Books

Most Anticipated August 2023 Reads

August is almost ending but what better way to make the best of the remaining sunny summer days than with a few new additions to our ever-growing TBR’s! Below are my most anticipated reads for the month, expect to find lots of magic, female empowerment, and self-discovery.

 

Family Lore: A Novel by Elizabeth Acevedo | On Sale August 1

National Book Award winner Elizabeth Acevedo has graced us with her first adult novel—a much anticipated read on my list this year! Acevedo is a great storyteller and has a way of writing such lyrical and intimate stories that have made me a huge fan, no doubt Family Lore will be another emotional and unforgettable read. In her newest novel, Acevedo unravels the family history of the Marte women, weaving the past and present, from Santo Domingo to New York City, spanning the three days before a living wake requested by Flor, the Marte sister with a gift for predicting death. Family secrets, magic, and sisterhood are just some of the elements you can expect from this novel.

 

Still Born by Guadalupe Nettel | Translated by Rosalind Harvey | On Sale August 8

When I think of women’s fiction, I think of books like Still Born. When friends, Alina and Laura, find themselves at opposite ends of parenthood—while Laura makes the decision to have her tubes tied, Alina pursues her desire to be a mother—both are forced to confront their notions of childbirth, family, and friendship. Nettel is "one of the leading lights in contemporary Latin American literature" (Valeria Luisell, author of Lost Children Archive) for a very clear reason, her novel explores one of the most lived experiences for women: the societal pressures and expectations of motherhood. Human experiences are universal no matter the language and thanks to translators like Rosalind Harvey, we get to explore stories like this one.

 

Daughters of Latin America: An International Anthology of Writing by Latine Women Edited by Sandra Guzman | On Sale August 15

I love anthologies, especially ones that feature such a diverse set of contributors. The talented multimedia storyteller Sandra Guzman brings together 140 literary voices to form a strong collection of poems, speeches, letters, essays, memoirs, short stories, songs, chants, and novels to highlight and celebrate the work of Latine women of our past, present, and future. I’m excited to read works from some of my favorite writers like Elizabeth Acevedo (see above), Jamaica Kincaid, and Karla Cornejo Villavicencio; I’m equally excited to discover and familiarize myself with new voices and genres. 

Contributors also include Julia Alvarez, Norma Cantú, Ingrid Rojas Contreras, Angie Cruz, Edwidge Danticat, Lila Downs, Conceição Evaristo, Sonia Guiñasaca, María Hinojosa, Celeste Mohammed, Cherrié Moraga, Angela Morales, Nancy Morejón, Anaïs Nin, Julia Wong, and many more.

 

A Tall Dark Trouble by Vanessa Montalban | On Sale August 29

Initially, it was the purple and pink of the cover that drew me in, but it was the synopsis that sealed the deal. Set throughout two timelines, one in contemporary Miami and the other in 1980s Cuba, we witness how magic and family secrets have intertwined the lives of Lela, Delfi, and Anita. When they receive premonitions of a killer targeting brujas, twins Lela and Delfi, are forced to defy the order from their mother to stay away from magic; meanwhile, in Cuba, Anita is desperate to escape the magic that surrounds her thanks to her mother’s cult. This exciting YA fantasy is set to be a promising page-turner I can’t wait to get a hold of.

Book Review: How to Speak in Spanglish by Mónica Mancillas, illustrated by Olivia de Castro

I know that I am not the only one who speaks Spanglish, but when you are younger, you feel like you are.  I am what you would call “middle-aged”, however, the woman staring back at me from the mirror is my mother and not me.  As I read How to Speak in Spanglish by Mónica Mancillas, I was transported back to a different time and place. I remembered my mom and dad saying that they sent me to a private school hoping that I would learn to speak “perfect” English, in order to and fit in.  This story is a reminder of what growing up in two worlds can be like.

This story is a reminder of what growing up in two worlds can be like. . .You will fall in love with Sami and his vibrant, Spanglish filled, world.

How to Speak in Spanglish is beautifully written, lighthearted, and able to address what it is like to grow up with two languages in your head, while trying to make sense of it all. You will fall in love with Sami and appreciate how he can make the two languages work together. Mixing two worlds is not easy but Sami does an excellent job of it and even conveniences his Abuela to give speaking Spanglish a try. The feel of this book touches you from the very first scene and captivates you with the familiarities of the two worlds that Sami can artfully craft together. Despite the opposition that Sami faces he can convince others to give Spanglish a try.  You will love and appreciate this story even if you do not speak Spanish, Spanglish or even English.  You will see how being caught between two worlds can be as interesting as you make it.

The illustrations from Olivia de Castro are also beautiful. They add to the color and flare of this heartwarming story. You will fall in love with Sami and his vibrant, Spanglish filled, world.


Mónica Mancillas writes picture books, along with middle-grade nonfiction and fiction, that center on identity, culture, and mental health. She was born in Ensenada, Baja California, and then moved to the United States at the age of two. She is an alumna of the San Diego School of Creative and Performing Arts and has a B.A. in Anthropology from the University of California, Berkeley. 

Angela “Angie” Ybarra is a senior student enrolled in the Nontraditional Degree Program (NDP) at Northeastern Illinois University. She hopes to work as a grant writer to assist local nonprofit organizations that address the issues of gentrification within Chicago's NorthWest side and help them find funding for their work. Angie loves to give her audience the opportunity to formulate their own views by presenting the facts or points of interest with the hope to move her audience into action.

“Journalism is what maintains democracy. It’s the force for progressive social change.” —Andrew Vachss, Author

Review and Author Q & A: Saving Chupie by Amparo Ortiz and Illustrated by Ronnie Garcia

Saving Chupie opens to a beaming Violeta Rubio, who has just landed in Puerto Rico. She is thrilled to be on the island for the first time ever. And she’s here with her parents on a mission: to help her Abuelita get resettled.

Hurricane María—the deadly Category 5 hurricane that devastated the island in 2017—had forced Violeta’s grandmother to leave behind her apartment and beloved restaurant for Violeta’s home in Florida.

“I’m gonna help Abuelita get everything back to normal so she can stay for good,” Violeta narrates. “She’ll never ever be sad again.”

There’s just one problem. Violeta’s parents and grandmother won’t let her help with anything, and now she’s bored here without friends. But that quickly changes when she meets Diego, the son of a butcher who used to sell meat to Abuelita for her restaurant. Violeta learns then of rumors that the chupacabra is to blame for recent attacks on animals belonging to a local meat supplier.

The belief in the creature’s existence is laughable to Violeta. “I won’t believe until I see one with my own eyes,” she thinks to herself. When Diego and his best friend, Lorena, ask for help in capturing the chupacabra, Violeta sees a chance to develop true friendships on the island. So while searching for the creature alone, Violeta is shocked to stumble into one. And she discovers that he’s not the monstrous beast others have painted him to be. This chupacabra is adorable, even. She names him Chupie.

Now Violeta finds herself in a web of secrecy as she tries to keep Chupie out of sight. And soon there’s a new threat she and her friends must navigate—protecting the creature from an international network of smugglers and monster hunters.

Author Amparo Ortiz and illustrator Ronnie Garcia have brought readers an irresistible middle grade graphic novel filled with heart, adventure, and friendship. It also does not shy away from the harsh realities that Puerto Ricans had to face in the aftermath of Hurricane María. Garcia’s illustrations, paired with Amparo’s text, breathe vibrancy and warmth to this story. The Eisner Award-winning artist also did a wonderful job in reimagining a familiar legendary creature in Puerto Rico’s folklore.

Author Amparo Ortiz and illustrator Ronnie Garcia have brought readers an irresistible middle grade graphic novel filled with heart, adventure, and friendship.

On behalf of Latinx in Publishing, I spoke with Ortiz about the chupacabra, what it was like to work on this unique story with Garcia, and more.

This interview has been edited for clarity and brevity.

Amaris Castillo (AC): Congratulations on Saving Chupie! This is your first middle grade graphic novel, and I read that you auditioned for the opportunity. What attracted you to this project?

Amparo Ortiz (AO): Indeed it is my very first middle grade, and my very first full-length graphic novel by myself. I’m very much used to writing short story comics, so this was a challenge and also an item on my bucket list—which is why I was initially attracted to the idea of auditioning. But I was heavily intimidated with the idea as well. And that’s precisely my formula for why I should do things in this industry: Does it challenge me? Is it intimidating? Good, let’s go.

AC: Your main character, Violeta, is visiting Puerto Rico for the first time with her family to help Abuelita revive her restaurant. We learn almost immediately that this takes place after Hurricane María. Why was it important for you to set the story during this period of recovery?

AO: When the story pitch came to me, it was already set during this period, and in a town that feels like my hometown because it’s my neighbor. I felt like this was a piece of home that I, of course, could have left someone else to write, but I just felt called to it because it was familiar. It was real. It was something that didn’t gloss over those post-María lifestyles, mindsets, and harsh realities. I felt like I could tackle that in a way that still honored what makes us beautiful, which is yes, our resilience.

But I think that’s kind of a cliche—saying Puerto Ricans are about resilience, or anyone in the Caribbean is about resilience. That sense of community stems from always being there for each other, but within these cultures and these separate countries, there are realities that are not shared. Seeing it from the perspective of someone who still lives here and is aware of things that maybe someone who is either diaspora, or who has never been to Puerto Rico don’t see as closely, is an added special touch that I could bring forth.

AC: I remember when chupacabras were all over the news. There were reported sightings in Puerto Rico and other countries, and there was some fear—as well as speculation. In Saving Chupie, the beast that Violeta finds does not appear to be the dangerous threat her friends think it is. What was it like to reimagine the chupacabra for this story?

AO: It was such a blast, honestly, because I have always been a horror fan, but through film and television. So when it came time to develop what Chupie was like, and the lore behind what Chupie is or what Chupie could be, I felt like this was a twist on something that I grew up actually hearing about. I was born in the 80s, and in the 90s we had a resurgence of the myth or the scares in Puerto Rico. The mayor of my hometown constantly went on hunting trips to find the chupacabra. So I felt like it was a nod to my past and something that I grew up with, but that I never really took seriously, not even as a child.

I do relate to Violeta when she is just super anti-believing this is real. Having a child question fantasy is something that I also had no experience with, in the fiction that I was consuming, because children are often quicker to believe that fantastical things are real. And so she was like, ‘Well, that’s ridiculous. Why would there be a monstrous creature roaming around town? It makes no sense. Y’all are just weird.’ It’s something that stems from the fact that she is not an islander herself. Most islanders in the book—and in reality—would be a little bit more partial to honoring whatever lore they’ve grown up listening to, or they’ve actually encountered in some way. And in this case, she simply is just straight out straddling that line between ‘Well, I grew up in Florida and I feel like gators are our worst nightmares there. There’s no monster here.’

