Celebrating Latine Heritage Month

Summary:

It's 1980. Ronald Reagan has been elected president, John Lennon has been shot, and a little girl in New Jersey has been hauled off to English classes. Her teachers and parents and tias are expecting her to become white--like the Italians. This is the opening to A cup of water under my bed, the memoir of one Colombian-Cuban daughter's rebellions and negotiations with the women who raised her and the world that wanted to fit her into a cubbyhole. From language acquisition to coming out as bisexual to arriving as a reporting intern at the New York Times as the paper is rocked by its biggest plagiarism scandal, Daisy Hernandez chronicles what the women in her community taught her about race, sex, money, and love. This is a memoir about the private nexus of sexuality, immigration, race and class issues, but it is ultimately a daughter's cuento of how to take the lessons from home and shape them into a new, queer life--

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Aristotle is an angry teen with a brother in prison. Dante is a know-it-all who has an unusual way of looking at the world. When the two meet at the swimming pool, they seem to have nothing in common. But as the loners start spending time together, they discover that they share a special friendship -- the kind that changes lives and lasts a lifetime. And it is through this friendship that Ari and Dante will learn the most important truths about themselves and the kind of people they want to be.

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Out in the desert in a place called the Palace, a young man tends to a dying soul, someone he once knew briefly but who has haunted the edges of his life: Juan Gay. Playful raconteur, child lost and found and lost, guardian of the institutionalized, Juan has a project to pass along, one built around a true artifact of a book -- Sex Variants: A Study of Homosexual Patterns -- and its devastating history. This book contains accounts collected in the early twentieth century from queer subjects by a queer researcher, Jan Gay, whose groundbreaking work was then co-opted by a committee, her name buried. The voices of these subjects have been filtered, muted, but it is possible to hear them from within and beyond the text, which, in Juan's tattered volumes, has been redacted with black marker on nearly every page. As Juan waits for his end, he and the narrator recount for each other moments of joy and oblivion; they resurrect loves, lives, mothers, fathers, minor heroes. In telling their own stories and the story of the book, they resist the ravages of memory and time. The past is with us, beside us, ahead of us; what are we to create from its gaps and erasures? A book about storytelling -- its legacies, dangers, delights, and potential for change -- and a bold exploration of form, art, and love, Justin Torres's Blackouts uses fiction to see through the inventions of history and narrative. A marvel of creative imagination, it draws on testimony, photographs, illustrations, and a range of influences as it insists that we look long and steadily at what we have inherited and what we have made -- a world full of ghostly shadows and flashing moments of truth. A reclamation of ransacked history, a celebration of defiance, and a transformative encounter, Blackouts mines the stories that have been kept from us and brings them into the light--Publisher's description.

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Growing up as the daughter of Mexican immigrants in Chicago in the nineties, Erika Sánchez was a self-described pariah, misfit, and disappointment--a foul-mouthed, melancholic rabble-rouser who painted her nails black but also loved comedy, often laughing so hard with her friends that she had to leave her school classroom. Twenty-five years later, she's now an award-winning novelist, poet, and essayist, but she's still got an irrepressible laugh, an acerbic wit, and singular powers of perception about the world around her. In these essays, Sánchez writes about everything from sex to white feminism to debilitating depression, revealing an interior life rich with ideas, self-awareness, and perception. Raunchy, insightful, unapologetic, and brutally honest, Crying in the Bathroom is Sánchez at her best--a book that will make you feel that post-confessional high that comes from talking for hours with your best friend.

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Charlie Vega is a lot of things. Smart. Funny. Artistic. Ambitious. Fat. People sometimes have a problem with that last one. Especially her mom. Charlie wants a good relationship with her body, but it's hard, and her mom leaving a billion weight loss shakes on her dresser doesn't help. The world and everyone in it have ideas about what she should look like: thinner, lighter, slimmer-faced, straighter-haired. Be smaller. Be whiter. Be quieter. But there's one person who's always in Charlie's corner: her best friend Amelia. Slim. Popular. Athletic. Totally dope. So when Charlie starts a tentative relationship with cute classmate Brian, the first worthwhile guy to notice her, everything is perfect until she learns one thing--he asked Amelia out first. So is she his second choice or what? Does he even really see her? Because it's time people did.

