. They would fill our house. It was like, that’s what Peru smells like. And I just wanted to celebrate that. 

B) It was actually very much inspired by the word ‘maleta.’ When I was writing Running, there was actually a line where one of the characters who is Peruvian-American is eating a candy and she offers it to my main character. I think she ends up saying something like, ‘I have a whole maleta-full back home.’ There was a point in the editing process when somebody asked, ‘Hey, why not just say a whole suitcase-full back home?’ And I thought, Well, no, because this is how we code switch. I don’t actually use the word ‘suitcase.’ Even if I’m speaking English, for me that word is one that’s full of emotion, and full of a specific emotion. It’s very much connected to those Latin American roots. And so I always code switch for that word. To me it’s a ‘maleta.’ And so I wanted to capture that sense of what it means that it’s not just a little literal word.

...I wanted to capture that feeling and anticipation, but also the magic of having a relative visit you and all the ways that the home feels different. I remember the smells that they would bring with them. They would fill our house. It was like, that’s what Peru smells like. And I just wanted to celebrate that. 

AC: I can see this story being deeply resonant to families with loved ones who still live in the countries they hail from. I myself remember the excitement of wondering what’s inside a maleta. To you, what does the maleta symbolize?

NS: To me, it symbolizes a sense of home no matter where you go… It symbolizes this connection and this sense of self that we carry with us when you’ve moved from one country to another, when you have loved ones moving between those places to visit you and vice versa, if you happen to be able to go back and visit them. It’s all the things that we carry, and the things that we hold close through that constant travel.

AC: There’s a precious moment in the book when Dulce begins to ration the sweets her abuela brought, basically savoring what’s left. She knows the visit is coming to an end. Tell us about that moment. What were you trying to show to readers?

NS: When my relatives would come over and they’d bring cookies and candies, each of us cousins had our favorites. And obviously, they can only bring so many. There’s always a concern about how much will your maleta weigh? Are you going to go over the weight limit and have to pay extra? And we would never pay extra, so of course we’re not going over the weight limit. You have a finite amount, like anything. It’s not the same as candies you would get here in the US. You can’t just go to the supermarket and get more.

To me, it seemed to also really reflect this idea of, I love that they’re visiting, but I know that they have to go back soon. So you start really trying to enjoy what’s there while it’s there. Los gozas. You try to savor them – not just the candies, but the moments that you have together.

AC: Dulce has never been to the country where her abuela is from, yet she longs for it. It made me think deeply about the ties some of us feel to certain countries and places. What do you make of that longing, and what was it like to put it on the page?

NS: I think it’s something that feels kind of innate. Like I said, I came here when I was four, so my first memories are actually here in the US. And yet the other thing that coexists alongside that is being an immigrant from a very young age, seeing how our family is not yet fitting in, is trying to adapt to this new country, the new language, the new customs, while also trying to stay connected and preserve our own cultures and traditions. Being aware of all that from a young age, I remember having this very distinct feeling of: Even though all I know is here in the US, I also know there’s so much more beyond that, that I left. And that is equally a part of me.  I missed Peru even though I didn’t remember it, because my family and parents kept it alive inside of me and through our language and the food we’d eat… I really did long for it. 

I remember the very first time we finally went back. And I say ‘first time,’ even though it wasn’t my first time there. But to me it felt like the first time going when I was 12. I was so affected by that, that I got a bag of soil from my mom’s childhood backyard. We were staying at my aunt and uncle’s house, which had been my mom’s childhood home. I went into their backyard and filled a bag with soil, and I took it home with me to the US because I wanted to take that piece of home with me. And I was 12. I didn’t know that you’re not supposed to do that. My mom found out later. She was like, ‘I can’t believe Customs didn’t stop you.’ It was so embedded in me, this idea of, Yes, the US is home and it’s where we’ve made our lives but our roots are also here. And that is equally a part of you. I didn’t feel as complete until I had those two pieces together.

AC: What are you hoping readers take away from A Maleta Full of Treasures?

NS: I do hope they’ll have that warmth and tenderness you spoke about. I would love it if it helps readers feel seen in the same ways that, for example, Juana made me feel seen when I saw her illustrations. In the same way that I felt like when I was younger, reading children’s books, and didn’t necessarily see my family and my home in those books. But when I started to see the spreads of this book, I was like, Oh my God, I didn’t know that could happen. It almost felt like it healed this inner child of mine. 

I hope it’ll inspire excitement and get children and their adults to talk about the things that they treasure, and why they treasure them. It was really important to me that these aren’t necessarily treasures of monetary value. They’re treasures that can be small and simple, but are very meaningful. There’s reasons for why they connect to specific people and places that a person loves or cares for, or maybe misses. So I hope it’ll inspire people to express that and value it. 

I see stories as comfort, and I hope that that will also bring comfort even to those who might also be missing that home country. Maybe they haven’t gone yet, either. I hope this gives them a sense of hope and helps them feel connected to those loved ones, despite that distance.


Natalia Sylvester is an award-winning author of the young adult novels Breathe and Count Back from Ten and Running and the adult novels Everyone Knows You Go Home and Chasing the Sun. Born in Lima, Peru, she grew up in Miami, Central Florida, and South Texas, and received her BFA from the University of Miami. A Maleta Full of Treasures is her first picture book.

 

Juana Medina is the creator of the Pura Belpré award-winning chapter book Juana & Lucas and many other titles and has illustrated numerous picture books, including ‘Twas the Night Before Pride and Smick! Born and raised in Bogotá, Colombia, Juana Medina now lives with her family in the Washington D.C. area.

 

Amaris Castillo is an award-winning journalist, writer, and the creator of Bodega Stories, a series featuring real stories from the corner store. Her writing has appeared in La Galería Magazine, Aster(ix) Journal, Spanglish Voces, PALABRITAS, Dominican Moms Be Like… (part of the Dominican Writers Association’s #DWACuenticos chapbook series), and most recently Quislaona: A Dominican Fantasy Anthology and Sana, Sana: Latinx Pain and Radical Visions for Healing and Justice. Her short story, “El Don,” was a prize finalist for the 2022 Elizabeth Nunez Caribbean-American Writers’ Prize by the Brooklyn Caribbean Literary Festival. She is a proud member of Latinx in Publishing’s Writers Mentorship Class of 2023 and lives in Florida with her family and dog.

Exclusive Excerpt From Ananda Lima’s Craft: Stories I Wrote for the Devil

Latinx in Publishing is very excited to partner with Macmillan Publishers to bring you an exclusive excerpt from Craft: Stories I Wrote for the Devil (on sale June 18, 2024), written by inaugural Work-In-Progress fellow, Ananda Lima. Keep reading below for an exclusive sneak peak!

TROPICÁLIA

                               I’m only interested in what is not mine.

—Oswald de Andrade, The Cannibalist Manifesto, 1928

                            Fred, what we want is, I think, what everyone wants, and

                           what you and your viewers have—civilization . . . We want

                           to be civilized.

—Brain Gremlin, Gremlins II: The New Batch, 1990


Sunday, August 20 🌘 Waning Crescent

(Day minus 1)

I woke from unsettling dreams to my mattress jingling with loose change. I lay on my stiff back, armor-tight with tension. I raised my head a little and saw my brown belly divided into sections, striped by the sun slicing through half-open vertical blinds. The lines extended and covered the room with bars. With a monstrous hangover, I peeled off a penny stuck to the skin next to my belly button, then remem- bered my passport.

I stood up too quickly and shielded my right eye from a beam of sunlight. Wincing at something hard digging into the sole of my foot, I looked down and saw I stepped on my treasured Gremlins key chain, fracturing my poor Gizmo’s tiny plastic back. I was sweating. I closed the blinds. Part of my nightmare returned (sun, salt, me with an insect’s legs, scurrying south on city streets).

My phone hid in my papers on global localization strategies (I worked with semiautomated corporate translation), betrayed only by its limp cord, hopelessly disconnected from a power source. Reflected on my dead screen, I looked like vermin. A dream, I reminded myself, and plugged in the phone. As I waited, I stood up and readjusted a crooked white framed triptych of a winking Pop Art Carmen Miranda, her three heads heavy with fruit. The screen turned on and I wiped away the notifications. No missed calls. No emails from work. My nausea gathered and condensed into a singularity in my stomach. That part had not been a dream. No messages about my missing passport. My passport, holding my H-1B work visa, was gone.


Sunday, August 13 🌖 Waning Gibbous

(Day minus 8)

I was having Cheerios for lunch on the shelf I IKEA-hacked into a counter in my kitchen, which was also my living room. I’d worked late on an analysis of our human translator testers the night before. It had gone well, and I was excited about what I might bring to my boss, Meredith, the following week. But I had overdone it and needed a break. So I spent most of my Sunday morning on Pinterest. My prewar studio impersonating a one-bedroom apartment was not as I wanted it yet, but getting there. The view was still water towers on this end and a dumpster on the other. But I had an exposed brick wall, tropical plants, including a monstera, a berimbau I couldn’t play. Though I hadn’t found anything on Pinterest that day (a bad sign).

I swiped out of the news Google had selected for me (rumors of raids in Queens, seven steps to boost your career, tips for watching the Great American Eclipse), then checked there were no emails from work. I needed to stop thinking about work (it had become even harder since Meredith mentioned a possible promotion). On the Brasileiros de Nova Iorque group, a post advertising a facial had three likes. Seven likes on a picture of a Minnie Mouse cake surrounded by brigadeiros. And 137 combined sad faces, angry faces, thumbs-up, at least one laughing emoji, and fifty comments on a post by a woman thinking about divorce but afraid for her green card application. The top comment began, “I get that there are many out there that don’t respect the law. But if you choose to do things right (like I certainly do), there are only two ways: it’s either a real marriage or an employer sponsors you. Now if you choose not to educate yourself, not to work hard, or . . .”

I stopped reading, startled by something moving on a spoon on the counter, just under where I was holding the phone. I thought it was a cockroach but realized the dark lump trapped at the center of the spoon had been my reflection. I heard a buzzing coming from the window. There was a fly there, trapped between the glass and the screen. I didn’t want to kill it per se; I just wanted it gone. So I looked for help on YouTube, which led me to The Fly, a movie I hadn’t seen since I was a child. I watched it instead of dealing with the real fly, and that was my Sunday. Nothing else happened, but the comments from the Brasileiros de Nova Iorque group stayed with me the whole day and through the night.


Monday, August 14 🌗 Last Quarter

(Day minus 7)

That Monday, I missed my alarm and woke up late at eight thirty. I got ready in a panic. When Meredith had told me about a position opening up and briefly mentioned this one guy as my competitor, I’d imagined some guy in a skinny suit, with gelled hair and pointy, overly shiny brown leather shoes. I imagined him in the mirror, shaking his head at me as I hurried to brush my teeth. The position had to be mine. There were the usual things: yes, career, I needed more money. But mostly, I was entering the last year of my H-1B visa and needed to ask the company to sponsor my green card, as they had vaguely alluded to when I’d been hired.

I was about to leave but paused at the threshold of my open front door. I sent a message to Meredith, apologizing for running late. I told her there was trouble on the F line and that I would be there as soon as I could. Then I went back in and sat on my green velvet couch. I opened the Brasileiros de Nova Iorque group and scrolled through the posts on the president’s tweets, the eclipse, and microblading. The woman wanting a divorce seemed to be gone. But I wasn’t after her. I kept scrolling until I found the ICE thread. Those who had passports, visas, and green cards were arguing about whether to always carry them (“I thought that was just an Arizona thing,” “How will they be able to tell,” “In 25 years nobody has ever,” “Well, they asked me,” “If you have nothing to hide”). Of course, the rule didn’t fully make sense, as a Brazilian guy who appeared white in his profile picture had pointed out in the group. If they stopped noncitizens to check their papers, wouldn’t they have to stop citizens as well? How would they know whom to stop? It wasn’t like noncitizens put stickers on their lapels indicating noncitizenship. He reminded me of the guy in the studio control room in Gremlins 2, mocking the logic of the “don’t feed after midnight” rule, speculating what would happen to a gremlin crossing time zones. As he begins to laugh at his own jokes, a gremlin springs up and eats his face.

There it was, right after the comment on rumored ICE activity on the 7, the USCIS link. I clicked. The open-armed blue-and-white eagle greeted me in its familiar unnerving way. I read the passage (“every alien,” “at all times,” “personal possession,” “alien registration,” “comply,” “guilty,” “fined,” “imprisoned,” etc., etc.) again. Yes, supposedly, it applied to all of us. Anyone not considered a citizen had to be ready with the applicable papers. At all times.

I thought of my opponent for the promotion again. I imagined him thin, with a sharp jawline, blue eyes, black hair, walking into our building, taking confident sips of his morning kale smoothie. Fresh and ready for action, having started his day with yoga or spinning or both. I imagined Meredith’s boss, Mr. Koning, and his lot of higher-ups nodding to one another in approval. They’d notice a commotion in the background, turn, and see me being shoved into a van while trying to appear professional in a pencil skirt. Handcuffed, I’d still wave meekly at Meredith, who would admit, embarrassed, that the woman being taken away by the authorities was the candidate she’d suggested for promotion.

I went back in for my passport, safely cocooned in a ziplock bag, inside a shoebox, under my bed. I opened the H-1B stamp page, hovered my fingers over my picture, the signature, the seal, just short of touching it. I closed the passport and put it inside a compartment in my respectable brown leather Banana Republic outlet bag and zipped it, then closed and buttoned the top flap.

On the train to work, I let go of the pole momentarily and searched for any new posts about H-1Bs on the Brasileiros de Nova Iorque group. I grabbed the pole again and clicked with my free hand on the link someone had posted of a forum that crowdsourced updates from applicants for various visas and calculated current processing times. But I lost reception before it opened. I had looked at the forum repeatedly and most likely wouldn’t have found anything new, but I couldn’t stop checking.