AC: There’s another storyline here about the adults in Violeta’s life, particularly her Abuela, not wanting to accept her help. What message were you hoping to send by highlighting this tension?

AO: This is twofold, because as Latinas we live in what is considered a patriarchal society, a lot of which is evidenced through our daily conversations, how we live our lives, and the consequences of our choices. When it comes to how Abuelita reacts to accepting help, she is saying ‘no’ out of survival. She has to basically carry weight on her shoulders that isn’t hers, but she accepts it as hers simply because she knows she is lightening the load for others. And that is a very Latina thing to do.

It’s generational, because I feel like now you would speak to grandchildren who maybe don’t have any weight on their shoulders. They might have other loads.. They’re trying to figure out how to live, how to provide, how to survive. With an Abuelita and a Violeta, we have two very different people who approach life differently, but what they share is a love for each other and a love for their community. That’s something that is going to propel both of them into making compromises.

One of the main things I want readers to take away from Saving Chupie—whether they are Violeta’s age or Abuelita’s age—is for them to look within, and see where am I burdening myself? Where am I choosing to lighten someone else’s load, but I’m actually just making life harder for myself? And not honoring rest, not honoring compassion, not honoring mercy for what I really want to be.

AC: The illustrations by artist Ronnie Garcia are vivid and filled with so much expressiveness. What did you think of the job they did in helping to tell this story visually?

AO: I cannot properly explain how I felt when I first opened an email from my editor, Carolina Ortiz, with Ronnie’s art. For the audition, I actually saw Ronnie’s art first before I ever saw anything regarding the script because Ronnie had been hired first. Their designs were the ones that I saw as inspiration for the rest of the work. When I saw the initial sketches, I felt like I knew where it was going in terms of the humor, the heart. I knew what kind of person Violeta was. I knew what kind of creature Chupie was.

And then when I saw my first pages that I specifically scripted with Ronnie’s art, I literally lost all sense of control and I kind of squealed. I can’t remember the noise I made, but it’s definitely not a human noise. I remember emailing everyone back, like ‘I am not alive anymore. This is not real life.’ Because it’s the first time that I’d ever seen my art illustrated, and in that way. It was a full-length work, and everything was already sketched. I DM Ronnie all the time, like ‘You are not even real to me.’

AC: What are you hoping readers take away from Saving Chupie?

AO: The main goal is for them to truly enjoy a story set somewhere that maybe they’re not too familiar with, and that they can appreciate the high jinks, humor and heart through someone who is just as unhinged as I was as a child, but who is also as loving, and caring, and selfless as I want to be every single day. Violeta is mostly what I was and who I wish to be, or continue to be. Maybe that will capture the attention of the reader—this sense of adventure and magic in our world. At the same time, I want them to see someone who truly does put others first, but never gives up on her values and what she stands for.


Amparo Ortiz was born in San Juan, Puerto Rico, and currently lives on the island’s northeastern coast. While Blazewrath Games is her debut novel, Saving Chupie is her first book for middle grade readers. Her short story comic, “What Remains in the Dark,” appears in the Eisner Award-winning anthology Puerto Rico Strong. She holds a master of arts in English and a Bachelor of Arts in psychology from the University of Puerto Rico’s Río Piedras campus. When she’s not teaching ESL to her college students, she’s streaming K-pop music videos, vlogging for her eponymous YouTube channel, and writing about Latinx characters in worlds both contemporary and fantastical. Follow her shenanigans at www.amparoortiz.com.

Eisner Award-winning artist Ronnie Garcia is a queer Puerto Rican illustrator with experience in comics and visual development. With a range of storytelling experience from middle grade to young adult, their signature talent involves designing creatures of the tooth variety. They have illustrated for several independent anthologies and books, and currently teach young artists in their community. When they’re not drawing pictures or working with young artists, they can be found huddled in a blanket fort working on puzzles and eating fruit snacks.

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, Brooklyn.

Review and Author Q & A: Barely Floating by Lilliam Rivera

Barely Floating begins with a splash—both literally and figuratively. Natalia De La Cruz Rivera y Santiago (also known as Nat) dares her brother’s friend, Beto, to a race at her local Inglewood pool. The 12-year-old proud gorda is certain that she can out-swim him, and she’s willing to bet money on it. Ten bucks, to be exact.

“From here to the full length of the pool,” Nat tells Beto as a crowd grows around them. “C’mon. What are you afraid of?”

In this forthcoming middle grade novel, the image of a self-assured Latina girl in Los Angeles came early to Pura Belpré Honor Award-winning author Lilliam Rivera. “I love this character,” Rivera said. “She is aware of her power, and that is because she grew up in this kind of environment where they really are about teaching that.”

It’s at this same pool where Nat bet Beto that she learns about synchronized swimming. When a local team, called the L.A. Mermaids, does a demonstration in the water, Nat immediately falls in love. But her activist mom and professor dad feel the sport is too body-conscious. Their no-for-now does not stop Nat, who devises a plan to join the team anyway. She enlists the help of her older cousin, Sheila, and soon dives into the world of synchronized swimming all while telling herself she’ll be able to convince her parents to let her stick with it.

Out on August 29, 2023, by Kokila Books, Barely Floating is a heartwarming and hilarious middle grade novel about a girl with an unforgettably fierce spirit who goes after what she wants. It’s a bumpy ride, but filled with moments both tender and funny. For her book, Rivera drew from personal experience as a synchronized swimming mom to expertly depict the world of synchronized swimming. Readers are also drawn close into issues related to class and the different tensions between girls and their mothers. There’s also an important lesson here in balance, on how sometimes we can’t do it all alone, instead we can seek community in helping us juggle what we need, to get the work done.

“Barely Floating” is a heartwarming and hilarious middle grade novel about a girl with an unforgettably fierce spirit who goes after what she wants. It’s a bumpy ride, but filled with moments both tender and funny.

On behalf of Latinx in Publishing, I spoke with Rivera about her new book, Barely Floating. She shared the inspiration behind the middle grade novel, what it was like to anchor Nat’s story in this sport, and more.

This interview has been edited for clarity and brevity.

Amaris Castillo (AC): What inspired you to write this book?

Lilliam Rivera (LR): Barely Floating is inspired by my life as a synchronized swimming mom. My oldest daughter is in college now, but when she was about seven years old we would take her to the local public pool. She was just learning how to swim and (one day) a Latina coach there was like, ‘Do you wanna learn how to dance in the water?’ She wanted to, so then I looked for a team out here in LA that was inclusive. I found one team that’s in the city proper. It’s Black-owned, and she joined that team. I lived in that world with her for a few years, and this was before I even started writing books. But I would be known as the mother who would bring a laptop to the competitions because I would just spend a lot of time writing and observing that world.

It’s also inspired by young children; people that I know who fall in love with something and maybe they’re unable to voice why they love it, or maybe their parents don’t think it’s going to work out. Kids start and stop a lot of things at that age. I wanted to write about this character, Nat, who is very much grounded in what she believes in and lives in a family that’s so outspoken, politically active, and about community. And yet, they still have their own blind side when it comes to their own children. I really wanted to explore that aspect of growing up in that kind of environment.

AC: One thing I loved about your book is the confidence and grit Natalia has. She’s out here daring other kids into swim bets to make money. She’s also a proud gorda and knows she’s beautiful. What was it like crafting this character who, from the first page, seems so empowered?

LR: Nat came to me very early on. The first image was really that first chapter of her out-swimming somebody. She was ready. She knew she could beat whoever. I love this character. She is aware of her power, and that is because she grew up in this kind of environment where they really are about teaching that. I love this family, but I also love that they still fall short, even when they’re doing their very best.

Nat is very business-oriented. She is ready to get paid. To her, it’s like ‘I can do this. No one can tell me not to.’ That’s why she went on to join this team, and to negotiate who she could convince to help her in that: her cousin and her brother, and all the people involved to help her achieve her dream. I feel that is a reflection of her mother, who is also that person who is community-oriented. She’s (Natalia) learned that. That’s why she’s so fully formed in that way.

AC: From the moment Natalia falls in love with synchronized swimming and secretly tries out for a local team, much of her life is turned upside down. The L.A. Mermaids is Black-owned and diverse, but Natalia laters learns that as a whole the sport is white-dominated. Can you talk about your decision to anchor your book in this sport, and what Natalia’s story says about kids of color who may be in a similar situation?

LR: When we were going to these teams, I was really aware of the discrepancy between those who come from affluent neighborhoods and others who don’t. Being on a team itself is a lot of money, and even Nat notices. She sees all the fees. And this is the key: As a parent or guardian, you have to really figure out ways to offset these costs. It’s almost another job, trying to find ways of navigating these kinds of systems that are not meant to be inclusive. With Nat, she just tries. To me it’s all about a community. It’s the community that could try to figure out a way of making things happen. Nat relies on her cousin and her brother, but she’s also relying on her best friend, and her teammates, as well: ‘How can I go to this competition if I don’t have a ride?’ These are aspects of my own experience when I had my daughter involved (in artistic swimming) because it was a huge commitment. But I leaned on a lot of people.

With young people, you’re not doing this alone. It’s like, ‘How can I go about accomplishing a dream or whatever it is I want to do? If I want to do art, maybe someone I know is an artist. Maybe I could see them.’ Facilitating those kinds of conversations is such a white privilege thing. They say, ‘An overnight success,’ it’s not when you realize they knew somebody. They were able to get this job somehow, because they had a connection to someone. And that’s a skill set that we all have to do. It’s like, who do you know who could help you? I think that’s a goal for our community. Because that’s all we ever do, is help each other. That’s how we survive. Even young people can do that. That is the one thing that I would love readers to take away, that community doesn’t start with just adults. A community starts with your schoolmates, with your friends, with those around you. They can help you problem-solve in a way that maybe you didn’t think about.

AC: There’s a tension throughout your book between Natalia and her activist mom. Natalia is keenly aware of all the things her mom is against, which include synchronized swimming and the beauty standards in fashion magazines. Natalia has different views. What message were you hoping to send by highlighting this tension between a child and her parent?

LR: Relationships are all so complicated. It’s not just black and white. We’re really living in a kind of gray. I wanted that relationship between Nat and her mom to reflect that—in the sense that they both needed to grow. Their relationship needed to shift.