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His first-ever collection of stories, Jaime Cortez's Gordo is set in a migrant workers camp near Watsonville, California, in the 1970s. A young boy named Gordo fights back tears underneath a wrestler's mask as he is forced to fight other boys and grow into his father's expectations of manhood. As he comes of age, Gordo learns about sex, poverty, and discovers the wrenching divides between documented and undocumented immigrants. Fat Cookie, high schooler and resident artist, uses tiny library pencils to draw murals of graffiti flowers along the camp's blank walls, the words CHICANO POWER boldly lettered across, before she runs away from home one day with her mother's boyfriend. Los Tigres, the perfect pair of twins who show up to Gyrich Farms every season without fail, are champion drinkers until one of them is rushed to the emergency room after a brawl, bloody and slumped in a tattered easy chair on the back of a pick-up truck. These scenes from Steinbeck Country seen so intimately from within are full of humor, family drama, and a sweet frankness about serious matters-who belongs to America and how are they treated? Written with balance and poise, Cortez braids together elegantly tragicomic and inviting stories about life on a California camp, in essence redefining what all-American means--

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A sweeping history of the Latinx experience in the United States. The first new edition in ten years of this important study of Latinos in U.S. history, Harvest of Empire spans five centuries--from the European colonization of the Americas to the 2020 election. Latinos are now the largest minority group in the United States, and their impact on American culture and politics is greater than ever. With family portraits of real-life immigrant Latino pioneers, as well as accounts of the events and conditions that compelled them to leave their homelands, Gonzalez highlights the complexity of a segment of the American population that is often discussed but frequently misrepresented. This landmark history is required reading for anyone wishing to understand the history and legacy of this influential and diverse group--

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From the beloved author of Dominicana, a GMA Book Club Pick and Women's Prize Finalist, an electrifying and indelible new novel about a woman who has lost everything but the chance to finally tell her story. Write this down: Cara Romero wants to work. Cara Romero thought she would work at the factory of little lamps for the rest of her life. But when, in her mid-50s, she loses her job in the Great Recession, she is forced back into the job market for the first time in decades. Set up with a job counselor, Cara instead begins to narrate the story of her life. Over the course of twelve sessions, Cara recounts her tempestuous love affairs, her alternately biting and loving relationships with her neighbor Lulu and her sister Angela, her struggles with debt, gentrification and loss, and, eventually, what really happened between her and her estranged son, Fernando. As Cara confronts her darkest secrets and regrets, we see a woman buffeted by life but still full of fight. Structurally inventive and emotionally kaleidoscopic, How Not to Drown in a Glass of Water is Angie Cruz's most ambitious and moving novel yet, and Cara is a heroine for the ages--

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This fresh voice in American poetry wields lyric pleasure and well-honed insight against a cruel century that would kill us with a thousand cuts. Dios aprieta, pero no ahorca (God squeezes, but He doesn't strangle)--the epigraph of Machete--sets the stage for a powerful poet who summons a variety of ways to endure life when there's an invisible hand at your throat. Tomás Morín hails from the coastal plains of Texas, and explores a world where identity and place shift like that ever-changing shore. In these poems, culture crashes like waves and leaves behind Billie Holiday and the CIA, disco balls and Dante, the Bible and Jerry Maguire. They are long, lean and dazzle in their telling: Whiteface is a list of instructions for people stopped by the police; Duct Tape lauds our domestic life from the point of view of the tape itself. One part Groucho Marx, one part Job, Morín considers our obsession with suffering--the pain in which we trust--and finds that the best answer to our predicament is sometimes anger, sometimes laughter, but always via the keen line between them that may be the sharpest weapon we have--

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Quiara Alegria Hudes was the sharp-eyed girl on the stairs while her family danced in her grandmother's tight South Philly kitchen, frizzy hair cut short, bangs teased into stiff clouds, sweat glistening in the summer fog, pamper-butt babies weaving between legs. Quiara was awed by her aunts and uncles and cousins, but haunted by the secrets of the family and the unspoken stories of the barrio -- even as she tried to find her own voice in the sea of language around her, written and spoken, English and Spanish, bodies and books, Western art and sacred altars. Her family became her private pantheon, a gathering of powerful orishas with tragic wounds and she vowed to tell their stories--but first she'd have to get off the stairs and join the dance; she'd have to find her language. This is an inspired exploration of home, family, memory, and belonging, narrated by the obsessed girl who fought to become an artist so she could capture the world she loved in all its wild and delicate beauty--

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A sweeping, masterful debut about a daughter's fateful choice, a mother motivated by her own past, and a family legacy that begins in Cuba before either of them was born. In present-day Miami, Jeanette is battling addiction. Daughter of Carmen, a Cuban immigrant, she is determined to learn more about her family history from her reticent mother and makes the snap decision to take in the daughter of a neighbor detained by ICE. Carmen, still wrestling with the trauma of displacement, must process her difficult relationship with her own mother while trying to raise a wayward Jeanette. Steadfast in her quest for understanding, Jeanette travels to Cuba to see her grandmother and reckon with secrets from the past destined to erupt. From nineteenth-century cigar factories to present-day detention centers, from Cuba to Mexico, Of Women and Salt is a kaleidoscopic portrait of betrayals - personal and political, self-inflicted and those done by others - that have shaped the lives of these extraordinary women. A haunting meditation on the choices of mothers, the legacy of the memories they carry, and the tenacity of women who choose to tell their stories despite those who wish to silence them, this is more than a diaspora story; it is a story of America's most tangled, honest, human roots. --