I swapped the hand holding the pole, brushed lightly against the hand of a blond woman, and apologized. She looked straight ahead. A message from Meredith popped up on my screen: “Everything is fine over here.” Luckily, I was not meeting her first thing in the morning. And I still had a small buffer before the meeting with the translators. “I’m so sorry,” I texted Meredith. I took a deep breath and went over the plan for the translators meeting again. I would walk to their backroom, the same room where I’d worked when I first joined, then have them leave their cubicles and sit with me in a circle over cookies and coffee. Nothing formal. I would remind them again of how I had started just like them. How Marisa had helped me find everything on the first day of work, how Miki had stopped me from accidentally entering the men’s bathroom. Then I would pivot to introducing the basics of the new rewards system. Not all the details on the points this time. I just hoped they understood the opportunity available to each of them. If only they could see it. I was lucky to have had Meredith help me. Maybe I could do the same for one of them. After the meeting, I’d go over the new targets with Meredith. I knew we could increase the output on our end if we just tightened the ship a bit. I was also thinking of a new metric, a simple addition requiring translators to rate the work of their colleagues as it moves through the workflow. It would be a chance for them to get more credit when they worked hard. And it would address our concern about individual accountability. Meredith would love it.

The train sped up. A white man in a suit reached for our pole, squeezing by a Latino man wearing jeans and work boots, who reminded me of somebody, though I couldn’t tell whom. The blond woman sighed. I counted the five hands sharing the pole, including a woman—brown like me, but with electric-blue nail polish—who just managed to grab it with her fingertips. I couldn’t see her face. Across the car, I spotted a muscular white man with a crew cut, dark gray pants, and a black polo shirt, sitting on one of the orange seats. A photograph from the Brasileiros de Nova Iorque group sprung to my memory: men in black shirts and sunglasses, “ICE” written on white letters on their backs. Without thinking, I ran my hand over the pocket carrying my passport. I wished I could get to work.

I realized the man reminded me of Jeff Goldblum, which was strangely reassuring. I thought of The Fly. Brundle’s tragic and hilariously gross journey from scientist to giant fly. His skin smooth, then stubble, then blisters, then gooey raw meat. All done in analog in 1986. The whole thing had to do with movement, teletransportation, which fascinated me. He entered a pod a normal guy. He couldn’t see it, but by the time he stepped out of the other pod, he’d already become a monster.

As the doors finally slid open at my stop, another message from Meredith arrived: “Don’t worry about a thing.”


Sunday, August 20 🌘 Waning Crescent

(Day minus 1)

The passport lasted less than a week being carried everywhere in my bag. There were a couple of times when it felt right to have it there, close to me. That one time in the subway; that afternoon walking under the rows of American flags, by the rows of police (or military or both) at Penn Station; that time going through the security desk and turnstile when I joined Meredith for a client meeting in a different building. But mostly, there was the fear I would lose it. It was like being resigned to having a fly trapped in a room: Sometimes you forgot it was there, and then it came back buzzing, and you had to wait until it stopped and you forgot it again.

And now here I was. Two caplets of Tylenol, a mug of water, and my phone lay on my imitation-marble coffee table. I called the Mandarin Hotel bar. I balanced my phone between my head and my shoulder as I waited, squeezing the sides of my broken Gizmo key chain as if trying to undo the split along its back. With the back open, its head no longer stayed firmly in place. Nobody answered at the bar. I tried the main hotel, where the receptionist informed me the bar opened at four. I thought of the USCIS passage (“alien,” “at all times,” “personal,” “possession,” “guilty”), sitting among the other words on their site all this time. And the same text in dusty books before there was such a thing as a USCIS website, the letters set in bookshelves while I played in our muddy backyard in Brazil, my cousins laughing as I imitated ALF’s dubbed Portuguese voice. And the same words on other shelves somewhere in the US before that, long before I’d been born.

I put up my broken Gizmo up on my bookshelf, next to a sad baby banana seedling I’d ordered online, its two little leaves wilted and browned. The shelves were full of classics I hadn’t read. A few titles in Portuguese (Memórias Póstumas de Brás Cubas, A Paixão Segundo G.H., O Estrangeiro), the rest in English. Part of an effort to convey that I am a particular kind of person I couldn’t have pretended to be back in Brazil. An ambition that is only possible because Americans don’t know what my accent in Portuguese, or my name, or my parents’ names convey about our place in the world.

Gizmo’s head fell off and rolled close to the edge of the shelf, butI caught it right before it dropped and carefully placed it next to itscracked headless body. At the vintage store where I’d found it my first year in the US, there had been a couple in mismatched plaid shirts ahead of me in line who saw the key chain first. They looked at it with mild interest and put it back. When the woman said the word “gremlins,” it took a second for my brain to map the word as she pronounced it to the way the word had lived in my head as a child. We said “gremilins” in Portuguese, that extra i added like a drop of water to the back of a mogwai, giving rise to an additional syllable. When I realized the key chain was Gizmo, I reached for it immediately. I estimated how many times I’d watched Gremlins 2 in Sessão da Tarde reruns in Brazil. Every afternoon I ate lunch with my brother and sister and watched the soap operas. After the novelas came the few movies TV Globo had dubbed in Portuguese. The same recognizable voices regurgitated out of the mouths of different actors, over and over in all the movies they showed. How strange to feel at that moment that the little Gizmo was more rightly mine than theirs, that American couple who’d clearly missed the movie’s brilliance.

I pushed the broken pieces back, farther into the shelf, to make sure they didn’t fall, and went to get ready to leave.


Saturday, August 19 🌘 Waning Crescent

(Day minus 2)

I last checked on my passport late Saturday afternoon, just before I walked out with Meredith. She had found a way to bring me along for drinks with Mr. Koning, her boss. As I’d been about to leave work the previous day, she had held my shoulders, looked me in the eye, and told me the timing was perfect. I had been giddy about it all afternoon, but now I was worried about what I was supposed to do, about not messing up my great chance. We were at an exclusive spot at the Mandarin Hotel. A place just like I’d imagined people like them went: a little Mad Men, somewhere along a lineage of leather Chesterfields, dark wood, and shelves filled with matching book covers, seamlessly mixed with dark mid-century furniture. And those floor-to-ceiling windows again. Here the city appeared brighter and closer. It felt as if the people in the other buildings could see everything and everyone, including me. It felt familiar, though I had never been there. A déjà vu. I couldn’t place it, and that made me more nervous. I ordered a Malbec.

I sipped it quietly as they discussed projects outside my department. Meredith alternated her posture: sometimes sitting back and propping her elbows on the back of the chair, grabbing her whiskey on the rocks in the relaxed “I don’t care” manner of Mr. Koning and other seemingly powerful men in the restaurant; sometimes sitting up, cross-legged, her arms close to her body as if trying not to occupy space; sometimes leaning into the table and touching her hair, almost flirtatiously. Mr. Koning didn’t notice how she advanced and retreated strategically, slowly gaining space. She indulged all his interruptions and came back around in a gentle way, until her points were made. Even after everything Meredith had taught me and what I’d learned by watching her, there was so much more. I was struggling to find an opening. I realized I was hiding behind my wineglass, not varying my posture, not saying anything. Mr. Koning didn’t seem to notice me. I put my glass down and leaned into the table slightly, bending toward him. I decided my focus now would be to appear fascinated by whatever he said (which was?). I knew Meredith would manage to bring me into the conversation in a manner that was most advantageous to me. I waited for her cue. She always looked out for me.

Maybe the strange familiarity I felt were the large windows, reminding me of the view in the office. Those nights when I’d snuck out of my cubicle to work alone by a window in the conference room, after everyone had gone home. Yes, this was familiar. But there was something else too.

When I was close to finishing my glass, she asked what I was drinking. Mr. Koning wasn’t looking, fiddling with his phone, so she shook her head and scrunched her face at her whiskey. We both smiled. Before I could answer, she said softly that I had to try her favorite drink, a passion fruit Caipijito. I always felt stupidly possessive of caipirinhas, which I didn’t usually drink. Already my brain was activating the heuristic script for expressing how the drink conformed or deviated from the elusive original and an explanation of how caipirinhas really were back at home (as if they were really that different). But I knew I shouldn’t deny her. Besides, it sounded like a good drink.

Mr. Koning answered his phone.

“Fantastic!” He nodded to both of us, still talking to his caller (the second time he had looked at me, the first being a glance during introductions). He stood and headed out toward the elevators.

Meredith audibly exhaled. Her body seemed to soften as she fluffed up her blond hair with both hands. She explained that she didn’t always get to come out with Aldert (Mr. Koning) and that we were only here for his pre-drinks, while he waited for whatever important people he was here to see. But it didn’t matter, she continued. It was still a good opportunity. She was excited she finally got to bring me this time.

“It’s good for you to be on his radar,” Meredith mock whispered, touching my hand with the corner of hers and looking about the room conspiratorially. “Sometimes it’s productive, but sometimes he’s just in the mood to be entertained. Then we just have to be agreeable and split without being awkward, before the big guys come.”

“Got it.” I nodded. The drink was delicious. I was so grateful to her. This place was perfect. I held both her hands in a way I had never done before. “Thank you, Meredith.”

Meredith smiled. She’d been happy with me the whole day. I wasn’t sure why. “How’s the cocktail?”

“So good.” I took another sip.

“Oh my God, isn’t it though?” She looked even more pleased. “You are doing great. I knew you would.”

Meredith had been a little guarded when I first met her. But with time, she saw that I both worked hard and didn’t cause trouble. I was able to understand things she could not talk about to anyone else at work, often to do with navigating power structures as a woman. I wouldn’t start petitions or go running to HR if she talked about things as they truly were. One day, she sternly called me into her office at the end of a quarterly status meeting, but her summons had only been an excuse to remove me from a conversation with a guy from another department, known to be creepy. She gradually opened up and became a mentor as well as my boss. Sometimes, like right then, I wanted to hug her, which would’ve been silly, so I smiled at her instead. She smiled back. I hoped she knew how grateful I was.

I looked at the moon through the windows of the Mandarin Hotel. A thinning curve, most of it disappearing into darkness, pulsating faintly, almost a mirage. I realized what this place, the large dark glass windows reminded me of: Gremlins 2. I had framed an eight by ten version of the film poster and hung it on the wall between my bedroom and bathroom. The illustration showed a solid wooden desk and the scratched back of a plush leather chair. Only the hand of the creature facing the view of the city at night was visible, its skin scaly and green, its black-clawed finger lingering in the air, about to tap down the ashes from a lit cigar. They hadn’t dubbed the gremlins when they sang “New York, New York.” The creatures performed and ran amok to the sound of Sinatra as the terrified humans did whatever they could to keep them from coming out of their dark glass enclosure—and now here I was. New York City outside those large windows. Meredith and I clinked our glasses with the last sips of our Caipijitos. She ordered two more.

I wondered what time it was (“always midnight somewhere”) as I stabbed an olive. I thought of the green skin on the hand dangling the cigar. I thought of how the green in steaming hatching gremlin cocoons looked like the neon-green light coming out of the pod in the promo poster of The Fly. I thought of myself sitting there, my body filled with American proteins. American water. American sugar. The alcohol taking over my brain and liver. I remembered reading that it took ten years for a human skeleton to be completely replaced through cell renewal. I had American bones now. I’d thought I was the eater, but America had been eating me the whole time, from within.


Excerpted from CRAFT: Stories I Wrote for the Devil, copyright © 2024 by Ananda Lima, provided by Tor Books, imprint of Tor Publishing Group, division of Macmillan Publishers.


(photo credit: Beowulf Sheehan)

Ananda Lima is a poet, fiction writer, and translator, the author of Craft: Stories I Wrote for the Devil (forthcoming from Tor Books) and Mother/land (Black Lawrence Press), winner of the Hudson Prize.  She is also the author of four chapbooks, including Amblyopia (Bull City Press) and Tropicália (Newfound), winner of the Newfound Prose Prize. Her work has appeared in The American Poetry ReviewPoets.org, Kenyon Review Online, Gulf Coast, Witness, and elsewhere. She was awarded the inaugural WIP Fellowship by Latinx-in-Publishing, sponsored by Macmillan Publishers, and was a finalist for the Restless Books Prize for New Immigrant Writing and the Chicago Review of Books Chirby Awards. She has an MA in Linguistics from UCLA and an MFA from Rutgers University, Newark. Her voice was praised as “singular and wise” (Cathy Park Hong), and Craft was described as “an absolutely thrilling reminder that short stories can be the best kind of magic” (Kelly Link). Originally from Brasilia, Brazil, she lives in Chicago.

Review and Author Q&A: Churro Stand by Karina N. González and Illustrated by Krystal Quiles

One summer day, the scent of buttery vanilla fills Lucía’s family kitchen. Her fingers become coated in cinnamon sugar. Before her are trays of churros.

“Mamá’s work begins before the sun is up,” the girl narrates. “Each churro is made with love and destined for a hungry belly.”

Lucía’s mother stands in front of the stove, cradling a large pot of the pastry dough. A half-dozen churros sizzle in a pan.

Soon, it’s time to head out into the streets of New York City. Lucía, her brother Santiago, and Mamá are hoping to sell churros today. 

From award-winning author-illustrator duo Karina N. González and Krystal Quiles comes Churro Stand, a heartwarming picture book that celebrates working-class families, community, and love. Out on April 16 from Cameron Kids, the book follows Lucía as she helps her mother try to support their family. There’s a gentle reminder here, too, about the role children of working-class parents sometimes have to play in order to push ahead. El Carrito de Churros – a Spanish version of the book – will be published simultaneously.

González – a bilingual speech-language pathologist in Brooklyn – was partly inspired to write Churro Stand after seeing a mother selling the sugar-coated fried dough inside a subway station. The woman had her daughter with her. “That reminded me of my mom and me, and how I would always accompany my mother to work. And how I’d complain or try to rush her,” González told Latinx in Publishing. “As children, we don’t understand all the sacrifices that our parents make for us.”

Lucía’s admiration for her mother shines in Churro Stand – thanks to González’s text full of childlike wonder. And Quiles brings forth a visual snack for readers, layering painted textures and multiple drawing mediums to capture the spirit of summertime fun and the beauty of community.