There’s this moment when you’re in that age group, and you’re trying to really place your feet firmly on the ground in the world. You want to be seen and heard as the person that you are for that moment. And all that can change, but for this moment, look at me. Sometimes as parents, we overlook that because we’re busy just trying to protect our children at all costs, and that never changes as they grow older. But I really wanted this idea of: It’s not yes, or no, or right, or wrong. It’s more like, this is where I am. This is where I am standing, and can you meet me in this spot? Can we have a conversation about where we go from here? What path do we take from here that we can take together? And I love that, that forces her parents to just stop and see that their biases are really clouding their vision of their daughter, that their wanting to protect her is messing with her creativity. You could look into the history of things and maybe find a way of enjoying it, or reclaiming it as your own.

AC: What are you hoping readers take away from Barely Floating?

LR: First, I hope that they fall in love with Nat because I love her. And not only Nat, but even her cousin, and her (best friend) Joanne and her teammates and their group chats. I hope that they enjoy the humor because I think there’s a lot of really funny moments. Nat has a very unique sense of humor and is very honest when it comes to what she says and does.

And I hope that they get to enter a world that maybe not that many people know about. Synchronized swimming is called artistic swimming now. It’s such a hard overall sport. It’s amazing the stuff that they do underwater—doing flips and kicks. I’m just always in awe of anyone who dedicates time and effort to do a sport. This book is part of that conversation, of all these kinds of great sport books. And love that it’s based here in Los Angeles and these characters are very relatable. It’s a really fun and funny, enjoyable read—even if you don’t like swimming.


Lilliam Rivera is an award-winning author. Her many books include young adult novels The Education of Margot Sanchez, Dealing in Dreams, Never Look Back (a Pura Belpré Honor book), as well as the Goldie Vance series for middle grade readers and the forthcoming, stand-alone middle grade book Barely Floating. Her latest novels We Light Up the Sky and Unearthed: A Jessica Cruz Story were named “Best Books of 2021” by Kirkus Review and School Library Journal.

The Pushcart Prize winner has also received fellowships and grants from PEN America, the Elizabeth George Foundation, Clarion Workshop, and the Speculative Literature Foundation. Her writing has appeared in the Washington Post, the New York Times, and Elle, among others.A Bronx, New York native, Lilliam currently lives in Los Angeles.

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, Brooklyn.

August 2023 Latinx Releases

 

ON SALE AUGUST 1

 

Family Lore: A Novel by Elizabeth Acevedo | ADULT FICTION

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 navigate all that is to come.

 

Saving Chupie by Amparo Ortiz | Illustrated by Ronnie Garcia | GRAPHIC NOVEL

Violeta Rubio only has one goal in mind for her first-ever trip to Puerto Rico: help Abuelita reopen her beloved restaurant. The only problem is that Violeta’s whole family thinks they can do it without her. Now Violeta doesn’t have anyone to hang out with or anything to do. But when best friend duo Diego and Lorena need help capturing the rumored chupacabra, Violeta sees her chance to change all that.

What she isn’t expecting is to run straight into the beast! Only…he isn’t as monstrous as everyone assumes. Sure, he’s got some scales and spikes, big red eyes, and pointy fangs—but he’s a totally puppy and loyal to a fault. Violeta must find a way to keep Chupie hidden and convince her newfound friends that he isn’t anything to be scared of.

And if that isn’t hard enough, a new threat lurks around the corner that is dead set on capturing Chupie for their own nefarious means. Will Violeta be able to save Chupie from the danger that surrounds them without sacrificing everything else in the process?

Saving Chupie captures the resilience of a young girl, a family, and an island in face of nearly impossible odds and proves that love and friendship conquers all in this timely new adventure inspired by Puerto Rican culture and lore.

 

Paloma's Song for Puerto Rico: A Diary from 1898 by Adriana Erin Rivera | Illustrated by Eugenia Nobati | MIDDLE GRADE

It is 1898, and twelve-year-old Paloma lives in Puerto Rico with her Papi, Mami, and little brother, Jorge. They are coffee farmers, and Paloma loves the chickens and fruit trees that she helps to care for. She also loves music―the song of the coquí frogs who sing her to sleep, and the melodies from Papi’s tiple guitar. But Paloma’s world begins to change when war arrives on Puerto Rico’s shores. What will happen to their culture, the island? As Paloma and her family navigate changes they can’t control, they hold tightly to each other and hope for a better future. In diary format, the Nuestras Voces series profiles inspiring characters and honors the joys, challenges, and outcomes of Latino experiences.

 

Sordidez by E. G. Condé | ADULT FICTION

Vero has always felt at odds with his community. As a trans man in near-future Puerto Rico, he struggles to gain acceptance for his identity and his vision of an inclusive society. After a hurricane decimates the island and Puerto Rico is abandoned by the United States, Vero leaves his home to petition the centralized government for aid and seek the truth about new colonists arriving on the island. But in the Yucatan, Vero finds a landscape ravaged by an ecological disaster of humanity's own making-the Hydrophage, a climate technology warped into a weapon of war and released onto the land by the dictator Caudillo. Amidst the destruction, Vero finds both desperation and hope for regrowth as he documents the lives of the survivors. Details about the colonists' intentions emerge when Vero meets the Loba Roja, an anti-Caudillo revolutionary who imagines the renewed power of the Maya. Intrigued by her vision of the future and her unapologetic violence, Vero is faced with life-changing questions: can an Indigenous resurgence protect his beloved island? And what must he sacrifice to support it?

 

ON SALE AUGUST 8

 

Still Born by Guadalupe Nettel | Translated by Rosalind Harvey | ADULT FICTION

Alina and Laura are independent and career-driven women in their mid-thirties, neither of whom have built their future around the prospect of a family. Laura is so determined not to become a mother that she has taken the drastic decision to have her tubes tied. But when she announces this to her friend, she learns that Alina has made the opposite decision and is preparing to have a child of her own.

Alina's pregnancy shakes the women's lives, first creating distance and then a remarkable closeness between them. When Alina's daughter survives childbirth - after a diagnosis that predicted the opposite - and Laura becomes attached to her neighbor's son, both women are forced to reckon with the complexity of their emotions, their needs, and the needs of the people who are dependent upon them.

In prose that is as gripping as it is insightful, Guadalupe Nettel explores maternal ambivalence with a surgeon's touch, carefully dissecting the contradictions that make up the lived experiences of women.

 

ON SALE AUGUST 15

 

The Border Simulator: Poems by Gabriel Dozal | Translated by Natasha Tiniacos | POETRY

In Gabriel Dozal’s debut collection, the U.S.-Mexico border is redefined as a place of invention; crossing it becomes a matter of simulation. The poems accompany Primitivo, who attempts to cross the border, an imaginary boundary that becomes more real and challenging as his journey progresses; and his sister, Primitiva, who lives an alternate, static life as an exploited migrant worker in la fabrica.

The tech world and bureaucracy collide, with humanity falling by the wayside, as Primitiva endures drudgery in la fabrica. “In the past our ID cards were decorative. Now we switch off with someone else, another worker who will wipe the serenade from our eyes.” With no way to escape the simulation, Primitivo and Primitiva must participate in it, scheming to gain its favor. To win, you must be the best performer in the factory, the best imitation of a citizen, the best machine.

Featuring a bilingual format for English and Spanish readers, The Border Simulator explores physical and metaphysical borders, as well as the digital divide of our modern era. With inventive imagery, spirited wordplay, and thrilling movement, these energetic poems oscillate between the harrowing and the joyful, interrogating, innovating, and ultimately redefining binaries and divisions.

 

Daughters of Latin America: An International Anthology of Writing by Latine Women by Sandra Guzman | ANTHOLOGY

Daughters of Latin America collects the intergenerational voices of Latine women across time and space, capturing the power, strength, and creativity of these visionary writers, leaders, scholars, and activists—including 24 Indigenous voices. Several authors featured are translated into English for the first time. Grammy, National Book Award, Cervantes, and Pulitzer Prize winners as well as a Nobel Laureate and the next generation of literary voices are among the stars of this essential collection, women whose work inspires and transforms us.

An eclectic and inclusive time capsule spanning centuries, genres, and geographical and linguistic diversity, Daughters of Latin America is divided into 13 parts representing the 13 Mayan Moons, each cycle honoring a different theme. Within its pages are poems from U.S. Poet Laureate Ada Limón and celebrated Cervantes Prize–winner Dulce María Loynaz; lyric essays from New York Times bestselling author Naima Coster, Pulitzer prize-winning playwright Quiara Alegría Hudes, and Guggenheim Fellow Maryse Condé; rousing speeches from U.S. Representative Alexandra Ocasio-Cortez, and Lencan Indigenous land and water protector Berta Caceres; and a transcendent Mazatec chant from shaman and poet María Sabina testifying to the power of language as a cure, which opens the book.

More than a collection of writings, Daughters of Latin America is a resurrection of ancestral literary inheritance as well as a celebration of the rising voices encouraged and nurtured by those who came before them.

 

ON SALE AUGUST 22

 

How to Speak in Spanglish by Mónica Mancillas | Illustrated by Olivia de Castro | PICTURE BOOK

Sami loves to speak both English and Spanish. But he doesn't just speak them one at a time. He speaks in Spanglish! Sometimes, he makes brand-new words—like "lonche"—and sometimes, he puts the languages together in one sentence, like when he's hungry for jamberguers con papas fritas.

But not everyone likes Spanglish. Abuela thinks that Spanish should be spoken at home and English at school. And to make matters more complicated, Sami's not allowed to write his homework in Spanglish.

At first, Sami feels confused and frustrated. But with the support of his family, friends, and neighbors, Sami soon realizes that his unique identity should be celebrated. Hooray, muy bien, Sami!

 

Water Day by Margarita Engle | Illustrated by Olivia Sua | PICTURE BOOK

Water days are busy days,
grateful, laughing,
thirsty days.

A small village no longer has a water supply of its own, but one young girl and her neighbors get by with the help of the water man. When he comes to town, water flows like hope for the whole familia, and everyone rejoices.

 

ON SALE AUGUST 29

 

Barely Floating by Lilliam Rivera | MIDDLE GRADE

Natalia De La Cruz Rivera y Santiago, also known as Nat, was swimming neighborhood kids out of their money at the local Inglewood pool when her life changed. The LA Mermaids performed, emerging out of the water with matching sequined swimsuits, and it was then that synchronized swimming stole her heart.

The problem? Her activist mom and professor dad think it's a sport with too much emphasis on looks--on being thin and white. Nat grew up the youngest in a house full of boys, so she knows how to fight for what she wants, often using her anger to fuel her. People often underestimate her swimming skills when they see her stomach rolls, but she knows better than to worry about what people think. Still, she feels more like a submarine than a mermaid, but she wonders if she might be both.

Barely Floating explores what it means to sparkle in your skin, build community with those who lift you up, and keep floating when waters get rough.

 

A Tall Dark Trouble by Vanessa Montalban | YOUNG ADULT

In contemporary Miami, twins Delfi and Lela are haunted by a family curse that poisons any chance at romantic love. It’s no wonder their mother forbids them from getting involved with magic. When Lela and Delfi receive premonitions of a mysterious killer targeting brujas, however, the sisters must embrace their emerging powers to save innocent lives. Teaming up with their best friend Ethan and brooding detective-in-training Andres, Delfi and Lela set out to catch a murderer on a dangerous hunt that will force them to confront the dark secrets of their family’s past.

Meanwhile, in 1980s Cuba, Anita de Armas whispers to the spirits for mercy—not for herself, but for the victims of her mother’s cult. She’s desperate to rid herself of her power, which manifests as inky shadows and an ability to speak to the dead. As political tensions rise and Anita’s cult initiation draws near, she must make a decision that could change not only her fate, but the fate of the nation.

Lela, Delfi, and Anita’s stories intertwine in a thrilling fantasy that spans oceans and generations as each woman steps into her power, refusing to be subdued by any person or curse.

 

Remembering by Xelena González | Illustrated by Adriana M. Garcia | PICTURE BOOK

A child and their family observe the customs of Día de los Angelitos, one of the ritual celebrations of Día de Muertos, to celebrate the life of their beloved dog who passed away. They build a thoughtful ofrenda to help lead the pet's soul home and help the little one process their grief in this moving reminder that loved ones are never really gone if we take the time to remember them.

 

Where There Was Fire by John Manuel Arias | ADULT FICTION

Costa Rica, 1968. When a lethal fire erupts at the American Fruit Company’s most lucrative banana plantation burning all evidence of a massive cover-up, and her husband disappears, the future of Teresa’s family is changed forever.

Now, twenty-seven years later, Teresa and her daughter Lyra are picking up the pieces. Lyra wants nothing to do with Teresa, but is desperate to find out what happened to her family that fateful night. Teresa, haunted by a missing husband and the bitter ghost of her mother, Amarga, is unable to reconcile the past. What unfolds is a story of a mother and daughter trying to forgive what they do not yet understand, and the mystery at the heart of one family’s rupture.

Brimming with ancestral spirits, omens, and the anthropomorphic forces of nature, John Manuel Arias weaves a brilliant tapestry of love, loss, secrets, and redemption in Where There Was Fire.

 

Exclusive Excerpt: Aloha Compadre: Latinxs in Hawaiʻi by Rudy P. Guevarra Jr.

Latinx in Publishing is pleased to exclusively reveal a chapter from Aloha Compadre: Latinxs in Hawaiʻi by Rudy P. Guevarra Jr.

Aloha Compadre: Latinxs in Hawaiʻi is the first book to examine the collective history and contemporary experiences of the Latinx population of Hawaiʻi. This study reveals that contrary to popular discourse, Latinx migration to Hawaiʻi is not a recent event. In the national memory of the United States, for example, the Latinx population of Hawaiʻi is often portrayed as recent arrivals and not as long-term historical communities with a presence that precedes the formation of statehood itself. Historically speaking, Latinxs have been voyaging to the Hawaiian Islands for over one hundred and ninety years. From the early 1830s to the present, they continue to help shape Hawaiʻi’s history, yet their contributions are often overlooked. Latinxs have been a part of the cultural landscape of Hawaiʻi prior to annexation, territorial status, and statehood in 1959. Aloha Compadre also explores the expanding boundaries of Latinx migration beyond the western hemisphere and into Oceania.

 

INTRODUCTION:

The Deportation of
Andres Magaña Ortiz

On July 7, 2017, Andres Magaña Ortiz said goodbye to his wife and three children—all of whom are U.S. citizens—and boarded a flight bound for México, where he will remain separated from his family until he can be petitioned by his daughter Victoria to become a legal permanent resident. It is a process that could take up to ten years.1 Andres Magaña Ortiz is forty-three years old, a Mexican immigrant who has lived in the United States for nearly thirty years. His family, community, and life’s work are all in Hawaiʻi. In 1989, at the age of fifteen, he was smuggled across the Arizona-México border to reunite with his mother, who was working in California at the time. They eventually made their way to Hawaiʻi, where he picked coffee as a migrant laborer in Kona, on Hawaiʻi Island (Big Island).2 Within ten years he was able to save enough money to purchase six acres of farmland in Holualoa and begin his journey as a farm owner. He named his farm El Molinito (the mill), which had an old Japanese-style coffee mill that he began renovating in 2008.3 According to the Washington Post, in the years that followed, Magaña Ortiz “rose to prominence in Hawaiʻi’s coffee industry. In 2010, he allowed the US Department of Agriculture to use his farm without charge to conduct a five-year study into a destructive insect species harming Hawaiʻi’s coffee crops.” After that, he was the most sought-after coffee grower for his expertise in ridding coffee farms in Kona and other areas of Hawaiʻi Island of 98 percent of the destructive borer beetles.4

In addition, Magaña Ortiz was also responsible for managing over one hundred acres of land among fifteen other small farmers, which included the elderly and those who were inexperienced and could not do the work on their own.5 His dream of continuing to live in Hawaiʻi was short lived, however. In 2011, under the Obama administration, the Department of Homeland Security began removal proceedings against Magaña Ortiz.6 He was informed that he would be deported to México, a place he is simply no longer familiar with. In response, Magaña Ortiz petitioned for legal residency and was granted multiple stays, yet his most recent request to gain legal residency was rejected by the Trump administration. Under the guise of cracking down on immigration, the Department of Homeland Security ordered Magaña Ortiz to leave in March 2017.7 It did not matter that he already had petitioned for legal residency as the husband of a U.S. citizen—he had to go. As Magaña Ortiz noted, “I never tried to hide it. I always answered my phone when immigration called me and said come see us. . . . I come to each court on time. Everything, I tried to do all my best.”8 Given that Magaña Ortiz was a well-known and respected member of the community and a leader of Hawaiʻi’s coffee industry, his case made national headlines.

A team of attorneys assisted Magaña Ortiz by filing last-minute petitions to grant him more time in the United States. Even Hawaiʻi’s congressional delegation supported his case, speaking on his behalf to Homeland Security secretary John F. Kelly to halt his removal. As the four-member delegation wrote, “He is trying to do the right thing.”9 In addition, representative and onetime presidential candidate Tulsi Gabbard introduced a bill to make Magaña Ortiz eligible for legal, permanent residency. Senator Mazie Hirono also spoke on Magaña Ortiz’s behalf, stating, “Andres’ ordeal speaks to the very real fear and anxiety spreading through immigrant communities across the country.”10

Federal appeals court judges also supported Magaña Ortiz’s case, calling him a “pillar of his community” and criticizing the Trump administration handling of his case. For example, Judge Stephen Reinhardt of the U.S. Court of Appeals for the Ninth Circuit called Magaña Ortiz’s deportation “contrary to the values of the country and its legal system. . . . The government decision to remove Magaña Ortiz diminishes not only our country but our courts, which are supposedly dedicated to the pursuit of justice.”11 Despite having a strong case, the inhospitable climate proved too much. Magaña Ortiz decided to depart voluntarily ahead of the deportation order. When interviewed by Hawaii News Now at Kona International Airport during his departure, he regarded the circumstances of his case: “Very, very sad and very disappointed in many ways, but there’s not much I can do. . . . Just follow what I have to do and hopefully, in a little bit, things can get better.”12

His family has fared no better because of this. Magaña Ortiz’s eldest daughter, Victoria, almost had to withdraw from college at the University of Hawaiʻi to help support the family as they struggled to keep their father’s business afloat.13 She graduated a little later than expected but was able to finish her education online. As Victoria noted about this sudden responsibility for managing the family business,

I think I would have liked to have my own business when I created it. You slowly go with it, but the thing was running and going full speed, and I didn’t know what the heck I was doing. So I think that was the pressure. My dad is now deported. My mom has had back surgery; she’s injured, so she doesn’t work. I have my brother and my sister, so I have all four of them on my plate all of a sudden. And my dad had always been the one to solve problems. My mom was always like, “We have a dentist appointment. Fill out these forms for me.” Normal Hispanic child, right? And my dad was always the one that I used to run to when I had issues. And suddenly my safety net is just gone. So I think it was really hard for me when that happened because suddenly I was the one to make the decisions and have all the responsibilities.14

Andres Magaña Ortiz’s journey took him to the municipal city of Morelia, México, to a village called El Rincon de Don Pedro, Michoacán, where he had once lived before coming to the United States. Magaña Ortiz will remain in México until he is reunited with his family back in Hawaiʻi, a place they consider home. As Magaña Ortiz shared before he left, “I love this country and I love these islands. If I have to leave, it’s going to be hard on everyone.”15 The separation of Andres from his wife and children left them with an urgent sense of fear and uncertainty. They said their goodbyes at home so that the younger children did not have to go to the airport and be further subjected to the trauma of seeing their father leave. For Victoria, it was all surreal. She shared, “After so much fight that we went through, for it to just end like this. I mean, it’s not necessarily the ending, but it is hard to see him go.” She added, “We’re still fighting to get him back here.”16

Political Context in Contemporary Hawaiʻi

Andres Magaña Ortiz’s story and that of his family speak to the current political situation around immigration in Hawaiʻi and across the continental United States. What makes his story both powerful and tragic is that Magaña Ortiz was not the exaggerated racial stereotype of a “criminal” that Trump had suggested was invading the United States. Rather, he was a husband, father, and business owner who contributed to the social and economic prosperity of Hawaiʻi’s Kona coffee industry. Andres’s daughter Victoria was also disheartened at how her father was categorized as a criminal and deported because of a previous charge of driving under the influence (DUI). Under the law, his DUI was enough to start deportation proceedings, despite having an exemplary record as a long-time resident of Hawaiʻi. Victoria remarked, “If my dad, being so loved here and being a workaholic and he’s still justified as a criminal for a mistake that he did, who else are you putting into these things [categories]? Are they getting traffic tickets? They’re not supposed to just take your life away like that.”17