Churro Stand is the second book González and Quiles will publish together. Their first, The Coquíes Still Sing, was published by Roaring Brook Press in August 2023 and received a Pura Belpré Youth Author and Illustrator Honor.

Ahead of the release of Churro Stand, González spoke with me about depicting a street vendor in a children’s book, working with Quiles again, and more.

This interview has been edited for clarity and brevity.


Amaris Castillo (AC): Congratulations on Churro Stand. What inspired this story?

Karina N. González (KNG): I love getting asked this question about this book because I feel like ultimately everything I write has an underlying social message and a political message, even. In a mayor’s race in New York City several years ago, there was a certain mayoral candidate who went on a tirade against street vendors – particularly food vendors – and how they were taking away business from brick-and-mortar shops. They even specifically mentioned the women who sell churros in the subway stations in New York City, or on the sidewalks. At that time, I’d been seeing videos of NYPD confiscating street vendors’ food, taking away their carts, or giving them fines. I felt like this was really blown out of proportion, and unfair to these people who come here looking to just make some money. Oftentimes they’re women and they have children. They might be single mothers. And so this whole political climate that was going on in New York City that summer inspired me to think about: Could I possibly write a picture book about this? 

In the author’s note, I reference a particular scene when I was coming home from work. I remember seeing a mother selling churros at the Broadway Junction subway station, and she had her daughter next to her. That reminded me of my mom and me, and how I would always accompany my mother to work. And how I’d complain or try to rush her. As children, we don’t understand all the sacrifices that our parents make for us. So all of these different experiences, what I was seeing in the news cycle and with my own eyes, compounded my whole vision and inspired me to write this story.

AC: In your book, Lucía and her brother join their mom as she heads to Manhattan to sell churros. Lucía is a keen observer of her mom’s churro-making and the way she navigates her work. What was it like to write about a street vendor through a child’s eyes?

KNG: I found it really fun, actually, because I work with children. I’m a bilingual speech-language pathologist at an elementary and middle school in Brooklyn, New York. I have students who have parents who work in hospitality, or who deliver food, or who are food vendors or street vendors. And so I often hear their stories, and their stories inspire mine. Writing this story from Lucía’s perspective also felt very personal for me. As children of working-class parents, we often get roped into our parents’ jobs without really realizing it. I wanted to show the reality that a lot of children experience throughout this nation, and even throughout the world. She comes along with mom on her workday, and she’s actively engaging to help Mami’s business succeed, and thereby helping the family as a whole and helping their community. I felt that very much when I was growing up. I’d help my mom all the time at work.

That feeling of children helping their parents, and all the wonder that they have in their eyes for their parents and all the sacrifices they make, you can kind of see that in Lucía when she interacts with her mom and how she views simple tasks that her mom does. Like how her mom waving the ladle while making the churros reminds Lucía of a magic wand.

The heart of the story is the message of the working-class people and the magical heroism of working parents, grandparents, and guardians. I just want to make sure that we acknowledge all the sacrifices that working-class parents go through, and I think this book gave me the opportunity to delve into that topic.

AC: That was a beautiful line. And I don’t want to spoil anything, but something happens in the book that threatens to jeopardize Lucía’s mom’s earnings. Relatably, in your author’s note you write that many street vendors work in unsavory conditions. What kind of research did you do for this book, and what did you learn about what it’s like to be a street vendor today?

KNG: I definitely did a lot of research. Even if I hadn’t written this book, it’s a topic that I’m very interested in. Like I said, I have my own anecdotal experiences just living in New York City and seeing the harassment that street vendors and food vendors experience. But there’s a lot of media around the harassment that street vendors experience in New York City, and many other cities across the nation. One particular organization that I follow closely is called the Street Vendor Project. They often document the harassment that they (vendors) experience at the hands of local police, or even citizens who come and harass them while they’re just simply selling food.

It was quite a task to go through the research. Although this is a pretty straightforward book and I’m not going into depth about the harassment that they face, it’s kind of implicit in the story. It was part of my intention, although I don’t explicitly state it. The heart of the story is the message of the working-class people and the magical heroism of working parents, grandparents, and guardians. I just want to make sure that we acknowledge all the sacrifices that working-class parents go through, and I think this book gave me the opportunity to delve into that topic.

AC: For Churro Stand you teamed up again with illustrator Krystal Quiles. What was it like to work with her again?

KNG: It’s a blast. Krystal is so talented. When The Coquíes Still Sing came out and we wrapped it up, we had our first book signing at Books of Wonder near Union Square. After we signed our books, we walked around the corner and found a local tapas bar. We noticed that they sold churros. And we thought, Wow, this is so serendipitous. So later that day and several months later, we would take trips to Union Square and she would sketch. I would accompany her and just watch her sketch and admire her. She was looking for inspiration and getting ideas. We would talk about the book. 

All I told Krystal was that I was thinking of a pastel palette. The Coquíes Still Sing was very vibrant, very lush, because Puerto Rico is tropical. We both had an idea of the palette, but all I said to her was that I was thinking of pastel colors. She said that she agreed, and she was thinking exactly the same thing. And voilà! This book is a dessert dreamland – colors that remind you of summertime, of desserts. And so it was a blast working with her again and seeing her work her magic.

AC: What are you hoping readers take away from Churro Stand?

KNG: The core of this story is about working-class families. In children’s literature I want to make sure that there are honest depictions of families that exist in this country. That it’s not a one-dimensional depiction of families. That we are honest in that there are children who have parents who work as street vendors, as people who deliver food, and that we make sure that those folks are depicted in a way that shows the dignity of their existence. 

Although Lucía is kind of like the main character driving the story, for me I feel like the mom is the main character. She’s the heart of the story. We don’t see too many picture books where the parent is at the core of the story, and I really wanted to make sure that that was part of the book. This sense that mom is this magical heroine in this story, and why is mami the magical heroine? And all the things that mami does to make sure that they’re OK, and that they’re well fed, and that they’re enjoying themselves and that she’s providing for them. All of that was part of the story-making process. I’d like, at the end of the day, for people to really focus on that, and also enjoy Krystal’s amazing illustrations. I’ve read the book so many times, but I’ll find myself at home just flipping through the book. I live in New York City and it’s easy to hate on this city sometimes. But this story, when I look through the images and I think about all the amazing food and amazing cultures of the city, it makes me realize, Wow, this city is really special. I hope that people walk away with the feeling that our cities are really beautiful, and we should appreciate all of the cultures and communities that exist within.


Karina N. González is a bilingual speech-language pathologist at an elementary school in Brooklyn, where she uses storytelling as a tool for language development with her students. She is also the author of The Coquies Still Sing, for which she received a Pura Belpré Author Honor.

 

Amaris Castillo is an award-winning journalist, writer, and the creator of Bodega Stories, a series featuring real stories from the corner store. Her writing has appeared in La Galería Magazine, Aster(ix) Journal, Spanglish Voces, PALABRITAS, Dominican Moms Be Like… (part of the Dominican Writers Association’s #DWACuenticos chapbook series), and most recently Quislaona: A Dominican Fantasy Anthology and Sana, Sana: Latinx Pain and Radical Visions for Healing and Justice. Her short story, “El Don,” was a prize finalist for the 2022 Elizabeth Nunez Caribbean-American Writers’ Prize by the Brooklyn Caribbean Literary Festival. She is a proud member of Latinx in Publishing’s Writers Mentorship Class of 2023 and lives in Florida with her family and dog.

April 2024 Latinx Releases

 

On Sale April 2

 

The Black Girl Survives in This One: Horror Stories edited by Desiree S. Evans and Saraciea J. Fennell | YOUNG ADULT

A YA anthology of horror stories centering Black girls who battle monsters, both human and supernatural, and who survive to the end.

Be warned, dear reader: The Black girls survive in this one.

Celebrating a new generation of bestselling and acclaimed Black writers, The Black Girl Survives in This One makes space for Black girls in horror. Fifteen chilling and thought-provoking stories place Black girls front and center as heroes and survivors who slay monsters, battle spirits, and face down death. Prepare to be terrified and left breathless by the pieces in this anthology.

The bestselling and acclaimed authors include Erin E. Adams, Monica Brashears, Charlotte Nicole Davis, Desiree S. Evans, Saraciea J. Fennell, Zakiya Dalila Harris, Daka Hermon, Justina Ireland, L.L. McKinney, Brittney Morris, Maika & Maritza Moulite, Eden Royce, and Vincent Tirado. The foreword is by Tananarive Due.

 

The Blue Mimes by Sara Daniele Rivera| POETRY

Sara Daniele Rivera's award-winning debut is a collection of sprawling elegy in the face of catastrophic grief, both personal and public. From the lead-up to the 2016 presidential election through the COVID-19 pandemic, these poems memorialize lost loved ones and meditate on the not-yet gone--all while the wider-world loses its sense of connection, safety, and assurance. In those years of mourning, The Blue Mimes is a book of grounding and heartening resolve, even and especially in the states of uncertainty that define the human condition.

Rivera's poems travel between Albuquerque, Lima, and Havana, deserts and coastlines and cities, Spanish and English--between modes of language and culture that shape the contours of memory and expose the fault lines of the self. In those inevitable fractures, with honest, off-kilter precision, Rivera vividly renders the ways in which the bereft become approximations of themselves as a means of survival, mimicking the stilted actions of the people they once were. Where speech is not enough, this astonishing collection finds a radical practice in continued searching, endurance without promise--the rifts in communion and incomplete pictures that afford the possibility to heal.

 

The Cemetery of Untold Stories by Julia Alvarez| ADULT FICTION

Alma Cruz, the celebrated writer at the heart of The Cemetery of Untold Stories, doesn't want to end up like her friend, a novelist who fought so long and hard to finish a book that it threatened her sanity. So when Alma inherits a small plot of land in the Dominican Republic, her homeland, she has the beautiful idea of turning it into a place to bury her untold stories--literally. She creates a graveyard for the manuscript drafts and the characters whose lives she tried and failed to bring to life and who still haunt her.

Alma wants her characters to rest in peace. But they have other ideas and soon begin to defy their author: they talk back to her and talk to one another behind her back, rewriting and revising themselves. Filomena, a local woman hired as the groundskeeper, becomes a sympathetic listener to the secret tales unspooled by Alma's characters. Among them, Bienvenida, dictator Rafael Trujillo's abandoned wife who was erased from the official history, and Manuel Cruz, a doctor who fought in the Dominican underground and escaped to the United States.

The Cemetery of Untold Stories asks: Whose stories get to be told, and whose buried? Finally, Alma finds the meaning she and her characters yearn for in the everlasting vitality of stories. Julia Alvarez reminds us that the stories of our lives are never truly finished, even at the end.

 

These Hollowed Bones by Amelia Díaz Ettinger| POETRY

In These Hollowed Bones, birds are the conduit for conversations of internal emotions and the natural world. This collection ties together the themes of loss, marriage, and ecology, topics that are at once personal and universal. The voices contained within these poems speak of the isolation felt by both avian and human due to migration and loss of habitat, loss of home. Nature and bird lovers will find solace and self-recognition within these pages.

 

The House on Biscayne Bay by Chanel Cleeton |ADULT FICTION

As death stalks a gothic mansion in Miami, the lives of two women intertwine as the past and present collide in New York Times bestselling author Chanel Cleeton's atmospheric new novel.

With the Great War finally behind them, many Americans flock to South Florida with their sights set on making a fortune. When wealthy industrialist Robert Barnes and his wife, Anna, build Marbrisa, a glamorous estate on Biscayne Bay, they become the toast of the newly burgeoning society. Anna and Robert appear to have it all, but in a town like Miami, appearances can be deceiving, and one scandal can change everything.

Years later following the tragic death of her parents in Havana, Carmen Acosta journeys to Marbrisa, the grand home of her estranged older sister, Carolina, and her husband, Asher Wyatt. On the surface, the gilded estate looks like paradise, but Carmen quickly learns that nothing at Marbrisa is as it seems. The house has a treacherous legacy, and Carmen's own life is soon in jeopardy . . . unless she can unravel the secrets buried beneath the mansion's facade and stop history from repeating itself.

 

Cross-Stitch by Jazmina Barrera |Translated by Christina Macsweeney | ADULT FICTION

It was meant to be the trip of a lifetime. Mila, Citlali, and Dalia, childhood friends now college aged, leave Mexico City for the London of The Clash and the Paris of Courbet. They anticipate the cafés and crushes, but not the early signs that they are each steadily, inevitably changing.

That feels like forever ago. Mila, now a writer and a new mother, has just published a book on needlecraft--an art form so long dismissed as "women's work." But after learning Citlali has drowned, Mila begins to sift through her old scrapbooks, reflecting on their shared youth for the first time as a new wife and mother. What has come of all the nights the three friends spent embroidering together in silence? Did she miss the signs that Citlali needed help?

 

Cruzita and the Mariacheros by Ashley Granillo | MIDDLE GRADE

Cruzita is going to be a pop star. All she has to do is win a singing contest at her favorite theme park and get famous. But she can't go to the theme park this summer. Instead, she has to help out at her family's bakery, which has been struggling ever since Tío Chuy died. Cruzita's great-uncle poured his heart into the bakery--the family legacy--and now that he's gone, nothing is the same.

When Cruzita's not rolling uneven tortillas or trying to salvage rock-hard conchas, she has to take mariachi lessons, even though she doesn't know how to play her great-grandpa's violin and she's not fluent in Spanish. At first, she's convinced her whole summer will be a disaster. But as she discovers the heart and soul of mariachi music, she realizes that there's more than one way to be a star―and more than one way to carry on a legacy.

 

Our World: Colombia by Alexandra Alessandri | Illustrated by Manu Montoya | PICTURE BOOK

¡Hola! Come along for a day of exploring the sights and sounds of Colombia from the farm to the city. Join Bebé and Perrito as they snack on arepa con chocolate, visit the market, dance cumbia, and count whales in the waves. Colombian author Alexandra Alessandri and illustrator Manu Montoya draw on their personal experiences to create this vibrant board book as part of the Our World series for very young readers.