Despite the outpouring of legal and political support in Hawaiʻi and the aloha (love and inclusion) Magaña Ortiz received from the various communities mentioned, under the Trump administration, he was ordered to leave. There was no consideration of the benefit his contributions were making to the state and his local community. Rather, because he is Mexican and undocumented—not by his choice—and subject to the racism of the justice system, he was forcibly removed from his family, friends, and longtime home to a place he no longer knows.18 His story reminds us of how poorly the United States has treated its citizens, whether legally documented or not. It is likely there were many conservative settlers in Hawaiʻi who applauded his deportation because they deem Latinx people a threat. However, there was a huge outpouring of support and aloha from the larger community who understood the humanity of his case and sought to support Magaña Ortiz through calls, petitions, and other means. Although he had to leave Hawaiʻi, his story and legacy resonate with me in terms of what it means to be Latinx in Hawaiʻi today in a national climate of increasing xenophobia and racism toward immigrants. I say this as someone who has been privileged to come to Hawaiʻi for more than twenty years, spending that time living, building intimate ties with the Latinx communities, and nurturing my existing networks of hānai and chosen family, friends, and colleagues who identify as Native Hawaiian, local, haole, and/or transplants to the islands. My observations reveal that although Hawaiʻi has long been a place known for its aloha, this seminal Hawaiian concept is being tested by the growing racist, xenophobic tide that is washing upon Hawaiʻi’s shores from outsiders, both haole and non-Native settlers.19

It is here that I turn to what Magaña Ortiz’s story represents to the larger Latinx community in Hawaiʻi, which has been the growing xenophobia and racism that is being fueled by the larger national climate through popular discourse in the media, writers, pundits, scholars, and politicians. This sentiment reveals the ever-present tension in Hawaiʻi that is now more visible because of the infectious nature of racism and white supremacy. At the same time, I am also mindful of the ways that Kānaka Maoli continue to be dispossessed and displaced from their homeland within a settler colonial system. They must also be included in this conversation, since Latinx migration is made possible through the suppression of Native Hawaiian self-governance. Seen by most residents as recent migrants or newcomers, the Latinx population of Hawaiʻi is increasing in numbers, but that growth is also hidden in plain sight. Due in part to Hawaiʻi’s already historically mixed population that also includes Pacific Islanders and Asians among other racial and ethnic groups, the Latinx population is often mistaken as “local” in Hawaiʻi depending on the context.20

Though increasing with new migrations, the Latinx population is not new to the Hawaiian Islands. On the contrary, Latinxs have been voyaging to the Hawaiian archipelago for 190 years, yet their presence has been rendered invisible by the tourist industry and within the larger local population. Aloha Compadre demonstrates what historian Evelyn Hu-DeHart also notes about Asians in Latin America, that these histories are hidden in plain view. There is no single, monolithic story to explain migration, and Latinx movements to Hawaiʻi and the larger Pacific region are as varied as the cultures that fall under the umbrella term Latinx.21 A small but steady flow of migration has occurred since the early 1830s; this has been both interrupted at times and inconsistent. Their roots, however, remain, as they were part of the first groups of foreigners who came during the reign of the Kamehamehas.22

As the first full-length study of the Latinx population in Hawaiʻi, in Aloha Compadre I offer the following: (1) I reveal how the Latinx population of Hawaiʻi is not a new phenomenon but a 190-plus-year journey of migration and intercultural community and identity building; (2) I expand our notion of how we understand and view la frontera (the borderlands) to include the ocean as a site of movement beyond terrestrial regions, which challenges us to see the continuous diaspora of Latinxs that spans globally across oceanic spaces; and (3) I explore how the Latinx population in Hawaiʻi has experienced both acceptance and aloha in their new home and also racism and “being racialized” in a climate that is increasingly becoming xenophobic. And precisely within this context, I explore how their acceptance or marginalization has occurred from the independent Hawaiian Kingdom to the twenty-first century, which seems to be contingent on their contributions, including but not limited to economic and cultural ones. My project analyzes how these experiences complicate the dominant narrative of Hawaiʻi as a multiracial utopia, an image shaped by early and contemporary writers who visited the islands. Aloha Compadre also documents the changing political climate in Hawaiʻi up to the early twenty-first century and how the Latinx population navigates the current tides of immigration policies, racism and xenophobia, and interracial relationships as they seek to build their communities and find a sense of belonging in the diaspora.

This is the story of the predominantly Spanish-speaking Latinx communities of Hawaiʻi and the social, political, and economic forces that influenced their migration thousands of miles across the Pacific for nearly two centuries. Similar to what anthropologist Sara V. Komarnisky has documented about the historical migrations of Mexicans to Alaska, the same can be said of Latinx migrations to Hawaiʻi in that “in some cases, the process of putting down roots requires mobility.”23 It is why there is both a large and rising Latinx population in Hawaiʻi. Rather than focus on a continual historic-to-contemporary timeline of migration and community formation, I will focus on four pivotal moments when the Latinx population came to Hawaiʻi, from the era of the independent Hawaiian Kingdom in the 1830s to the early 2000s. These four pivotal moments all center on the labor of specific Latinx communities throughout the islands: (1) Mexicans in the 1830s, (2) Puerto Ricans in the early 1900s, (3) Mexicans and Central Americans in the 1990s, and (4) Mexicans and Central Americans in the early 2000s. I suggest that Latinx migration in these four moments was vital to the continuing legacy of specific industries in Hawaiʻi, including cattle ranching, sugar cane, pineapple, Kona coffee, and macadamia nuts. Indeed, the need for labor was one of the primary reasons Latinxs came to Hawaiʻi, but it did not define them as such. Others came as small business owners, students, or the military.

While labor was the impetus for Latinx migrations in these episodic moments, I look at the lives of my Latinx interviewees using a more complex approach to demonstrate that they are more than just workers.24 I focus on the stories I uncovered while doing archival and ethnographic research and the oral testimonies of individuals who were gracious enough to share their stories with me. Their stories are central to this study and bring to life the human element of these moments. For me, it is important to hear the stories of those who labored in these industries, humanize them, and examine how they adapted to their new home and found ways to develop their identities and communities in the diaspora within a Pacific Island context. Their stories illustrate the hopes, dreams, disappointments, and challenges of the Latinx population by providing insight into what we can learn about migration, adaptation and belonging, and cultural multiplicity in Hawaiʻi. These stories also provide meaningful interpretations of historical events from the perspectives of those who lived through them. They help us understand why those moments mattered to both the interviewees and historical figures who left behind a written record.

Excerpted from "Aloha Compadre: Latinxs in Hawaiʻi," used with permission from Rutgers University Press., www.rutgersuniversitypress.org. (c) Rudy P. Guevarra Jr.


RUDY P. GUEVARRA JR. is professor of Asian Pacific American studies in the School of Social Transformation at Arizona State University. He is the author of Becoming Mexipino: Multiethnic Identities and Communities in San Diego (Rutgers University Press), and coeditor of Beyond Ethnicity: New Politics of Race in Hawaiʻi.

Book Review: Flora La Fresca & the Art of Friendship by Veronica Chambers

In the Rhode Island coastal town of Westerly, Flora Violeta LeFevre has one true best friend. Clara Ocampo Londra is humble, kind, and makes Flora laugh by pretending to snore during Spanish Saturday school. The fifth grade besties enjoy skateboarding and creating art together. They even have a favorite after-school hangout spot—Bruce Lee Boba.

Best friends make plans for the future. In Flora and Clara’s case, they can’t wait until they’re old enough to take a year off school and get paid to sail boats for rich people.

But one day, Flora’s world is shattered when her best friend tearfully shares some news.

“It’s my mother. . . She got a job in California and we’re moving after New Year’s,” Clara says.

Flora is stunned. She doesn’t know how she will go on without her best friend.

In Flora La Fresca & the Art of Friendship, New York Times bestselling author Veronica Chambers has penned an endearing middle grade story about a Panamanian American girl who uses humor and creativity to navigate a big life change and tricky sisterly dynamics. Not only is she bracing for her best friend’s move, but Flora is also clashing big-time with her older sister, Maylin, who has become overbearing and obsessive over every detail of her upcoming quinceañera. And Flora’s mother—a cardiothoracic surgeon—has been occupied nearly every Saturday due to the party planning.

Flora tries to focus on her friendship. She and Clara make it their mission to enjoy the time they have left together. They even design a “BFF-ometer”—a computer test to help them find worthy replacement friends after Clara moves away. Some of the friendship questions include whether the person can use Scratch (the simple coding tool they used to create the BFF-ometer), speak Spanish, or skateboard.

The inevitable day comes when Clara leaves for California. As the weeks crawl by, Flora finds herself struggling to fit in with her peers at school, particularly during lunch hour. Sunday evening becomes her new favorite time of the week, because that’s when she and Clara chat on Zoom. One day, Clara misses their call because she made a new friend who scored 3 out of 5 on the BFF-ometer. Flora tries not to be jealous, but it’s hard.

At the core, this book is about friendship and the commitment that entails. It’s about the highs and lows, the joy and hurt. Flora’s story is perfect for young readers who enjoy art, mischief, and humor.

Months later, a new girl arrives in Flora’s class. Her name is Zaidee Khal and she had moved to Rhode Island from Paris. Flora is at first unsure about Zaidee, who wears blazers and looks more like a grown-up than a kid. There’s a lot Flora needs to figure out. Does this new girl have the potential to be a new friend for Flora? Does Flora have space in her heart for another friendship? And when it comes to her strained relationship with Maylin, can the sisters find a way to grow closer again?

Aside from the humor and the charming and blossoming friendships that form the center of this story, a delightful aspect of Flora La Fresca & the Art of Friendship are the many nods to Panamanian culture throughout. For example, Flora likens her house to a sort of “Panamanian embassy in New England.” Home is where Sunday family dinners are held with her sister, parents and extended family including an aunt, uncles, abuela, and her abuela’s gentleman friend. Then there are the foods Maylin’s mom makes at home—albóndigas, arroz negro with seafood and more. It was a joy to read about a Panamanian family who spends a lot of time together.

Flora La Fresca & the Art of Friendship was inspired by Chambers’ daughter, Flora, and Flora’s best friend, Clara. Their friendship began in Palo Alto when the girls were nine. “Then we moved back home to New York and now we live in London, but Flora and Clara’s friendship is still going strong,” Chambers writes in the book’s acknowledgements. “There are always tears when they part but so much laughter whenever they get together.”

Out now by Dial Books, Flora La Fresca & the Art of Friendship is the first in a series with illustrations by author and illustrator Sujean Rim. The second is slated for publication in the Fall of 2024.

At the core, this book is about friendship and the commitment that entails. It’s about the highs and lows, the joy and hurt. Flora’s story is perfect for young readers who enjoy art, mischief, and humor.


Veronica Chambers is the editor for Narrative Projects at The New York Times. She is a prolific author, best known for the New York Times best seller Finish the Fight!, as well as the critically acclaimed memoir Mama’s Girl and picture book biographies Shirley Chisholm Is a Verb! and Celia Cruz, Queen of Salsa. Born in Panama and raised in Brooklyn, she writes often about her Afro-Latina heritage. She speaks, reads, and writes Spanish, but she is truly fluent in Spanglish.

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, Brooklyn.

Exclusive Excerpt: Our Otherness is Our Strength: Wisdom from the Boogie Down Bronx by Andrea Navedo

Latinx in Publishing is pleased to exclusively reveal a chapter from Our Otherness is Our Strength: Wisdom from the Boogie Down Bronx by Andrea Navedo, best known as Xiomara from The CW's Jane the Virgin.

Andrea Navedo didn't get to see many positive portrayals of Latinas in the media growing up. So when she had the chance to play a starring role on Jane the Virgin, a role that cast her as a complex, flawed, and genuine Latina single mother, she jumped all over the opportunity.

Now, she shares bits of her story of growing up in "da South Bronx—boogie down, burning"—to inspire young people who grew up like she did and who, after being counted out, still strive to succeed.

Expanding on her beloved commencement address to DeWitt Clinton High School and other speeches, Navedo offers the pithy, ghetto-honest, and at times laugh-out-loud funny lessons she learned from surviving abusive relationships, dealing with repeated rejection, and eventually triumphing in the entertainment industry. From how to listen compassionately to your own internal dialogue, to why fame and validation may not make you feel better about yourself, to how to never play the victim, she provides notes from life's trenches, the trenches of the South Bronx. She shows how the outer and inner challenges of what popular culture deems the horrors of places like the Bronx can instead be the very factors that bring out our superpowers.


Discover Your Roots

. . . when I was eleven my parents sent me to Puerto Rico to spend the summer with my other grandma, Grandma Benny. I went all by myself on a plane and I got to sit by the window! It was incredible to be in the air looking down at NYC, the Empire State Building, the Statue of Liberty, and the towers of the World Trade Center. The city looked like a miniature toy set and everyone looked like ants. As we ascended, we eventually flew past a layer of white fluffy clouds and spent most of the flight above them. It was weird; it made the world feel upside down. I had never had this point of view before. As we flew, I gazed out of the window and imagined myself outside, jumping on top of those clouds, like on a trampoline, bouncing from one cloud to another or lazily lounging on top of one and ripping off a piece of fluffy cloud to eat like cotton candy. The stewardesses (that’s what we called them back then) were super sweet. They would check on me from time to time to see if I wanted or needed anything. They asked if I wanted to eat breakfast and one of the options was pancakes. Woohoo, had I died and gone to heaven? Of course, I wanted breakfast and yes, “I’ll have the pancakes please!” I was so excited. This trip to Puerto Rico was turning out to be great! Then—record scratch—the pancakes arrived and I disappointedly discovered what the term “airplane food” meant.

Three hours later, we approached the beautiful island of Borinquen. (I learned that Borinquen was what the original native inhabitants, the Taínos, called the island, before it was invaded by Spain. Hence why people from the island refer to themselves as Boricua.) Soaring above the lush tropical landscape, I caught my first glimpse of the calm turquoise waters of Puerto Rico. Wow! I had never seen water that color. Hugging along the coastline and cruising above the palm trees I could see why its other name was La Isla del Encanto (The Isle of Enchantment), because it was so beautiful.

Once off the plane I was escorted to the terminal to meet my grandmother. I had no idea how we were going to find her because I didn’t know what she looked like. The last time I had seen her was probably when I was a baby when she was still living in NYC. Eventually we found her, along with my step-grandfather and my teenage aunt Patti. It was weird meeting them. They were complete strangers to me. Grandma Benny was blonde and had blue eyes and looked like my father. I knew my father was Puerto Rican, with white skin, light brown hair, and blue eyes, but I thought he was an anomaly—adopted or something. All the other Hispanic people I knew were dark. But there she was, this white woman who spoke Spanish and who hugged me like I was her long-lost child. As she bear-hugged me, I flinched in pain because in between us, digging into my belly, was a gift for grandma that I held in my arms. It was from my dad, an old-fashioned wooden coffee grinder, the kind that has an ornately designed cast-iron wheel that needs to be manually operated to grind the coffee. Her eyes lit up. She seemed very pleased.

We finally arrived at her house. My grandmother proudly told me that she and her husband had built the house themselves. They had immigrated to New York years back and busted their asses working, with the plan to save enough money to move back to Puerto Rico and build a home. And that’s exactly what they did. It was a humble home but it was nice. The neighborhood smelled like fresh-baked bread and, in the distance, roosters crowed almost constantly. Hold up! Shut the front door! Roosters crowing? At this hour? It was the afternoon! What were they doing crowing during the day? Everyone knows that roosters crow at the crack of dawn to wake everyone up. Nature’s alarm clock. That’s what I learned watching Mister Rogers’ Neighborhood on TV. TV was the original homeschooling if you were from the hood. We didn’t have roosters back in The Bronx. Mister Rogers said they crow at dawn. Head scratch. It got me thinking— Mister Rogers, a white man, could be wrong?

The house was situated in a suburb of San Juan with a weird-sounding name, Bayamòn. I learned that was another Indigenous name. I had only just arrived and was already learning so much. I learned that “airplane food” means “bad food,” that Puerto Rico was originally inhabited by an Indigenous people called Taínos who called the island Boriquen, that roosters crow any time of day, basically whenever they feel like it, that white people can speak Spanish, and white people don’t know everything or white people can be wrong. Interesting.

That evening Grandma Benny served the most amazing meal. One I will never forget. She made sancocho. She said it was my father’s favorite dish. Sancocho is a hearty stew made of tender chunks of beef, chicken, and/or pork, with root vegetables like yucca, sweet potato, plantains, and more. She served it along with white fluffy rice and slices of aguacate (avocado). It was the most flavorful, satisfying, and comforting meal I had ever had in my life. I felt like I had died and gone to heaven. Especially after that “airplane food” experience. I ate that sancocho like there was no tomorrow. I could see the pride and pleasure in my grandmother’s eyes as I devoured that stew. She loved watching me eat with such gusto. She didn’t take her eyes off of me. Finally, I came up for air. I was pretty full. I leaned back, put my spoon down, and opened the top button of my shorts. Well, the look that came over Grandma Benny’s face. Pleasure turned to a look of dismay in two seconds flat. Grandma Benny immediately picked up that spoon and started to feed me like a baby. She said kids were starving in China, and that I had to finish everything on my plate. She kept scooping and shoveling it into my mouth until that huge bowl was empty. I could barely move. I could literally feel the food at the top of my throat. I was afraid to move for fear of it coming out. I carefully, ever so carefully, got up, sat down on the couch, opened my shorts completely, and didn’t move for hours.

Grandma Benny had served me a man-size bowl of sancocho, probably the same amount she would’ve served my dad. I was very skinny, didn’t weigh more than seventy pounds, and I’m sure she was determined to get some fat on my bones before she sent me back home to NYC.

Like I mentioned, the neighborhood smelled like bread because a few blocks away was a panaderia—a bakery. The bakery made bread all day long and the smell in the area was intoxicating. My first morning, at 7 a.m., Grandma and I went to the bakery to buy a loaf of pan de agua or “water bread.” Pan de agua is a long loaf of white bread. It has a hard and crispy crust with a fluffy airy center. When we got home Grandma asked if I wanted breakfast. I enthusiastically said yes, having discovered this woman was a queen in the kitchen. Ten minutes later she called me to breakfast and placed in front of me a cup of café con leche (coffee with milk) and a slice of pan de agua with a slathering of butter in the center. I was amazed that she was serving me coffee. I thought only adults could have it. It made me feel grown up. I took a sip of the coffee and it was delicious, better than hot cocoa. I then excitedly took my first bite of pan de agua and nearly fell out of my chair in ecstasy. It was warm, crispy, tender, and literally melted in my mouth. I was enraptured. I basically inhaled it and immediately asked for seconds. Grandma Benny smiled, then served me another slice. I inhaled that one too and quickly asked for thirds. But this time she said no, a surprise since she seemed to derive such joy from shoveling food into my mouth. She said the rest of the bread was for Grandpa and Patti but, if I wanted, I could have a whole loaf to myself next time if I went by myself in the mornings to pick up the bread. Bet grandma, I’m down with that!

One day grandma’s brother stopped by the house in his pickup truck. He looked like the male version of Grandma Benny, but he had a somewhat weathered look. He looked strong, with broad shoulders and big calloused hands. He lived and worked on the family farm. I had no idea my family had a farm!

In the back of the truck were big burlap sacks filled to the top with beans. All kinds of beans—black, red, kidney, and coffee beans. He had come by to bring her some of the beans he had harvested. He proceeded to unload the sacks and put them on the patio. After some chitchat in Spanish he left and grandma turned to me and asked if I wanted a cup of coffee. Since arriving to Puerto Rico I had become a real coffee addict. The coffee grandma made was so so good! It was like dessert, so of course I said yes!

Okay, entonces ayudame,” Grandma said. “Help me carry the coffee beans to the back patio.” She took an empty burlap sack, laid it out on the patio floor in the sun, and then proceeded to show me how to spread the beans out on top of it. “Okay, we need to let it bake in the sun. Go and play.” About a half hour went by and Grandma yelled for me to come back. I thought she was calling me for my café con leche, but no. Instead she showed me how to rake the coffee beans and then sent me away again. This went on for hours. Every thirty minutes or so we raked the beans. Every so often she would bite into one of them to see if they were ready and every time she would say, “No, not ready.” Finally, after what seemed like forever, she took one last bite and announced, “Ya, they are ready. Búscame el coffee grinder that your Papi bought for me.” I ran to fetch it and she told me to sit down, hold it in my lap, place coffee beans inside the cast iron bowl, and crank the handle. Within a few minutes we had freshly ground coffee inside of the wooden drawer at the bottom of the grinder. It was so cool! She then said, “Okay, now I will make your café con leche,” and went inside the house.

I patiently sat waiting on the patio until she finally came out with the most amazing cup of coffee. It was hot, but not too hot. It was the perfect color of light caramel with a sweet, creamy, deep, smooth, almost chocolaty taste. Again I was in taste-bud heaven. To this day I still haven’t been able to duplicate that cup of coffee. It was a once-in-a-lifetime, unforgettable experience.

That month in Puerto Rico was one of the highlights of my childhood. I learned so much about my identity as a Puertoriqueña. My parents had originally offered the trip as an incentive for me to do well in school. However, my grades still sucked by the end of the school year. I thought for sure I wasn’t going get to go to Puerto Rico for the summer. Thankfully my parents sent me anyway. They most likely figured it would be good for me. They were right because eleven-year-old me got to go to the island of Puerto Rico! Borinquen! La Isla del Encanto! And finally feel some sense of belonging.