 

Sing It Like Celia by Mónica Mancillas |MIDDLE GRADE

Twelve-year-old Salva Sanchez has always been a fan of Celia Cruz, also known as "the queen of salsa." Her love of Celia stems from her mother, who leaves Salva without explanation one awful day. Now Salva is stuck with her investigative journalist father in an RV campground. In the middle of nowhere.

As Salva acclimates to her new environment and desperately tries to figure out why her mother left, she befriends a posse of campground kids who have started a band. When the kids discover that Salva has an amazing singing voice, they convince her to join their group. Soon, Salva learns how to find her voice--and herself--with the help of her newfound friends, her dad, and the one and only Celia Cruz.

 

Ultraviolet by Aida Salazar | MIDDLE GRADE

For Elio Solis, eighth grade fizzes with change--His body teeming with hormones. His feelings that flow like lava. His relationship with Pops, who's always telling him to man up, the Solis way. And especially Camelia, his first girlfriend.

But then, betrayal and heartbreak send Elio spiraling toward revenge, a fight to prove his manhood, and defend Camelia's honor. He doesn't anticipate the dire consequences--or that Camelia's not looking for a savior.

Hilarious, heartwarming, and highly relatable, Ultraviolet digs deep into themes of consent, puberty, masculinity, and the emotional lives of boys, as it challenges stereotypes and offers another way to be in the world.

 

You Are Here: Poetry in the Natural World edited by Ada Limón | POETRY

For many years, "nature poetry" has evoked images of Romantic poets standing on mountain tops. But our poetic landscape has changed dramatically, and so has our planet. Edited and introduced by the twenty-fourth Poet Laureate of the United States, Ada Limón, this book challenges what we think we know about "nature poetry," illuminating the myriad ways our landscapes--both literal and literary--are changing.You Are Here features fifty previously unpublished poems from some of the nation's most accomplished poets, including Joy Harjo, Diane Seuss, Rigoberto González, Jericho Brown, Aimee Nezhukumatathil, Paul Tran, and more. Each poem engages with its author's local landscape--be it the breathtaking variety of flora in a national park, or a lone tree flowering persistently by a bus stop--offering an intimate model of how we relate to the world around us and a beautifully diverse range of voices from across the United States.Joyful and provocative, wondrous and urgent, this singular collection of poems offers a lyrical reimagining of what "nature" and "poetry" are today, inviting readers to experience both anew.

 

On Sale April 9

 

City Girls by Loretta Lopez| MIDDLE GRADE

What Elisa, Lucia, and Alice see-and judge-of each other from the outside is drastically different from how each girl feels inside. They attend the same classes in the same New York City middle school, but no one knows that Elisa is trying to navigate the bewildering asylum process having just arrived from El Salvador; or that Lucia, who also speaks Spanish and brims with self-confidence, is caught in the middle of her parents' heartbreaking divorce; or that Alice, who appears to be a rebel in combat boots, carries the burden of her mother's progressing cancer.

Narrated by each girl in alternating chapters, City Girls captures the vulnerability of being a middle schooler and the relief and joy of finding friendship where you least expect it.

 

Canto Contigo by Jonny Garza Villa |YOUNG ADULT

In a twenty-four-hour span, Rafael Alvarez led North Amistad High School's Mariachi Alma de la Frontera to their eleventh consecutive first-place win in the Mariachi Extravaganza de Nacional; and met, made out with, and almost hooked up with one of the cutest guys he's ever met.

Now eight months later, Rafie's ready for one final win. What he didn't plan for is his family moving to San Antonio before his senior year, forcing him to leave behind his group while dealing with the loss of the most important person in his life--his beloved abuelo. Another hitch in his plan: The Selena Quintanilla-Perez Academy's Mariachi Todos Colores already has a lead vocalist, Rey Chavez--the boy Rafie made out with--who now stands between him winning and being the great Mariachi Rafie's abuelo always believed him to be. Despite their newfound rivalry for center stage, Rafie can't squash his feelings for Rey. Now he must decide between the people he's known his entire life or the one just starting to get to know the real him.

 

Bones Worth Breaking: A Memoir by David Martinez |ADULT NONFICTION

Nobody around David Martinez saw how quickly he was breaking apart except for his younger brother, Mike. They stood out in Idaho: mixed-race in a Mormon community that, in the years before David's birth, considered Black people ineligible for salvation. The Martinez brothers were raised to be "good boys," definitely not to get high, skateboard all night, or get arrested, all of which they did with zeal. Then their paths diverged. David went on a two-year mission trip to Brazil like his father before him, and Mike stayed in the States, finding himself in and out of prison. When David returned, in the middle of the still-unnamed opioid epidemic, things had irrevocably changed, and in 2021, Mike unexpectedly died in prison.

Martinez writes with a serrated edge, as viscerally felt as an exposed nerve, and transforms from a stoic boy constantly seeking escape to a vulnerable man eager to contextualize the legacies and losses that have shaped his life. With a wild, ragged velocity--flipping and soaring like a pro skater--Martinez defies a linear telling of his life and tackles topics from abuse and racism to writing and capturing the meaning of the specific nostalgia of saudade.

 

You by Rosa Alcalá | POETRY

Rosa Alcalá choreographs language to understand the body as it "gathers itself over time to become whole," recovering the speaker's intuition while unraveling memory to pinpoint the aches, anxieties, and lessons of a woman's survival. Ruminating on daughterhood, mothering, and the body's cumulative wisdom, YOU traces a jagged line through fears and joys both past and present.

 

I’ll Give You a Reason by Annell López |SHORT STORIES

The vibrant stories in I'll Give You a Reason explore race, identity, connection, and belonging in the Ironbound, an immigrant neighborhood in Newark, New Jersey. A young widow goes on her first date since her husband's death and finds herself hunting a bear in the woods with a near stranger. An unhappy wife compares her mother's love spells and rituals to her own efforts to repair her strained marriage. A self-conscious college student discovers a porn star who shares her name and becomes obsessed with her doppelgänger's freedom and comfort with her own body.Annell López's indelible characters tread the waters of political unrest, sexuality, religion, body image, Blackness, colorism, and gentrification--searching for their identities and a sliver of joy and intimacy. Through each story, a nuanced portrait of the "American Dream" emerges, uplifting the voices of those on its margins.

 

Why Did You Come Back Every Summer by Belén López Peiró | Translated by Maureen Shaughnessy | ADULT FICTION

A fractured account of family abuse, secrets, and the cost of pursuing the truth.

In the most private spaces, the most intimate betrayals occur. Belén López Peiró places us squarely in the tenderest of times--young teenagehood, in a home about to be ruptured by sexual assault. In this home, for this young woman, your assailant is your uncle, and also a police commissioner. The people who shelter you will reject you: your mother is his sister-in-law, your beloved aunt his wife and your cousin and friend his daughter. And the truth of what happened will depend entirely on you.

Why Did You Come Back Every Summer is a document of uncertainty, self-doubt, and the appearance of progress when there is none. A chorus of voices interrupt and overtake each other; interviews and reports are filed. The truth will be heard but how and by whom? Loyalties will shift and slip. And certain questions have no easy answers. What do you owe to your family? What do they owe you? How far will you go to get yourself back?

 

On Sale April 16

 

GLEEM by Freddy Carrasco |GRAPHIC NOVEL

Imbued with cyberpunk attitude and in the rebellious tradition of afrofuturism, GLEEM is drawn with a fierce momentum hurtling towards a future world. Carrasco's distinct cinematic style layers detailed panels and spreads, creating a multiplicity of perspectives, at once dizzying and hypnotic. Vignettes unspool in proximity to our own social realities and expand into the outer layers of possibility. Whether in the club or a robot repair workshop, the characters in these three interconnected stories burst across frames until they practically step off the page.

A boy becomes bored at church with his grandmother until he tries a psychedelic drug. A group of friends are told that they need a rare battery if they want any chance of reviving their friend. Street style and cybernetics meet and burst into riotous dancing. Kindness and violence might not be as distant from each other as we think. GLEEM unsettles with a confidence that could make you believe in anything.

 

A Maleta Full of Treasures by Natalia Sylvester| Illustrated by Juana Medina | PICTURE BOOK

It's been three years since Abuela's last visit, and Dulce revels in every tiny detail--from Abuela's maletas full of candies in crinkly wrappers and gifts from primos to the sweet, earthy smell of Peru that floats out of Abuela's room and down the hall. But Abuela's visit can't last forever, and all too soon she's packing her suitcases again. Then Dulce has an idea: maybe there are things she can gather for her cousins and send with Abuela to remind them of the U.S. relatives they've never met. And despite having to say goodbye, Abuela has one more surprise for Dulce--something to help her remember that home isn't just a place, but the deep-rooted love they share no matter the distance.

 

Wrath of the Rain God by Karla Arenas Valenti | Illustrated by Vanessa Morales | CHILDREN’S BOOK

Nine-year-old twins, Emma and Martín, couldn't be more different in their personalities, interests, and even their looks. But one thing they absolutely agree on is that moving from Cuernavaca, Mexico, to Illinois is a terrible idea. Unfortunately, they're not given a choice when their dad lands his dream job as a middle school principal in Chicago. To help the twins stay connected to their Mexican heritage, their abuela gifts them a book of Mexican legends. The book turns out to be more than a going away present...it's a magical item that transports them directly into the legends!

In the first legend, Emma and Martín encounter Tlaloc, the god of rain. Tlaloc is angry because his lightning bolt has been stolen, and his rage is manifesting as a torrential downpour over the ancient city of Texcoco. The rain won't stop until the lightning bolt has been returned, so Emma and Martín set out to recover it.

Will they find Tlaloc's bolt in time to help the people of Texcoco save their home? Or will the wrath of the rain god mark the end of this legendary city?

 

This Is Me Trying by Racquel Marie | YOUNG ADULT

Growing up, Bryce, Beatriz, and Santiago were inseparable. But when Santiago moved away before high school, their friendship crumbled. Three years later, Bryce is gone, Beatriz is known as the dead boy's girlfriend, and Santiago is back.

The last thing Beatriz wants is to reunite with Santiago, who left all her messages unanswered while she drowned alone in grief over Bryce's death by suicide. Even if she wasn't angry, Santiago's attempts to make amends are jeopardizing her plan to keep the world at arm's length--equal parts protection and punishment--and she swore to never let anyone try that again.

Santiago is surprised to find the once happy-go-lucky Bea is now the gothic town loner, though he's unsurprised she wants nothing to do with him. But he can't fix what he broke between them while still hiding what led him to cut her off in the first place, and it's harder to run from his past when he isn't states away anymore.

Inevitably drawn back together by circumstance and history, Beatriz and Santiago navigate grief, love, mental illness, forgiveness, and what it means to try to build a future after unfathomable loss.

 

Churro Stand by Karina N. González | Illustrated by Krystal Quiles | PICTURE BOOK

Everybody loves churros!

On a hot summer's day, Lucía and her brother accompany their mother to sell delicious, sugary churros on the bustling streets of New York City. But when a thunderstorm rolls in, and the customers are chased away, Lucía's mother must improvise with a little bit of magic and lots of amor.

 

Is Grad School for Me?: Demystifying the Application Process for First-Gen Bipoc Students by Yvette Martínez-Vu and Miroslava Chavez-Garcia | NONFICTION

Is Grad School for Me? is a calling card and a corrective to the lack of clear guidance for historically excluded students navigating the onerous undertaking of graduate school--starting with asking if grad school is even a good fit. This essential resource offers step-by-step instructions on how to maneuver the admissions process before, during, and after applying.

Unlike other guides, Is Grad School for Me? takes an approach that is both culturally relevant and community based. The book is packed with relatable scenarios, memorable tips, common myths and mistakes, sample essays, and templates to engage a variety of learners. With a strong focus on demystifying higher education and revealing the hidden curriculum, this guide aims to diversify a wide range of professions in academia, nonprofits, government, industry, entrepreneurship, and beyond.

 

Giant on the Shore by Alfonso Ochoa | Illustrated by Azul López | Translated by Shook | PICTURE BOOK

A giant stands on the shore of a secluded city: a place where no trains pass through, where you can hear the sound of birds, and the air smells of bread. What would happen if the giant entered the city? Would the people welcome him? Would they invite him to play in their games? Would they tell him stories and teach him to dance? Would he need lawn mowers to trim his beard and power cables to jump rope? Or would he simply return to the waves?

Featuring poignant, acrylic paintings by award-winning illustrator Azul López, Giant on the Shore is a tale of vulnerability and belonging that explores the enormity of self-doubt and the tremendous potential in taking risks.

 

On Sale April 23

 

Wild Dreamers by Margarita Engle | YOUNG ADULT

Ana and her mother have been living out of their car ever since her militant father became one of the FBI's most wanted. Leandro has struggled with debilitating anxiety since his family fled Cuba on a perilous raft.

One moonlit night, in a wilderness park in California, Ana and Leandro meet. Their connection is instant--a shared radiance that feels both scientific and magical. Then they discover they are not alone: a huge mountain lion stalks through the trees, one of many wild animals whose habitat has been threatened by humans.

Determined to make a difference, Ana and Leandro start a rewilding club at their school, working with scientists to build wildlife crossings that can help mountain lions find one another. If pumas can find their way to a better tomorrow, surely Ana and Leandro can too.

 

Llamando a Mamá by Anya Damirón | Illustrated by César Barceló | PICTURE BOOK

Max cree que puede arreglarlo todo gritando "¡MAMÁÁÁÁ!". Pero pronto descubrirá que él solo también puede solucionar muchas cosas. Max llama a su madre cada vez que quiere algo. O cuando se siente mal. O cuando tiene sueño. O cuando se le cae cualquier cosa al suelo. La llama gritando con todas sus fuerzas "¡MAMÁÁÁÁ!". Su madre vive constantemente asustada, pero un día decide no acudir a su insistente llamada. Para su sorpresa, comprueba que Max es capaz de hacer las cosas él solito.