Excerpted from "Our Otherness is Our Strength: Wisdom from the Boogie Down Bronx," used with permission from Broadleaf Books., www.broadleafbooks.com. (c) Andrea Navedo


Andrea Navedo is a Bronx-born-and-raised Puerto Rican American actress best known for her role as Xiomara, a complex and genuine Latina, on The CW’s series Jane the Virgin, for which she received critical acclaim. She is dedicated to various charities, including A Place Called Home in South Central Los Angeles, and the Fresh Air Fund in New York City. Navedo has a passion for self-improvement, growth, and healing, and through her experiences seeks to help those who see themselves on the outside looking in. She and her family divide their time between their homes in Toronto and Connecticut. 

Website: AndreaNavedo.com
Instagram: @andreanavedo
Facebook: /AndreaNavedoOfficial
Twitter: @andreanavedo

July 2023 Latinx Releases

 

ON SALE JULY 11

 

Paula's Patches by Gabriella Aldeman | Illustrated by Rocío Arreola Mendoza | PICTURE BOOK

Oh, no! While at school, Paula's pants catch on a bush that rips a large hole in her pants. She tries everything to hide the hole from her classmates, only to find out that they, too, have leaky lunchboxes, spaghetti stains, and hand-me-down backpacks. Nothing some colorful patches can't fix! Children will follow Paula as she feels embarrassed about her torn pants, curious about patches, and excited for a possible solution that helps both her and her classmates.

 

Shadow Drive by Nolan Cubero | ADULT FICTION

Landlord Gabriel Angueira is trying to put his life back together. His teenage daughter, Megan, was seriously injured in a car accident caused by her own drunk driving, though Gabe blames himself. Since the accident he has spent every day taking care of her, reflecting on his failures as a father, and trying to rebuild his relationship with his ex-wife, Anya.

So, when a woman wants to rent the house on Shadow Drive, Gabe hands her the keys without a second thought--or doing a background check. Once she moves in, he discovers everything she told him was a lie: her name, her story, her previous address. Gabe knows nothing about this mysterious woman, but she knows a lot about him--and quickly begins destroying the house from the inside out. Gabe soon realizes she's specifically targeted him and the house on Shadow Drive but has no idea why.

Now Gabe must figure out who this woman is before she unearths his family's secrets and takes down the house--along with his entire life as he knows it.

 

Thief Liar Lady by D. L. Soria | ADULT FICTION

I’m not who you think I am.

My transformation from a poor, orphaned scullery maid into the enchantingly mysterious lady who snagged the heart of the prince did not happen—as the rumors insisted—in a magical metamorphosis of pumpkins and glass slippers. On the first evening of the ball, I didn’t meekly help my “evil” stepmother and stepsisters primp and preen or watch forlornly out the window as their carriage rolled off toward the palace. I had other preparations to make.

My stepsisters and I had been trained for this—to be the cleverest in the room, to be quick with our hands and quicker with our lies. We were taught how to get everything we wanted in this world, everything men always kept for themselves: power, wealth, and prestige. And with a touchingly tragic past and the help of some highly illegal spells, I would become a princess, secure our fortunes, and we would all live happily ever after.

But there’s always more to the story. With my magic running out, war looming, and a handsome hostage prince—the wrong prince—distracting me from my true purpose with his magnetic charm and forbidden flirtations, I’m in danger of losing control of the delicate balance I’ve created . . . and that could prove fatal.

There’s so much more riding on this than a crown.

 

An Evil Heart by Linda Castillo | ADULT FICTION

On a crisp autumn day in Painters Mill, Chief of Police Kate Burkholder responds to a call only to discover an Amish man who has been violently killed with a crossbow, his body abandoned on a dirt road. Aden Karn was just twenty years old, well liked, and from an upstanding Amish family. Who would commit such a heinous crime against a young man whose life was just beginning?

The more Kate gets to know his devastated family and the people—both English and Amish—who loved him, the more determined she becomes to solve the case. Aden Karn was funny and hardworking and looking forward to marrying his sweet fiancé, Emily. All the while, Kate’s own wedding day to Tomasetti draws near...

But as she delves into Karn’s past, Kate begins to hear whispers about a dark side. What if Aden Karn wasn’t the wholesome young man everyone admired? Is it possible the rumors are a cruel campaign to blame the victim? Kate pursues every lead with a vengeance, sensing an unspeakable secret no one will broach.

The case spirals out of control when a young Amish woman comes forward with a horrific story that pits Kate against a dangerous and unexpected opponent. When the awful truth is finally uncovered, Kate comes face to face with the terrible consequences of a life lived in all the dark places.

 

Sana, Sana: Latinx Pain and Radical Visions for Healing and Justice by David Luis Glisch-Sánchez, Nic Rodriguez-Villafañe | ADULT NONFICTION

Sana, Sana is a witness to the multiple wounds etched into the landscape of Latinx experience and a testimonial to community efforts to heal them. A multi-genre anthology rooted in the deep desire to not only acknowledge and name the various forms of pain and trauma Latinx people experience regularly, but to do so in the service of imagining new futures and ways of being that prioritize healing and justice not just for Latinx people, but for Queer BIPOC communities and, ultimately, for all people.

 

The Worry Balloon by Mónica Mancillas | Illustrated by Betty C. Tang | PICTURE BOOK

On the first day of school, Isla's mind plays the what if game. Scary thoughts come, the world goes dark, and everything feels stormy. With Mami at her side, Isla takes a deep breath and blows her worries away in a big balloon. But as school gets closer, Isla's worries come back like a tornado. Mami encourages her to imagine something happy, and Isla remembers there's nothing she can't handle.

The storm might come again, but for now, her mind is quiet.

 

A Warning about Swans by R. M. Romero | YOUNG ADULT

Bavaria. 1880. Hilde was dreamed into existence by the god Odin and, along with her five sisters, granted cloaks that transform them into swans. Each sister's cloak is imbued with a unique gift, but Hilde rejects her gift which allows her to lead the souls of dying creatures to the afterlife.

While guiding the soul of a hawk, Hilde meets the handsome Baron Maximilian von Richter, whose father left him no inheritance. Hilde is intrigued by Richter's longing for a greater life and strikes a deal with him: She will manifest his dreams of riches, and in return, he will take her to the human world, where the song of souls can't reach her.

But at the court of King Ludwig II in Munich, Hilde struggles to fit in. After learning that fashionable ladies are sitting for portraits, she hires non-binary Jewish artist Franz Mendelson, and is stunned when Franz renders her with swan wings. The more time she spends with Franz, the more she feels drawn to the artist's warm, understanding nature, and the more controlling Richter becomes. When Hilde's swan cloak suddenly goes missing, only Franz's ability to paint the true nature of souls can help Hilde escape her newfound prison.

 

ON SALE JULY 15

 

Aloha Compadre: Latinxs in Hawai'i by Rudy P. Guevarra | ADULT NONFICTION

Aloha Compadre: Latinxs in Hawaiʻi is the first book to examine the collective history and contemporary experiences of the Latinx population of Hawaiʻi. This study reveals that contrary to popular discourse, Latinx migration to Hawaiʻi is not a recent event. In the national memory of the United States, for example, the Latinx population of Hawaiʻi is often portrayed as recent arrivals and not as long-term historical communities with a presence that precedes the formation of statehood itself. Historically speaking, Latinxs have been voyaging to the Hawaiian Islands for over one hundred and ninety years. From the early 1830s to the present, they continue to help shape Hawaiʻi’s history, yet their contributions are often overlooked. Latinxs have been a part of the cultural landscape of Hawaiʻi prior to annexation, territorial status, and statehood in 1959. Aloha Compadre also explores the expanding boundaries of Latinx migration beyond the western hemisphere and into Oceania.

 

ON SALE JULY 18

 

Silver Nitrate by Silvia Moreno-Garcia | ADULT FICTION

Montserrat has always been overlooked. She’s a talented sound editor, but she’s left out of the boys’ club running the film industry in ’90s Mexico City. And she’s all but invisible to her best friend, Tristán, a charming if faded soap opera star, though she’s been in love with him since childhood.

Then Tristán discovers his new neighbor is the cult horror director Abel Urueta, and the legendary auteur claims he can change their lives—even if his tale of a Nazi occultist imbuing magic into highly volatile silver nitrate stock sounds like sheer fantasy. The magic film was never finished, which is why, Urueta swears, his career vanished overnight. He is cursed.

Now the director wants Montserrat and Tristán to help him shoot the missing scene and lift the curse . . . but Montserrat soon notices a dark presence following her, and Tristán begins seeing the ghost of his ex-girlfriend.

As they work together to unravel the mystery of the film and the obscure occultist who once roamed their city, Montserrat and Tristán may find that sorcerers and magic are not only the stuff of movies.

 

Twins vs. Triplets #2: Prank-Or-Treat by Jennifer Torres | Illustrated by Vanessa Flores |

The Montecito Monster Mash is only three days away--and the Romero Twins AND Benitez Triplets are testing out their scariest Halloween tricks on David! They both want to win the prize for the spookiest, scariest, most BOO-tiful haunted house in the neighborhood.

David won't let Halloween night turn into another all-out prank showdown. But what if he accidentally starts the scare-a-thon himself?

 

Under This Forgetful Sky by Lauren Yero | YOUNG ADULT

Sixteen-year-old Rumi Sabzwari has spent his entire life behind the armored walls of St. Iago, which protect citizens of the Union of Upper Cities from the outside world’s environmental devastation. But when rebels infect his father with a fatal virus, Rumi escapes St. Iago, desperate to find a cure.

In the ruined city of Paraíso, Rumi meets fifteen-year-old Paz, who agrees to guide him on his journey. As they travel together, Rumi finds himself drawn to Paz--and behind her tough exterior, she begins to feel the same way. But Paz knows more about Rumi's father's illness than she's saying and has her own agenda. With the powerful forces at play in their cities putting them at odds, can the two learn to trust in each other--enough to imagine a different world?

 

Vanishing Maps by Cristina García | ADULT FICTION

Celia del Pino, the matriarch of a far-flung Cuban family, has watched her descendants spread out across the globe, struggling to make sense of their transnational identities and strained relationships with one another. In Berlin, the charismatic yet troubled Ivanito performs on stage as his drag queen persona, while being haunted by the ghost of his mother. Pilar Puente, adrift in Los Angeles, is a struggling sculptor and the single mother of a young son. In Moscow, Ivanito's cousin Irina has become the wealthy owner of a lingerie company, but she remains deeply lonely in the wake of her parents' deaths and her estrangement from her Cuban heritage. Meanwhile, in Havana, Celia prepares to reunite with her lost lover, Gustavo, and wonders whether age and the decades spent apart have altered their bond.Cut off from their Cuban roots, yet still feeling the island's ineluctable pull, Ivanito and his extended family try to reimagine where--and with whom--they belong. Over the course of a momentous year, each will grapple with their histories as they are pulled to Berlin for a final, explosive reunion.