 

On Sale April 30

 

The Salvisoul Cookbook: Salvadoran Recipes and the Women Who Preserve Them by Karla Tatiana Vasquez | COOKBOOK

In search of the recipes and traditions that made her feel at home, food historian and Salvadoran Karla Tatiana Vasquez took to the internet to find the dishes her mom made throughout her childhood. But when she couldn't find any, she decided to take matters into her own hands. What started as a desire to document recipes turned into sharing the joys, histories, and tribulations of the women in her life.

In this collection of eighty recipes, Karla shares her conversations with moms, aunts, grandmothers, and friends to preserve their histories so that they do not go unheard. Here are recipes for Rellenos de Papa from Patricia, who remembers the Los Angeles earthquakes of the 1980s for more reasons than just fear; Flor de Izote con Huevos Revueltos, a favorite of Karla's father; as well as variations on the beloved Salvadoran Pupusa, a thick masa tortilla stuffed with different combinations of pork, cheese, and beans. Though their stories vary, the women have a shared experience of what it was like in El Salvador before the war, and what life was like as Salvadoran women surviving in their new home in the United States.

 

The Best Worst Camp Out Ever by Joe Cepeda | COMIC BOOK

A boy and his father go on a camping trip! Despite one disaster after another, in the end, father and son agree it was their best weekend ever!

Simple text and comic-book style illustrations support comprehension in this delightful book, ideal for first graders.

 

My Mexican Mesa, Y Listo!: Beautiful Flavors, Family Style by Jenny Martinez | COOKBOOK

When Mexican TikTok and Instagram star Jenny Martinez ends her videos by saying "y listo and enjoy" and takes a bite of her finished dish, you almost feel like you can taste the delicious food with her. Well, now you can! My Mexican Mesa, Y Listo! is here to provide family-style recipes for every occasion, beautifully photographed to capture the authentic spirit of the cuisine.

Jenny may have moved from Mexico to the United States as a child, but her recipes are passed down through generations. She fondly recalls the smell of her mother's birria (Mexican beef stew) all through the house, and it's no surprise that birria is the recipe that first helped Jenny go viral on TikTok, achieving over a million views in the first day alone. Now fans can't get enough of Jenny's recipes, all presented in the warm and inviting manner for which she's best known. Jenny considers a well-fed family to be the key to a happy family. As she says, every dinner should be celebrated, and food brings people together.

 

Benny Ramírez and the Nearly Departed by José Pablo Iriarte | MIDDLE GRADE

After moving cross-country into his late grandfather's Miami mansion, Benny discovers that the ghost of his famous trumpet-playing abuelo, the great Ignacio Ramírez, is still there . . . and isn't too thrilled about it. He's been barred from the afterlife, and no one can see him except his grandson. But Benny's got problems of his own. He's enrolled in a performing arts school with his siblings, despite having no obvious talent.


Luckily, Abuelo believes they can help each other. Abuelo has until New Year's Eve to do some good in the world and thinks that teaching Benny how to play the trumpet and become a school celebrity might be the key to earning his wings. Having no better ideas, Benny finds himself taking Abuelo's advice--to disastrous and hilarious results.
Benny and Abuelo will find that there's more than one way to be great in this unforgettable, laugh-out-loud tale of family, music, and self-discovery.

 

The Way That Leads Among the Lost: Life, Death, and Hope in Mexico City's Anexos by Angela Garcia | NONFICTION

he Way That Leads Among the Lost reveals a hidden place where care and violence are impossible to separate: the anexos of Mexico City. The prizewinning anthropologist Angela Garcia takes us deep into the world of these small rooms, informal treatment centers for alcoholism, addiction, and mental illness, spread across Mexico City's tenements and reaching into the United States. Run and inhabited by Mexico's most marginalized populations, they are controversial for their illegality and their use of coercion. Yet for many Mexican families desperate to keep their loved ones safe, these rooms offer something of a refuge from what lies beyond them--the intensifying violence surrounding the drug war.

This is the first book ever written on the anexos. Garcia, who spent a decade conducting anthropological fieldwork in Mexico City, draws readers into their many dimensions, casting light on the mothers and their children who are entangled in this hidden world. Following the stories of its denizens, she asks what these places are, why they exist, and what they reflect about Mexico and the wider world. With extraordinary empathy and a sharp eye for detail, Garcia attends to the lives that the anexos both sustain and erode, wrestling with the question of why mothers turn to them as a site of refuge even as they reproduce violence. Woven into these portraits is Garcia's own powerful story of family, childhood, homelessness, and drugs--a blend of ethnography and memoir converging on a set of fundamental questions about the many forms and meanings that violence, love, care, family, and hope may take.

 

What Comes Back by Javier Peñalosa | Translated by Robin Myers | POETRY

Javier Peñalosa M.'s What Comes Back is a procession, a journey, a search for a body of water that has disappeared or gone elsewhere. Featured in separate sections, original Spanish poems and Robin Myers' English translations highlight tender ruminations on loss, memory, and communion. Just as landscapes witness and "preserve what happens along the length of them," so do people. We watch as travelers navigate realms between the living and the dead, past mountains and dried up rivers to map, trace, and remember the past and future. Several sections, each bearing the title "What Comes Back," guide readers on a looping voyage where they are "orbited around the gravity of what had come to be"--the absence of Mexico City's rivers, and other absences wrought by war, climate change, and forced migration. Rattled between ecological destruction and human violence, What Comes Back, what remains, is a desire to name the missing, to render belonging out of dispossession, endurance out of erasure--the spiritual urge toward connection and community.

 

Exclusive Excerpt from Jamie Figueroa’s Mother Island: A Daughter Claims Puerto Rico

Latinx in Publishing is pleased to share an exclusive excerpt from Jamie Figueroa’s forthcoming memoir Mother Island: A Daughter Claims Puerto Rico publishing March 19th from Pantheon Books. Read on for a glimpse of this highly anticipated book!

In my late twenties, during my saturn return—when, according to astrology, the transition into adulthood is fully realized—I moved to Santa Fe, New Mexico, a place I’d been regularly visiting for nearly eight years. I rented a room in the home of an elderly woman, a divorcée from Texas. Her eastside condo faced north. Floor-to-ceiling windows showcased Mount Baldy at an intimate distance, relaxed in its pose. I beheld it every day and imagined it beholding me as well. It was a kind of worship, meditation, communion.

I found work at an internationally renowned spa where a hierarchy of massage therapists crowded the schedule months in advance, leaving hours available only by subbing shifts. As I waited for bookings, I slow-walked; I stood; I stared at the mountain, the hills, the sky, and the vast distances where other mountains and mesas seemed temporarily paused in their own great ongoing transformation. I used this as tangible evidence of beauty, of stability, of possibility.

There was no money for such a relocation. I’d borrowed what I could. My credit cards were maxed out after a recent divorce, and I had no savings, so I stayed to the trails, to the generosity, acceptance, and inclusion of Mother Earth/Mother Nature.

Mountains, mesas, piñons, ponderosa pines, pine, juniper, cedar, chamisa, cholla, prickly pear, sage. Whispers of water called river. The way that water whispers. Female rain. Coyotes, bears, snakes, wild cats, wild horses. Sky. All of this and more rearranged my reality. It was an external and an internal experience. Because of this, I could soften and strengthen simultaneously. A teaching from the mountain, as if it were an eternal mother.

These shared, free, public lands evoked a similar sensation to the one I cultivated in my notebook. I was disoriented and overcome with vulnerability. Everything I did and said seemed awkward to me. I was unfamiliar to myself in this new home.

I held to my pen, translated my details into language. Maps of Puerto Rico, Ohio, and New Mexico were taped to my bedroom wall. After printing them, I traced each border with my fingers, tried to understand how these shapes had shaped me. My triptych of un/belonging. Puerto Rico, the Island of Enchantment. New Mexico, the Land of Enchantment. And there in between, Ohio, where I had grown up—its state border resembling a crude heart, a bridge that I spent my younger years crossing.

If only I could get my coordinates right. I wished locating myself were as easy as looking at these maps.

As I shed my experience as a tourist and transformed into a resident, I considered how to introduce myself—what stories I wanted to share and how I would present them. Most other transplants assumed I was Nuyorican. (I did not confess that I’d been to New York City only once, for a few hours as a child, while visiting my tío’s family in a New Jersey suburb. The lively alleyways, yellow taxicabs, mounds of trash, and buildings rising endlessly above me as if into and beyond the sky were my singular tangible and daunting memory.) Santa Fe locals spoke to me first in Spanish.

New Mexico was not Ohio, obviously and thankfully. Neck tattoos of brown power were not uncommon, most public places were bilingual, checkout ladies at the grocery store and in government offices called me “mi’ja,” the closest I’d ever come to my mother’s “mi’jita.” No one asked me what I was. Occasionally, I was asked where I or my people were from, not as an interrogation, or to single out and exclude, but as an invitation, to welcome and include.

The white body supremacy of the Midwest, polite but persistent racism, and the confines of small-town culture dissolved. There was more room to explore my own identity. To coax out what I had banished to the corners for fear of being unsafe. This is how it was for me, a mixed-race woman of color, who had tried to mimic whiteness as my mother had. I constantly had to wave my white flag of surrender at what and who oppressed me, as if to say, Please, have mercy. I will not be a threat to you.

Liberated from Ohio, and the conditioning of my submissive youth, I set out to try to understand and claim what colonization had stolen from my family, from me, what it continued to steal. If I was not hiding, who was I? If I was not adapting to what was acceptable to those who couldn’t even truly see me to begin with, who could I become? When you pull out the weeds of colonization, how do you tend to what’s always been there, growing, albeit concealed?

These were the questions that continued to remake and reshape me. After a fifteen-year break from academia, I finished my education at a tribal college, the Institute of American Indian Arts. That is where these questions were seeded, germinated, and took root. I also “returned” forthe first time to my family’s homeland, the island of Puerto Rico. Called Borikén by the original people, the Taíno, who are my ancestors.

***

In my memory, it was exactly like this:

My mother and my two older sisters lie on a nubbly yellow felt blanket in the grass. The top edge is lined in unraveling satin. Kneeling behind my mother, I study her and my teenage sisters. Their arms and legs are longer than anything I have yet to experience—potential and self-possession outstretched—and browning darker by the moment.

I hold a small lined notebook in my left hand. The pencil I use is dull; the soft, blunt lead digs into the spaces between the blue lines. On this first page, I am careful to make the stems of the h’s and d’s tall. Careful to hook the g in the right direction. I can write a handful of two- and three-letter words. The spiral on the side of the notebook glints, catching the sun as the wire coil shifts in response to the pressure of my writing. Creativity moves naturally from the center of my being down my right arm and through my hand with each carefully crafted letter. At six years old, I compose my first poem.

Uninterrupted by trees, the backyard is vast. It rolls into one neighbor’s lawn and then another as far as can be seen. Tufts of dandelions in full bloom, and in post-blossom puff, constellate the grass. Prince plays from a small speaker lodged in one of the upstairs windows. We shriek and call out with our passionate imitations as he cries, “Purple rain.” The back of the split-level seems to turn away from us, more interested in the road and who might be passing by than in our emotional outburst. Awaiting its master, our mother’s new husband, as if some obedient pet. We have similarly adapted and learned to wait for commands in his presence.

It is early spring. The prior autumn, my mother, my sisters, and I had packed the contents of our government housing—a subsidized duplex—into large black trash bags and piled them into the family car, a two-door maroon Buick. We drove a few towns south from our neighborhood of Black and brown mothers and children adorned with beaded hair to move in with our mother’s new husband, whose home had too many empty rooms, since his own children were adults. Before this, all four of us had slept in one bed each night. My earliest memory of sleeping and dreaming was of being lodged between the bodies of a pair of older sisters, only sixteen months apart, and our mother. After we moved, I didn’t have the capacity to express the longing I felt for that bed, for the exclusive unit we were, a family of the feminine. A womb of our own containment and authority, safe. To be with this man in his house, each of us in our own room, my mother the farthest away she’d ever been, was a betrayal of what I had come to know and trust.

As daughters, we were no longer privileged. As the youngest, I was no longer preferred. There was a man now, a white man, with a white and silver tinseled beard and white T-shirts with tinted stains beneath his arms, and white cigarettes with endless plumes of white smoke snaking around him at the head of the table as he regaled us with endless stories from his shift at the Goodyear plant after every dinner.

He rearranged our hierarchy. My mother submitted. In my limited understanding, I was confused about how this had happened. I wanted it undone. But in the grass that day, on the blanket with my real family, each one of them stretched out, singing, laughing, radiating the comfort of the familiar, I was compelled to summon the sparse language that I possessed to capture what I belonged to and what belonged to me. Grass, flowers, trees, sun, laughter. Nearly all the words misspelled. A list more than a poem, as if art were an act of inventory, an exercise of naming. No matter. It was my moment: my mother, my sisters, my pencil, my paper. A celebration.

This was before we ran, never to return. Before the next man came along—one husband after another and all the boyfriends in between, traversing our lives, rearranging us as they came and went, scrambling the cohesion of our feminine collective.

***

How long did the pastor and his family take us in for when we left—was it a week, a month? I don’t remember how many times we moved. Canal Fulton, Bellefontaine, Plain City, Marysville. Mount Vernon, Delaware, East Liberty. And then there were the counties: Union, Morrow, Knox, Logan, Licking, Hocking. Thirty miles in all directions radiating from the intersection of Main and Maple. The fields sliced by long lines of unused, nameless railroad tracks. On two-lane county roads, clapboard houses leaned from their foundations as if preparing to pick up, at long last, and begin their migration, as if they were never from here either. In between the houses and pole barns, men’s briefs, socks, and undershirts—all white—and denim jeans of all sizes hung on clotheslines, stiff with the memory of their owner’s thighs and knees in the winter air. In these lands, the only darkness came with the skin of night. Rural Ohio. We would cross another county line to another Main Street, where semitrucks had worn grooves in the asphalt; where the drive-through liquor store was not far from the collection of churches; and, of course, where there were more fields—feed corn, soybeans—and cows in various group formations, as if painted boulders, the most uninterested of us all.

I don’t remember where I thought I was going when, at six years old, shortly before we ran, I put a pack of bubble gum, a photo of my mother, my nightgown, and two pairs of underwear into a brown paper sack and stomped out the front door. Perhaps I thought that I could find what I no longer had, that by leaving I could somehow go back to the place where I was still included in my own family—unquestioned belonging.

I did not manage to pull off my escape. My sisters ran after me, dragging me back to the house. Laughing and crying at my ridiculous choice of what to pack, at my courage and desperation. At our desperation. I would learn in the coming years to go missing in other ways.

I don’t remember the look on my mother’s face later that night when she returned from work, hours on her feet cutting hair, and they told her. Surely it was a terrible mix of hurt and other emotions too numerous to track, let alone name. The hurt that had been unleashed on her. The hurt she unleashed on me. The hurt I learned to return.

I don’t remember how many years I used that same kind of brown paper sack as a book bag. I don’t remember how many times I was asked, “What are you?” How many classroom windows I stared out of as if held hostage by a room full of people who did not look like me, aching for some semblance of the familiar, for something nourishing, to be claimed. The weapon of education was wielded, a highly edited history unquestioned, purposefully excluding me while demanding my subservience in return. Another kind of assault, of trauma, that of being invisible, of being silenced, of being rewarded/punished for loyalty or lack thereof to the sameness I was drowning in—soundlikelookliketalklikethinklikeactlike.





Used with permission from Pantheon Books, a division of Penguin Random House LLC. Copyright (c) Jamie Figueroa, 2024.






Jamie Figueroa is the author of the critically acclaimed novel Brother, Sister, Mother, Explorer (Catapult 2021), which was short-listed for the Reading the West Book Award and long-listed for the Center for Fiction First Novel Prize, was an Indie Next pick, a Good Morning America must-read book of the month, and was named a most anticipated debut of the year by Bustle, Electric Literature, The Millions, and Rumpus. A member of the faculty in the MFA Creative Writing program at the Institute of American Indian Arts, Figueroa has published writing in American Short Fiction, Emergence Magazine, Elle, McSweeney’s, Agni, The New York Times, and the Boston Review, among other publications. A Voices of Our Nations Arts Foundation (VONA) alum, she received a Truman Capote Award and was a Bread Loaf Rona Jaffe Scholar. Boricua (Afro-Taíno) by way of Ohio, Figueroa is a longtime resident of northern New Mexico.

Most Anticipated March 2024 Releases

March has so many amazing books coming out this month. Take a look at some of our most anticipated list to add to your TBR!

 

Anita de Monte Laughs Last by Xochitl Gonzalez |On Sale March 5

1985. Anita de Monte, a rising star in the art world, is found dead in New York City; her tragic death is the talk of the town. Until it isn't. By 1998 Anita's name has been all but forgotten--certainly by the time Raquel, a third-year art history student is preparing her final thesis. On College Hill, surrounded by privileged students whose futures are already paved out for them, Raquel feels like an outsider. Students of color, like her, are the minority there, and the pressure to work twice as hard for the same opportunities is no secret.

But when Raquel becomes romantically involved with a well-connected older art student, she finds herself unexpectedly rising up the social ranks. As she attempts to straddle both worlds, she stumbles upon Anita's story, raising questions about the dynamics of her own relationship, which eerily mirrors that of the forgotten artist.

 

The Great Divide by Cristina Henriquez |On Sale March 5

It is said that the canal will be the greatest feat of engineering in history. But first, it must be built. For Francisco, a local fisherman who resents the foreign powers clamoring for a slice of his country, nothing is more upsetting than the decision of his son, Omar, to work as a digger in the excavation zone. But for Omar, whose upbringing was quiet and lonely, this job offers a chance to finally find connection.

Ada Bunting is a bold sixteen-year-old from Barbados who arrives in Panama as a stowaway alongside thousands of other West Indians seeking work. Alone and with no resources, she is determined to find a job that will earn enough money for her ailing sister's surgery. When she sees a young man--Omar--who has collapsed after a grueling shift, she is the only one who rushes to his aid.

 

Through the Night Like a Snake by Mónica Ojeda, Tomás Downey, Camila Sosa Villada, Julián Isaza, Maximiliano Barrentos, Mariana Enriquez, Lina Munar Guevara, Antonio Diza Oliva| Edited by Sarah Coolige| On Sale March 12

A boy explores the abandoned house of a dead fascist...
A leaked sex tape pushes a woman to the brink...
A sex worker discovers a dark secret among the nuns of the pampas...
The mountain fog is not what it seems...
Kermit the Frog dreams of murder...

In ten chilling stories from an ensemble cast of contemporary Latin American writers, including Mariana Enriquez (tr. Megan McDowell), Camila Sosa Villlada (tr. Kit Maude), Claudia Hernández (tr. by Julia Sanches and Johanna Warren) and Mónica Ojeda (tr. Sarah Booker and Noelle de la Paz), horror infiltrates the unexpected, taboo regions of the present-day psyche.

 

Mother Island: A Daughter Claims Puerto Rico by Jamie Figueroa|On Sale March 19

Growing up in the Midwest, raised by a Puerto Rican mother who was abandoned by her family, Jamie Figueroa and her sisters were estranged from their culture, consumed by the whiteness that surrounded them. In Mother Island, Figueroa traces her search for identity as shaped by and against a mother who settled into the safety of assimilation. In lyrical, blistering prose, Figueroa recalls a childhood in Ohio in which she was relegated to the background of her mother's string of failed marriages; her own marriage in her early twenties to a man twice her age; how her work as a licensed massage therapist helped her heal her body trauma; and how becoming a mother has reshaped her relationship to her family and herself. Only as an adult in New Mexico was Figueroa able to forge her own path, using writing to recast her origin story. In a journey that takes her to Puerto Rico and back, Figueroa looks to her ancestors to reimagine her relationship to the past and to her mother's native island, reaching beyond her own mother into a greater experience of mothering and claiming herself.

Interview: ‘Mani Semilla Finds Her Quetzal Voice’ by Anna Lapera

Life sucks when you’re twelve. That’s according to Manuela “Mani” Semilla, the main protagonist of Anna Lapera’s debut middle grade novel, Mani Semilla Finds Her Quetzal Voice.

“And what sucks even more than being a half-Chinese-Filipino-American half-Guatemalan who can’t speak any ancestral language well?” Mani asks. “When almost every other girl in school has already gotten her period except for you and your two besties, Kai and Connie. And everybody’s looking at you like you’re still some little girl with no real-life knowledge to go with those big, stupid, purple-framed glasses.”

Right now Mani is laser-focused on two things: getting her period, and trying to foil her mom’s plan of bringing her to Guatemala on her thirteenth birthday. But first periods don’t arrive when you want them to. And at home and at school, Mani struggles with finding what her grandmother calls her quetzal voice. Abuelita always likens Mani to the Guatemalan quetzal bird – “rare and powerful.”

Then one day in her family’s attic, Mani stumbles upon secret letters between her mom and her aunt, Beatriz. Mani always heard that her Tía Beatriz died in a bus crash. But these letters point to other truths, and even more stories about violence against women – thrusting Mani on a journey to learn about not just her family, but herself. She begins to make certain connections to a culture of sexual harassment in her school. Can Mani build the courage and learn to stand up against it?

Out on March 5 from Levine Querido, Mani Semilla Finds Her Quetzal Voice is a kaleidoscopic story about feminism, female empowerment, activism, and so much more. This novel is at times hilarious, at times heartbreaking, and at times infuriating as readers are brought into the many trials of middle schoolers.

I loved this novel in part because I related to Mani in some ways. She’s trying to figure out who she is, what her relationship is to her mom’s native country – and in what shape her activism can take. Lapera brings a sharp eye toward injustices against girls and women with heart and the right dose of humor.

Latinx in Publishing spoke with Lapera about the inspiration behind Mani Semilla Finds Her Quetzal Voice, what it was like to thread in themes like activism, and more.

This interview has been edited for clarity and brevity.

Amaris Castillo (AC): Congratulations on Mani Semilla Finds Her Quetzal Voice. What inspired you to write this story?

Anna Lapera (AL): This started as a short story. After years of not writing, I took this year-long short story workshop for adult writing. For the very first story, it was like two days before I had to turn something in. I hadn’t written in so long that I really felt stuck. And then someone asked me, ‘Do you remember the first time you got your period?’ And all these memories came back. And I was like, I want to write a period story. There’s a whole list of books about period stories, but not a ton. I think that first time you get your period is worthy of a story, so I want to write that. It started as this super messy 10-page short story about a girl obsessed with getting her period. That’s it. But I had a lot of fun writing it. 

In the course of a couple of years, I was lucky enough to do the Musas Mentorship Program as a mentee. I developed this short story into a full-length novel, which was the suggestion from my short story instructor, Ivelisse Rodriguez. She was like, ‘You know, you really write YA. And this should be a novel.’ I hadn’t even considered it. But then it all made sense. And as I wrote the novel, I realized that it was about so much more. Not that just writing about periods isn’t enough. I think there’s so much richness in that. But it did become about more. The period is the way in which the character ends up connecting her family story with the central question to the book, which is: What does it mean to be a feminist? And what that means for the protagonist in her American setting. But then also what it meant to the other women in her life. It ended up being about more than that. But that was the inspiration. That was the original seed.

AC: Your main character, Manuela Semilla, is smart, funny and astute. She has such a keen awareness of her family dynamics and surroundings, yet there are still a lot of things she doesn’t know – among them is her family history as it relates to her Tía Beatriz. What was it like for you to craft this compelling character who stumbles on a piece of her hidden history? 

AL: It was really interesting because, at first, Tía Beatriz was a side character. I had thrown it in because what I really wanted to capture was that feeling that I think a lot of kids can relate with: you know you have this big family history that takes place somewhere outside of where you currently are. I just wanted to capture that ambiguity – how sometimes you’re interested in it. Sometimes you’re not. Sometimes you want to know nothing about it. I was like, What can I do to showcase that? Let me just throw in these letters. I loved the idea of her stumbling upon something secret. I had a couple of letters in there, and everyone who read the story or different chapters were like, ‘These letters are great. Can we see more of them?’ So I was like, ‘Fine, I’ll throw in another letter here and there.’ 

And then as I did that, I started to realize that that was such a huge part of the story. It’s through those letters that Mani learns about Guatemalan history – the good and the bad. The bad as in what was happening to activists, especially women, and the issue of femicide. But I also wanted to make sure that, through the letters, she also sees a side of Guatemala that’s really beautiful. A side of Guatemala that people in her family loved. I tried to do a mix of that because I also wanted to be careful. I would say that, especially in US schools, Central American history isn’t really taught. I would say the average person does not know a lot about Guatemala. And so I wanted to be careful with how I portrayed it while also being very authentic with how Mani experiences it. At first she’s like, Why would I want to go there? This was happening? And then later, it starts to pique her interest and she sees, like any place, the beautiful and the ugly really going together. 

I’m not a journalist. I don’t have a journalism background, but I love writing about journalists and I love journalists. In everything I write there’s always a journalist. It’s really funny. But I did think, How can I best convey what it is I wanted to write about? Which was violence against women in an extreme form, and then also in a seemingly not extreme form. Because that’s where she starts to make the connection. She reads these letters and she’s like, Wait, is this all that different from what I see going on? And of course, it’s different – but at one point, Mani poses that question: Is it all part of the same thread? Is it all the same culture of harassment that will eventually support something like that?

It was also important for me as a teacher who has seen, especially since COVID, an uptick in violence in schools and just not wanting for that to be normalized. It matters a lot to me that kids feel physically safe in school, and so I wanted to shed light on a group of kids who think that is a worthy cause to fight for: the right to feel physically safe in schools. That their bodies are safe.

AC: Your book touches on many themes – among them activism, feminism, coming–of-age. Why was it important for you to focus on these for this particular story?

AL: I love coming-of-age stories. I love reading them. They’re literally my favorite kind of story. It was important for me to mix that with feminism and activism because I wanted to showcase a girl that’s really learning how to step into her activism, and how it’s super messy. She doesn’t always get it right. I definitely didn’t write it in a way so that everyone could be cheering her every move. She definitely messes up along the way. But eventually she ends up finding what her most authentic form of activism is. And of course, largely inspired by her Tía Beatriz.

It was also important for me as a teacher who has seen, especially since COVID, an uptick in violence in schools and just not wanting for that to be normalized. It matters a lot to me that kids feel physically safe in school, and so I wanted to shed light on a group of kids who think that is a worthy cause to fight for: the right to feel physically safe in schools. That their bodies are safe. And so it was important to me on a personal level, but then I also thought it fit Mani’s arc and her journey and her own coming-into-activism story.


AC: You do a tremendous job of weaving in pieces of Guatemalan history, particularly women’s movements in Latin America. Tell us about your research. Did you learn anything new or surprising while conducting research for Mani?

AL: It wasn’t a lot of heavy research. A lot of it was things that I knew just from having been born in Guatemala, and of course, all the stories you hear. I had also studied Latin American studies and always focused on that in every class. I did a really amazing study abroad in Argentina and Uruguay that focused on women’s movements. Even though those are different countries, it made me read up on women’s movements in all of Latin America, especially Guatemala. But I had always focused on the ‘70s and ‘80s. And so I didn’t know a lot about the ‘90s. 

Just in my research, I came upon this singer, Rebeca Lane. Mani is obsessed with this Mexican-Costa Rican singer, Chavela Vargas. It’s her cousin C.C. who introduces her to a contemporary singer, Rebeca Lane. I ended up making a playlist and I was listening a lot to her. And so then Mani starts to reference her in the book. It was really cool for me to hear and read about women today in these last few years, who are singing and are women’s rights activists – and also still actively working to stop violence against women.

AC: What are you hoping readers take away from Mani Semilla Finds Her Quetzal Voice?