 

I Am Not Alone by Francisco X. Stork | YOUNG ADULT

Alberto's life isn't easy: He's an undocumented immigrant from Mexico who lives with his sister's abusive boyfriend-but he'd always accepted his place in the world. Until he starts hearing the voice of a man called Captain America, a voice that wants him to achieve more, no matter the cost.

Grace has it all: She has a supportive boyfriend, she's on track to be valedictorian, and she's sure to go to the college of her dreams. Still, nothing feels right to her any more after the divorce of her parents, and feels she needs something more.

When Alberto and Grace meet, they have an immediate and electric connection. But when Alberto is present at the scene of a terrible crime, he becomes a suspect. And with his developing schizophrenia, he's not even sure he believes in his own innocence.

Can Grace find a way to prove Alberto's innocence to himself and the world?

 

One Tough Cookie: A Novel by Delise Torres | ADULT FICTION

All cookies are made with love—even if twenty-seven-year-old Karina Cortés doesn’t believe in the concept. For her, a simple life with no attachments is a good life. And her life is indeed good—even with her biggest accomplishment being passing the GED exam. Karina is able to secure an incredible and well-paying job at Singular Cookies, Inc., a small family-owned cookie manufacturing plant in Fort Pierce, Florida. And although the founders of the company treat her like family, Karina insists she doesn’t need or want one. Not after her mother chose a man over her own daughter, pushing the young Karina to move out and make it on her own.

And she couldn’t be happier with her single life, unlike her friends, whose lives revolve around men.

Work and play collide when she meets the company’s hot new mechanic, Ian Feliciano, who stirs up feelings she tends to avoid. Karina knows she shouldn’t date him, but she’s strong; she’ll never turn pathetic like her friends or, especially, her mom. And with a looming plant inspection and trying to break up the CEO's new romance, Karina has enough to distract herself.

As the inspection draws near and Karina battles her heart, she’ll have to decide whether to continue holding on to deeply ingrained beliefs that keep everyone at bay, or learn that love is not as dangerous as she fears and in the end, it is our history—our singular recipe—that shapes how we live.

 

ON SALE JULY 25

 

The Sun and the Void by Gabriela Romero Lacruz | ADULT FICTION

Reina is desperate.

Stuck on the edges of society, Reina's only hope lies in an invitation from a grandmother she's never met. But the journey to her is dangerous, and prayer can't always avert disaster.

Attacked by creatures that stalk the mountains, Reina is on the verge of death until her grandmother, a dark sorceress, intervenes. Now dependent on the Doña's magic for her life, Reina will do anything to earn--and keep--her favor. Even the bidding of an ancient god who whispers to her at night.

Eva Kesaré is unwanted.

Illegitimate and of mixed heritage, Eva is her family's shame. She tries to be the perfect daughter, but Eva is hiding a secret: Magic calls to her.

Eva knows she should fight the temptation. Magic is the sign of the dark god, and using it is punishable by death. Yet it's hard to ignore power when it has always been denied you. Eva is walking a dangerous path. And in the end, she'll become something she never imagined.

 

Fresh Juice by Robert Liu-Trujillo | PICTURE BOOK

When Art's father can't get over a cold, Art knows exactly what his daddy needs: some delicious sick-fighting juice! After looking through the fridge and cupboards, they discover they're missing a key ingredient--ginger. But finding some ginger will take them downtown, to the farmers' market, to the food co-op, to the West African grocery ... to an unexpected encounter that brings everyone together, and results in a tasty celebration.

 

Infested: An MTV Fear Novel by Angel Luis Colón | YOUNG ADULT

It's the summer before senior year, and Manny has just moved from Texas to the Bronx in New York. So, instead of hanging with his friends and making some spending money, Manny is forced to do menial tasks in his new home, a luxury condo his stepdad is managing, while stressing about starting over.

Thankfully, he meets Sasha, who is protesting the building but turns out to be really cool. And he strikes up an unlikely friendship with Mr. Mueller, the building's exterminator. Maybe life in the Bronx won't be so bad.

Then the nightmares begin. And Manny swears he has roaches crawling under his skin. When building contractors start to go missing, Manny and Sasha come to the terrifying realization that Mr. Mueller is not who he says he is. Or rather, he is, but he died decades ago in a fire exactly where Manny's new building is located. A fire that Mueller set.

Now, in a race against time, Manny must rescue his family from a deranged specter determined to set the Bronx ablaze once again.

Book Review: For a Just and Better World by Sonia Hernández

In For a Just and Better World: Engendering Anarchism in the Mexican Borderlands, 1900-1938, Sonia Hernández takes us on a historical journey utilizing archival documents related to the transnational labor and anarcho-syndicalist movements of the early 20th century. By applying a feminist perspective, Hernández develops a gendered history that highlights the contributions of women in the global labor movement. Hernández also explores various topics such as Revolutionary Motherhood and motherhood as a rhetoric; the significance of media in identity labeling; the circulation of news during the 20th century; the inequalities women activists faced within and outside labor unions, and lastly, the power of global organizing. Weaved throughout each chapter, Hernández forefronts the significance of the anarchist movement: the fight for freedom and the freedom to envision a just and better world.

By centering on female anarchists and organizers, Hernández brings to the forefront their marginalized voices, ideas, goals, and contributions, thus providing a gendered and more inclusive history.

The book begins by focusing on the type of revolutionist environment that gave rise to the feminist and anarchist Caritina Pina in Tampico, Mexico. In its exploration of Pina’s role as the head secretary of the Comité Internacional Pro-Presos Sociales–essentially the role of a global labor broker and organizer—Hernández traces global contributions made by Pina and other prominent women within the labor movement. By centering on female anarchists and organizers, Hernández brings to the forefront their marginalized voices, ideas, goals, and contributions, thus providing a gendered and more inclusive history. Through Hernández’s archival research, they string together documents from archives around the globe that portray the significant  contributions of Pina and other women. Hernández states that through their utilization of the press, Pina and others—without moving from their hometowns—operated at a global level, disseminating their intellectual ideas on the anarcho-syndicalist movement in a transnational, or borderless, world. Through the expression and circulation of their ideas about labor inequalities, women like Caritina Pina fought for a seat at the table in a male-dominated labor movement. Furthermore, the women’s borderless operation and impact shaped 20th century Mexico into a renowned intellectual hub. In a world that reproduces colonial hierarchies and seeks to make global south contributions invisible, Pina and other women’s establishment of (and Hernandez’s reclaiming of) Mexico as a place of radical and forward moving intellectual ideas, is revolutionary. Despite these contributions, however, Hernández ruminates on the dead-end they were met with—a dead-end that often met many female and female activists like Caritina Pina within the archives.

Hernández moves on to specifically examine the transformation of anarchist labor movements in Mexico. They claim that anarchism, due to its foundation on freedom and equality, produced opportunities for women to express their own interests and contribute to the “lucha”. Essentially, anarchist theory, when put in practice, lead to direct action, possibilities for women, and transnational organizing. Hernández claims that the women who were first involved in these labor organizations, such as Pina and the women who came before her, experienced more freedom than was common in the religious state that often oppressed them through the politicization of motherhood and morality. However, as labor movement organizations transformed, they began to adhere to state politics and adopted similar oppressive attitudes towards women. Thus, women who had initially found refuge and freedom within the labor movement, were gradually disillusioned and pushed out.

[Hernández] reminds us about unity, female emancipation and empowerment, and about the fight for freedom. . . Hernández calls us to envision a free world rooted in equality. 

Hernández establishes a historical pattern: once an organization was union-backed, they started following state-led policies meant to curve prostitution through the control of female bodies and female labor. Female waitresses were most affected, experiencing the strictest surveillance and control through the regulation of sexuality and morality. These discriminatory regulations eventually forced many waitresses to make the difficult decision of letting go of their benefits in a union-backed organization that did not have their best interests at heart and instead collectively organize for each other through a grassroots organization known as the meseras libres, or free waitress movement. This, Hernández claims, was an act of Feminist Anarchism. (1) However, despite the success in establishing the meseras libres, their organization ultimately did not experience the same amount of success as other unions due to the brutal repression they experienced from the state. (2) By examining this history, Hernandez portrays how women were active participants within the fight for equal labor rights but ultimately not given the same outcomes as their male counterparts. The disproportionate outcomes lead many women to “leave unions to the men” (3) and instead adopt disengaged attitudes about organizing, freedom, and equality.

Although achieving a provocative description of the inequalities that feminist labor activists faced in the 20th century, Hernández does not leave readers helpless. Instead, she reminds us about unity, female emancipation and empowerment, and about the fight for freedom. In conclusion, Hernández calls us to envision a free world rooted in equality. 

1 Hernandez, Sonia. 2021. For a Just and Better World: Engendering Anarchism in the Mexican Borderlands 1900- 1938. Pg 112

2 Ibid 112

3 Ibid112.


Dr. Sonia Hernández earned Bachelor and Master's degrees in History from the University of Texas-Pan American as well as a PhD in Latin American History from the University of Houston. She is a former UT Board of Regents Scholar and Fulbright scholar. Dr. Hernández's research focuses on the intersections of gender and labor in the U.S.-Mexican Borderlands, Chicana/o history, and Modern Mexico. She is the author of Working Women into the Borderlands (Texas A&M University Press, 2014) and For a Just and Better World: Engendering Anarchism in the Mexican Borderlands, 1900-1938 (University of Illinois Press, 20121). A highly awarded scholar, her works have won the Sara A. Whaley Book Prize (NWSA), the Liz Carpenter Award (TSHA), and the Philip Taft Labor Book Award (Cornell & LAWCHA). Dr. Hernández is currently an Associate Professor of History at Texas A&M University.

Genesis Mazariegos is a graduate student in UC Irvine's School of Social Sciences. As a Guatemalan immigrant and life-long Orange County resident, Genesis' research is rooted in her lived experiences. Her current research focuses on tourism's effects on Latino neighborhoods in Orange County. As a McNair Scholar at UC Berkeley where she studied Anthropology, Genesis' research also examined Guatemalan transnational identity/culture and immigration law/policy.  Currently, Genesis is focused on pursuing both JD and PhD programs in order to become a transformative force and resource for her Latinx community.