AL: A lot of things. One: I hope it inspires people to write more period stories, even though that’s one thread of the book. I also hope it inspires kids to see that there are so many ways to be an activist, and you just have to choose the one that’s right for you. It doesn’t mean you have to be the loudest. It doesn’t mean you have to be the face of whatever movement you’re doing. There’s growing pains associated with that. It’s a process. Everyone that wants to be an activist has their own journey and an arc of getting there.

But also that everyone’s body deserves to be respected in schools. That whole idea of, ‘Oh, that’s not a big deal’... as teachers we hear that a lot: ‘Oh, no I’m not going to report that. It’s not a big deal. It’s just whatever. That happens all the time.’ That shouldn’t be normalized. So I definitely want readers to walk away feeling like the things that you feel like no one will hear you on are worth speaking up about. And also, I want more people to look up Guatemala.


Anna Lapera teaches middle school by day and writes stories about girls stepping into their power in the early hours of the morning. She is a Pushcart Prize nominee, a Tin House and Macondo Writer’s Workshop alum, a member of Las Musas and a past Kweli Journal mentee. When she’s not writing, you can find her visiting trails, independent bookstores and coffee shops in Silver Spring, Maryland where she lives with her family.

 

Amaris Castillo is an award-winning journalist, writer, and the creator of Bodega Stories, a series featuring real stories from the corner store. Her writing has appeared in La Galería Magazine, Aster(ix) Journal, Spanglish Voces, PALABRITAS, Dominican Moms Be Like… (part of the Dominican Writers Association’s #DWACuenticos chapbook series), and most recently Quislaona: A Dominican Fantasy Anthology and Sana, Sana: Latinx Pain and Radical Visions for Healing and Justice. Her short story, “El Don,” was a prize finalist for the 2022 Elizabeth Nunez Caribbean-American Writers’ Prize by the Brooklyn Caribbean Literary Festival. She is a proud member of Latinx in Publishing’s Writers Mentorship Class of 2023 and lives in Florida with her family and dog.

March 2024 Latinx Releases

 

On Sale March 1

Makeship Altar by Amy M. Alvarez | POETRY

Amy M. Alvarez explores the cultural, spiritual, and place-based experiences of Afro-Caribbean and African American diasporic peoples in this haunting and emotionally charged collection of poems that meditates on the meaning of home and existence. Born in New York City to Jamaican and Puerto Rican parents, Alvarez draws readers into a journey of self-discovery and identity, connecting the past with the present while highlighting the complexities of navigating life as a multicultural American. The musicality of her language weaves together themes of environment, family, and migration, as well as her own ancestry as a Black Latinx woman. Makeshift Altar is an intimate collection that explores identities forged by colonialism and displacement and shaped by individual choice and collective power. 

 

On Sale March 5

 

Anita de Monte Laughs Last by Xochitl Gonzalez| ADULT FICTION

1985. Anita de Monte, a rising star in the art world, is found dead in New York City; her tragic death is the talk of the town. Until it isn’t. By 1998 Anita’s name has been all but forgotten—certainly by the time Raquel, a third-year art history student is preparing her final thesis. On College Hill, surrounded by privileged students whose futures are already paved out for them, Raquel feels like an outsider. Students of color, like her, are the minority there, and the pressure to work twice as hard for the same opportunities is no secret.

But when Raquel becomes romantically involved with a well-connected older art student, she finds herself unexpectedly rising up the social ranks. As she attempts to straddle both worlds, she stumbles upon Anita’s story, raising questions about the dynamics of her own relationship, which eerily mirrors that of the forgotten artist.

Moving back and forth through time and told from the perspectives of both women, Anita de Monte Laughs Last is a propulsive, witty examination of power, love, and art, daring to ask who gets to be remembered and who is left behind in the rarefied world of the elite.

 

Thirst by Marina Yuszczuk| Translated by Heather Cleary| ADULT FICTION

It is the twilight of Europe’s bloody bacchanals, of murder and feasting without end. In the nineteenth century, a vampire arrives from Europe to the coast of Buenos Aires and, for the second time in her life, watches as villages transform into a cosmopolitan city, one that will soon be ravaged by yellow fever. She must adapt, intermingle with humans, and be discreet.

In present-day Buenos Aires, a woman finds herself at an impasse as she grapples with her mother’s terminal illness and her own relationship with motherhood. When she first encounters the vampire in a cemetery, something ignites within the two women—and they cross a threshold from which there’s no turning back.

 

The Great Divide by Cristina Henriquez| ADULT FICTION

It is said that the canal will be the greatest feat of engineering in history. But first, it must be built. For Francisco, a local fisherman who resents the foreign powers clamoring for a slice of his country, nothing is more upsetting than the decision of his son, Omar, to work as a digger in the excavation zone. But for Omar, whose upbringing was quiet and lonely, this job offers a chance to finally find connection.

Ada Bunting is a bold sixteen-year-old from Barbados who arrives in Panama as a stowaway alongside thousands of other West Indians seeking work. Alone and with no resources, she is determined to find a job that will earn enough money for her ailing sister's surgery. When she sees a young man--Omar--who has collapsed after a grueling shift, she is the only one who rushes to his aid.

John Oswald has dedicated his life to scientific research and has journeyed to Panama in single-minded pursuit of one goal: eliminating malaria. But now, his wife, Marian, has fallen ill herself, and when he witnesses Ada's bravery and compassion, he hires her on the spot as a caregiver. This fateful decision sets in motion a sweeping tale of ambition, loyalty, and sacrifice.

 

Chicano Frankenstein by Daniel A. Olivas| ADULT FICTION

An unnamed paralegal, brought back to life through a controversial process, maneuvers through a near-future world that both needs and resents him. As the United States president spouts anti-reanimation rhetoric and giant pharmaceutical companies rake in profits, the man falls in love with lawyer Faustina Godínez. His world expands as he meets her network of family and friends, setting him on a course to discover his first-life history, which the reanimation process erased. With elements of science fiction, horror, political satire and romance, Chicano Frankenstein confronts our nation's bigotries and the question of what it truly means to be human.

 

Say Hello to My Little Friend by Jennine Capó Crucet| ADULT FICTION

Failed Pitbull impersonator Ismael Reyes—you can call him Izzy—might not be the Scarface type, but why should that keep him from trying? Growing up in Miami has shaped him into someone who dreams of being the King of the 305, with the money, power, and respect he assumes comes with it. After finding himself at the mercy of a cease-and-desist letter from Pitbull’s legal team and living in his aunt’s garage-turned-efficiency, Izzy embarks on an absurd quest to turn himself into a modern-day Tony Montana.

When Izzy’s efforts lead him to the tank that houses Lolita, a captive orca at the Miami Seaquarium, she proves just how powerful she and the water surrounding her really are—permeating everything from Miami’s sinking streets to Izzy’s memories to the very heart of the novel itself. What begins as Izzy’s story turns into a super-saturated fever dream as sprawling and surreal as the Magic City, one as sharp as an iguana’s claws, and as menacing as a killer whale’s teeth. As the truth surrounding Izzy’s boyhood escape from Cuba surfaces, the novel reckons with the forces of nature, with the limits and absence of love, and with the dangers of pursuing a tragic inheritance.

 

Bad Mexican, Bad American by Jose Hernandez Diaz| POETRY

In Bad Mexican, Bad American, the minimalist, working-class aesthetic of a "disadvantaged Brown kid" takes wing in prose poems that recall and celebrate that form's ties to Surrealism. With influences like Alberto Ríos and Ray Gonzalez on one hand, and James Tate and Charles Baudelaire on the other, the collection spectacularly combines "high" art and folk art in a way that collapses those distinctions, as in the poem "My Date with Frida Kahlo" "Frida and I had Cuban coffee and then vegetarian tacos. We sipped on mescal and black tea. At the end of the night, I tried to make a move on her. She feigned resistance at first but then aggressively kissed me back. We kissed for about thirty minutes beneath a protest mural by David Alfaro Siqueiros."

Bad Mexican, Bad American demonstrates how having roots in more than one culture can be both unsettling and rich: van Gogh and Beethoven share the page with tattoos, graffiti, and rancheras; Quetzalcoatl shows up at Panda Express; a Mexican American child who has never had a Mexican American teacher may become that teacher; a parent's "broken" English is beautiful and masterful. Blending reality with dream and humility with hope, Hernandez Diaz contributes a singing strand to the complex cultural weave that is twenty-first-century poetry.

 

On Sale March 12

 

Victim by Andrew Boryga| ADULT FICTION

Javier Perez is a hustler from a family of hustlers. He learns from an early age how to play the game to his own advantage, how his background--murdered drug dealer dad, single cash-strapped mom, best friend serving time for gang activity--can be a key to doors he didn't even know existed. This kind of story, molded in the right way, is just what college admissions committees are looking for, and a full academic scholarship to a prestigious university brings Javi one step closer to his dream of becoming a famous writer.

As a college student, Javi embellishes his life story until there's not even a kernel of truth left. The only real connection to his past is the occasional letter he trades with his childhood best friend, Gio, who doesn't seem to care about Javi's newfound awareness of white privilege or the school-to-prison pipeline. Soon after Javi graduates, a viral essay transforms him from a writer on the rise to a journalist at a legendary magazine where the editors applaud his "unique perspective." But Gio more than anyone knows who Javi really is, and sees through his game. Once Gio's released from prison and Javi offers to cut him in on the deal, will he play along with Javi's charade, or will it all come crumbling down?

 

Through the Night Like a Snake by Mónica Ojeda, Tomás Downey, Camila Sosa Villada, Julián Isaza, Maximiliano Barrentos, Mariana Enriquez, Lina Munar Guevara, Antonio Diza Oliva| Edited by Sarah Coolige |ANTHOLOGY

A boy explores the abandoned house of a dead fascist...
A leaked sex tape pushes a woman to the brink...
A sex worker discovers a dark secret among the nuns of the pampas...
The mountain fog is not what it seems...
Kermit the Frog dreams of murder...

In ten chilling stories from an ensemble cast of contemporary Latin American writers, including Mariana Enriquez (tr. Megan McDowell), Camila Sosa Villlada (tr. Kit Maude), Claudia Hernández (tr. by Julia Sanches and Johanna Warren) and Mónica Ojeda (tr. Sarah Booker and Noelle de la Paz), horror infiltrates the unexpected, taboo regions of the present-day psyche.

 

Reinbou by Pedro Cabiya| Translated by Jessica Powell| ADULT FICTION

In 1976 Santo Domingo, Ángel Maceta uncovers the real story behind the murder of his father, Puro Maceta, ten years prior. In the process, events that unfolded during and after the war are revealed, unleashing a series of small revolutions in his community that in turn unravel other intrigues of what really took place during the Civil War of 1965.

Weaving together the brutal realities of war with the innocence of childhood imagination, Reinbou explores this era in Dominican society, a time when the U.S. sent Marines into the country to back a coup against Juan Bosch, the first democratically elected president of the Dominican Republic since the end of the brutal, three-decade-long dictatorship of the genocidal Rafael Trujillo. Moving between 1965 and 1976, we follow the revolutionary efforts of Puro and the transformative, feverish adventures of Ángel.

Told through the eyes of a child and a varied cast of friends, family, and neighbors, Reinbouexplores the consequences of political and societal upheaval, corruption, and violence in modern Dominican society.

 

Fury by Clyo Mendoza| Translated by Christina Macsweeney | ADULT FICTION

In a desert dotted with war-torn towns, Lázaro and Juan are two soldiers from opposing camps who abandon the war and, while fleeing, become lovers and discover a dark truth. Vicente Barrera, a salesman who swept into the lives of women who both hated and revered him, spends his last days tied up like a mad dog. A morgue worker, Salvador, gets lost in the desert and hallucinating from heat and thirst, mistakes the cactus for the person he loves. Over the echoes of the stories of these broken men--and of their mothers, lovers and companions--Mendoza explores her characters' passions in a way that simmers on the page, and then explodes with pain, fear and desire in a landscape that imprisons them.

After winning the International Sor Juana Inés de la Cruz Poetry Prize, Clyo Mendoza has written a novel of extraordinary beauty where language embarks on a hallucinatory trip through eroticism, the transitions of conscience, and the possibility of multiple beings inhabiting a single body. In this journey through madness, incest, sexual abuse, infidelity, and silence, Fury offers a moving questioning of the complexity of love and suffering. The desert is where these characters' destinies become intertwined, where their wounds are inherited and bled dry. Readers will be blown away by the sensitivity of the writing, and will shudder at the way violence conveyed with a poetic forcefulness and a fierce mastery of the Mexican oral tradition.

 

La Mala Suerte Is Following Me by Ana Siqueira| Illustrated by Carlos Vélez Aguilera | PICTURE BOOK

Miguel's abuelita warned him that opening an umbrella in the house will bring La Mala Suerte (Mrs. Bad Luck) who will follow him wherever he goes, and now Miguel's life is ruined! He trips, fails an exam, and he can't block a shot to save his life at soccer practice. Nothing he tries works to get rid of Mrs. Bad Luck--looking for a four-leaf clover, his aunt's "existential" oils... Now what? Using integrated Spanish words and playful language, La Mala Suerte Is Following Me takes a silly and heartfelt look at superstitions.

 

On Sale March 19

 

The Waves Take You Home by María Alejandra Barrios Vélez | ADULT FICTION

Violeta Sanoguera had always done what she was told. She left the man she loved in Colombia in pursuit of a better life for herself and because her mother and grandmother didn't approve of him. Chasing dreams of education and art in New York City, and with a new love, twenty-eight-year-old Violeta establishes a new life for herself, on her terms. But when her grandmother suddenly dies, everything changes.

After years of being on her own in NYC, Violeta finds herself on a plane back to Colombia, accompanied at all times by the ghost of her grandmother who is sending her messages and signs, to find she is the heir of the failing family restaurant, the very one Abuela told her to run from in the first place. The journey leads her to rediscover her home, her grandmother, and even the flame of an old love.

 

Mother Island: A Daughter Claims Puerto Rico by Jamie Figueroa | ADULT NONFICTION

Growing up in the Midwest, raised by a Puerto Rican mother who was abandoned by her family, Jamie Figueroa and her sisters were estranged from their culture, consumed by the whiteness that surrounded them. In Mother Island, Figueroa traces her search for identity as shaped by and against a mother who settled into the safety of assimilation. In lyrical, blistering prose, Figueroa recalls a childhood in Ohio in which she was relegated to the background of her mother's string of failed marriages; her own marriage in her early twenties to a man twice her age; how her work as a licensed massage therapist helped her heal her body trauma; and how becoming a mother has reshaped her relationship to her family and herself. Only as an adult in New Mexico was Figueroa able to forge her own path, using writing to recast her origin story. In a journey that takes her to Puerto Rico and back, Figueroa looks to her ancestors to reimagine her relationship to the past and to her mother's native island, reaching beyond her own mother into a greater experience of mothering and claiming herself.


In stunning prose that draws from Puerto Rican folklore and mythology, a literary lineage of women writers of color, and narratives of identity, Figueroa presents a cultural coming-of-age story. Candid and raw, Mother Island gets to the heart of the question: Who do we become when we are no longer trying to be someone else?

 

On Sale March 26

 

Mamá’s Panza/ La panza de mamá by Isabel Quintero | Illustrated by Iliana Galvez | Translated by Aida Salazar |PICTURE BOOK

Everyone has a panza--it can be big and round, soft and small, or somewhere in between. But a young boy's favorite panza of all is Mamá's. Her panza is capable of remarkable things, and she loves it as an important part of herself. Her panza was also his first home. Even before he was born, it cradled and held him.

When he's feeling shy and needs a place to hide or when he wants somewhere to rest during a bedtime story, Mamá's panza is always there. With affirming text by Isabel Quintero and vivid art by Iliana Galvez, Mamá's Panza is a young boy's love letter to his mother, along with a celebration of our bodies and our bellies.

 

Like Happiness by Ursula Villareal-Moura |ADULT FICTION

It's 2015, and Tatum Vega feels that her life is finally falling into place. Living in sunny Chile with her partner, Vera, she spends her days surrounded by art at the museum where she works. More than anything else, she loves this new life for helping her forget the decade she spent in New York City orbiting the brilliant and famous author M. Domínguez.

When a reporter calls from the US asking for an interview, the careful separation Tatum has constructed between her past and present begins to crumble. Domínguez has been accused of assault, and the reporter is looking for corroboration.

As Tatum is forced to reexamine the all-consuming but undefinable relationship that dominated so much of her early adulthood, long-buried questions surface. What did happen between them? And why is she still struggling with the mark the relationship left on her life?

 

Simpatía by Rodrigo Blanco Calderón |Translated by Noel Hernández González and Daniel Hahn | ADULT FICTION

Simpatía is a suspenseful novel with unexpected twists and turns about the agony of Venezuela and the collapse of Chavismo.

Simpatía is set in the Venezuela of Nicolas Maduro amid a mass exodus of the intellectual class who have been leaving their pets behind. Ulises Kan, the protagonist and a movie buff, receives a text message from his wife, Paulina, saying she is leaving the country (and him). Ulises is not heartbroken but liberated by Paulina's departure. Two other events end up disrupting his life even further: the return of Nadine, an unrequited love from the past, and the death of his father-in-law, General Martín Ayala. Thanks to Ayala's will, Ulises discovers that he has been entrusted with a mission--to transform Los Argonautas, the great family home, into a shelter for abandoned dogs. If he manages to do it in time, he will inherit the luxurious apartment that he had shared with Paulina.

This novel centers on themes of family and orphanhood in order to address the abuse of power by a patrilineage of political figures in Latin America, from Simón Bolívar to Hugo Chávez. The untranslatable title, Simpatía, which means both sympathy and charm, ironically references the qualities these political figures share. In a morally bankrupt society, where all human ties seem to have dissolved, Ulises is like a stray dog picking up scraps of sympathy. Can you really know who you love? What is, in essence, a family? Are abandoned dogs proof of the existence or non-existence of God? Ulises unknowingly embodies these questions, as a pilgrim of affection in a post-love era.

 

On Sale March 31

 

The Last Philosopher in Texas: Fictions and Superstitions by Daniel Chacón | ADULT FICTION

llusion and the possibility of magic coexist with the pain and joy of daily life in these compelling pieces mostly set in the Texas-Mexico border region. In one, a girl desperately wants to know more about her mother, who died when she was four years old. Did she like being a mom? Would she have preferred partying with her friends? When her eccentric aunt says she can teach her how to travel back in time, the girl is skeptical. Is it really possible to visit the past and communicate with the dead?

Each story is a celebration of the narrative’s power to transport, enlighten and connect the reader to the myriad facets of the human experience. In “Borges and the Chicanx,” a Chicano professor’s imposter syndrome worsens when he is asked to teach a course on a famed Latin American writer he has never read and whose work he doesn’t understand. And in “Sara’s Chest of Drawers,” a young man’s parents insist he go through his dead twin sister’s things even though he doesn’t think she would want him to—until she sends him a sign from the beyond.

Dreams, memories, visions and superstitions permeate this collection of short fiction that blends the ordinary with the extraordinary, making the fantastical feel surprisingly tangible. Considering themes of outsider status and displacement, cultural representation and authenticity, identity and collective memory, award-winning author Daniel Chacón once again crafts troubled characters searching for salvation from sorrows they often cannot even articulate.

Ten Books by Afro-Latinx Authors to Read for Black History Month

Happy Black History Month! We put together a list of 10 books written by Afro-Latinx authors to read this month and beyond. These range from short stories, to fiction, poetry, and more! We hope you enjoy these reads and let us know what you think!

Wild Tongues Can’t Be Tamed Edited by Saraciea J. Fennell

In Wild Tongues Can't Be Tamed, bestselling and award-winning authors as well as up-and-coming voices interrogate the different myths and stereotypes about the Latinx diaspora. These fifteen original pieces delve into everything from ghost stories and superheroes, to memories in the kitchen and travels around the world, to addiction and grief, to identity and anti-Blackness, to finding love and speaking your truth. Full of both sorrow and joy, Wild Tongues Can't Be Tamed is an essential celebration of this rich and diverse community.

 

Family Lore by Elizabeth Acevedo

Flor has a gift: she can predict, to the day, when someone will die. So when she decides she wants a living wake--a party to bring her family and community together to celebrate the long life she's led--her sisters are surprised. Has Flor foreseen her own death, or someone else's? Does she have other motives? She refuses to tell her sisters, Matilde, Pastora, and Camila.

But Flor isn't the only person with secrets: her sisters are hiding things, too. And the next generation, cousins Ona and Yadi, face tumult of their own.

Spanning the three days prior to the wake, Family Lore traces the lives of each of the Marte women, weaving together past and present, Santo Domingo and New York City. Told with Elizabeth Acevedo's inimitable and incandescent voice, this is an indelible portrait of sisters and cousins, aunts and nieces--one family's journey through their history, helping them better

 

¡Manteca! an Anthology of Afro-Latin@ Poets Edited by Melissa Castillo-Garsow

Containing the work of more than 40 poets—equally divided between men and women—who self-identify as Afro-Latino, ¡Manteca! is the first  poetry anthology to highlight writings by Latinos of African descent. The themes covered are as diverse as the authors themselves. Many pieces rail against a system that institutionalizes poverty and racism. Others remember parents and grandparents who immigrated to the United States in search of a better life, only to learn that the American Dream is a nightmare for someone with dark skin and nappy hair. But in spite of the darkness, faith remains. Anthony Morales’ grandmother, like so many others, was “hardwired to hold on to hope.” There are love poems to family and lovers. And music—salsa, merengue, jazz—permeates this collection.

 

The Worst Best Man By Mia Sosa

A wedding planner left at the altar? Yeah, the irony isn't lost on Carolina Santos, either. But despite that embarrassing blip from her past, Lina's offered an opportunity that could change her life. There's just one hitch... she has to collaborate with the best (make that worst) man from her own failed nuptials. 

Marketing expert Max Hartley is determined to make his mark with a coveted hotel client looking to expand its brand. Then he learns he'll be working with his brother's whip-smart, stunning--absolutely off-limits--ex-fiancée. And she loathes him. 

If they can nail their presentation without killing each other, they'll both come out ahead. 

Except Max has been public enemy number one ever since he encouraged his brother to jilt the bride, and Lina's ready to dish out a little payback of her own. 

Soon Lina and Max discover animosity may not be the only emotion creating sparks between them. Still, this star-crossed couple can never be more than temporary playmates because Lina isn't interested in falling in love and Max refuses to play runner-up to his brother ever again...

 

Plátanos Go with Everything / Los plátanos van con todo By Lissette Norman and Sara Palacios

Paletero Man meets Fry Bread in this vibrant and cheerful ode to plátanos, the star of Dominican cuisine, written by award-winning poet Lissette Norman, illustrated by Sara Palacios, and translated by Kianny N. Antigua. 

Platanos are Yesenia's favorite food. They can be sweet and sugary, or salty and savory. And they're a part of almost every meal her Dominican family makes. 

Stop by her apartment and find out why platanos go with everything--especially love!

 

Neruda on the Park by Cleyvis Natera

The Guerreros have lived in Nothar Park, a predominantly Dominican part of New York City, for twenty years. When demolition begins on a neighboring tenement, Eusebia, an elder of the community, takes matters into her own hands by devising an increasingly dangerous series of schemes to stop construction of the luxury condos. Meanwhile, Eusebia's daughter, Luz, a rising associate at a top Manhattan law firm who strives to live the bougie lifestyle her parents worked hard to give her, becomes distracted by a sweltering romance with the handsome white developer at the company her mother so vehemently opposes. 

As Luz's father, Vladimir, secretly designs their retirement home in the Dominican Republic, mother and daughter collide, ramping up tensions in Nothar Park, racing toward a near-fatal climax. 

A beautifully layered portrait of family, friendship, and ambition, Neruda on the Parkweaves a rich and vivid tapestry of community as well as the sacrifices we make to protect what we love most, announcing Cleyvis Natera as an electrifying new voice.

 

What’s Mine and Yours by Naima Coster

In the Piedmont of North Carolina, two families' paths become unexpectedly intertwined over twenty years. Jade and Lacey May are two mothers determined to give their children the opportunities they never had. After a harrowing loss, Jade wants to hand down the tools her son, Gee, will need to survive in America as a sensitive young Black man. Meanwhile, Lacey May, having left the husband she loves, strives to protect her three half-Latina daughters from their charming father's influence. 

When a county initiative draws students from the largely Black east side of town into a predominantly white high school on the west, each mother stands on different sides of the integration debate. Gee meets Lacey May's daughter Noelle during the school play, and their families begin to form deeply knotted, messy ties that will shape the trajectory of their adult lives. And their mothers make choices that will haunt them for decades to come. 

What's Mine and Yours is an expansive yet intimate multigenerational tapestry of motherhood, identity, and the legacies we inherit. It explores the unique organism that is every family: what breaks them apart and how they come back together.

 

When Trying to Return Home by Jennifer Maritza McCauley

A dazzling debut collection spanning a century of Black American and Afro-Latino life in Puerto Rico, Pittsburgh, Louisiana, Miami, and beyond--and an evocative meditation on belonging, the meaning of home, and how we secure freedom on our own terms 

Profoundly moving and powerful, the stories in When Trying to Return Home dig deeply into the question of belonging. A young woman is torn between overwhelming love for her mother and the need to break free from her damaging influence during a desperate and disastrous attempt to rescue her brother from foster care. A man, his wife, and his mistress each confront the borders separating love and hate, obligation and longing, on the eve of a flight to San Juan. A college student grapples with the space between chivalry and machismo in a tense encounter involving a nun. And in 1930s Louisiana, a woman attempting to find a place to call her own chances upon an old friend at a bar and must reckon with her troubled past. 

Forming a web of desires and consequences that span generations, McCauley's Black American and Afro-Puerto Rican characters remind us that these voices have always been here, occupying the very center of American life--even if we haven't always been willing to listen.

 

We Are Owed. by Ariana Brown

We Are Owed. is the debut poetry collection of Ariana Brown, exploring Black relationality in Mexican and Mexican American spaces. Through poems about the author's childhood in Texas and a trip to Mexico as an adult, Brown interrogates the accepted origin stories of Mexican identity. We Are Owed. asks the reader to develop a Black consciousness by rejecting U.S., Chicano, and Mexican nationalism and confronting anti-Black erasure and empire-building. As Brown searches for other Black kin in the same spaces through which she moves, her experiences of Blackness are placed in conversation with the histories of formerly enslaved Africans in Texas and Mexico. Esteban Dorantes, Gaspar Yanga, and the author's Black family members and friends populate the book as a protective and guiding force, building the "we" evoked in the title and linking Brown to all other African-descended peoples living in what Saidiya Hartman calls "the afterlife of slavery."

 

Queen of Urban Prophecy by Aya de León

20-year-old Deza was supposed to be just another hot girl emcee, but when a bonus track strikes a surprising social chord, it rockets her album to the top of the charts--and her record label promotes her to headline their first-ever all-female national tour. As Deza attempts to live up to her new reputation, her inexperience generates tour drama. And when her female DJ quits, the label replaces her with the last thing Deza needs: the sexy guy DJ she flirted with at a club. 

But in battling to prove she deserves her success and embracing her power as an activist for Black Lives, Deza starts to feel she can face anything that comes her way--until her label prepares to undermine the all-female lineup in the name of mega-profits. 

Now, up against brutal industry misogyny and corporate big money, Deza will need the drive of that scrappy emcee from the South Side of Chicago and the bulletproof cool of a seasoned music professional if she wants to claim a space of respect in hip hop, not just for herself, but for everyone and everything she believes in…


Mariana Felix-Kim (she/her/ella) is a biologist and a bookstagrammer (@mariana.reads.books). As a Mexican and Korean reader, Mariana centers her bookstagram around amplifying diverse voices. She currently lives in Washington, D.C. with her cat, Leo. Mariana is proud to have five library cards and loves to use them to read non-fiction, literary fiction, romance, YA, and thrillers.