Summary:

In Once I Was You, Maria shares her intimate experience growing up Mexican American on the South Side of Chicago. She offers a personal and illuminating account of how the rhetoric around immigration has not only long informed American attitudes toward outsiders, but also sanctioned willful negligence and profiteering at the expense of our country's most vulnerable populations--charging us with the broken system we have today. An urgent call to fellow Americans to open their eyes to the immigration crisis and understand that it affects us all, this honest and heartrending memoir paints a vivid portrait of how we got here and what it means to be a survivor, a feminist, a citizen, and a journalist who owns her voice while striving for the truth. --

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Latino is the most open-ended and loosely defined of the major race categories in the United States. Our Migrant Souls: A Meditation on Race and the Meanings and Myths of Latino assembles the Pulitzer Prize winner Héctor Tobar's personal experiences as the son of Guatemalan immigrants and the stories told to him by his Latinx students to offer a spirited rebuke to racist ideas about Latino people. Our Migrant Souls decodes the meaning of Latino as a racial and ethnic identity in the modern United States, and seeks to give voice to the angst and anger of young Latino people who have seen Latinidad transformed into hateful tropes about illegals and have faced insults, harassment, and division based on white insecurities and economic exploitation.

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A groundbreaking collection of poems addressing how every kind of love-self, brotherly, romantic, familial, cultural-is birthed, shaped, and complicated by the invisible forces of gender, capitalism, religion, migration, and so on. Written in English and combined with a Spanish translation by poet David Ruano, Promises of Gold explores many forms of love and how a promise made isn't always a promise kept, as Olivarez grapples with the contradictions of the American Dream laying bare the ways in which love is complicated by forces larger than our hearts.--

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For Ingrid Rojas Contreras, magic runs in the family. Growing up in the Colombia of the 1980s and 1990s in a house where what did you dream? was asked in place of how are you? her world was laced with prophecy and violence. Her maternal grandfather, Nono, was a renowned curandero, a community healer gifted with the ability to talk to the dead, tell the future, treat the sick, and move the clouds. As a young girl, Rojas Contreras eavesdropped on her mother's fortune-telling business from the stairs and waited eagerly for the moments when Mami appeared in two places at once. She was accustomed to letting the ghosts in. So when Ingrid, now living in the U.S., suffered a head injury in her 20s that left her with amnesia-an accident eerily similar to a fall that had put her mother in a coma at the age of 8, from which she woke with not just amnesia, but the ability to see ghosts--the family assumes the secrets have finally been passed down to the next generation. But as Ingrid recovers her memories, they don't come with supernatural abilities. Rather, she is consumed by a powerful urge to learn even more about her heritage than she knew before the accident. Spurred by a shared dream among Mami and her sisters, wherein Nono communicates that he is unable to rest peacefully in the afterlife, Ingrid joins her mother on a journey home to Colombia to disinter her grandfather's remains. With her mother as her unpredictable, stubborn and often hilarious guide, Ingrid traces her lineage back to her indigenous and Spanish roots, uncovering the violent and rigid colonial narrative that would eventually break her family into two camps: those who believe the secrets are a gift, and those who are convinced they are a curse. Interweaving family stories more enchanting than any novel, resurrected Colombian history, and her own deeply personal reckonings with the bounds of reality, Rojas Contreras writes her way through the incomprehensible and into her inheritance. The result is a luminous testament to the power of storytelling as a healing art and an invitation to embrace the extraordinary--

Summary:

Xiomara Batista feels unheard and unable to hide in her Harlem neighborhood. Ever since her body grew into curves, Xiomara Batista has learned to let her fists and her fierceness do the talking. She pours all her frustration and passion onto the pages of a leather notebook, reciting the words to herself like prayers--especially after she catches feelings for a boy in her bio class named Aman, who her family can never know about. Mami is determined to force her daughter to obey the laws of the church, and Xiomara understands that her thoughts are best kept to herself. When she is invited to join her school's slam poetry club, she can't stop thinking about performing her poems. --Cover.

Summary:

An award-winning writer of absorbing, sophisticated fiction delivers a stylish and propulsive novel rooted in early 20th century New York, about wealth and talent, trust and intimacy, truth and perception. In glamorous 1920s New York City, two characters of sophisticated taste come together. One is a legendary Wall Street tycoon; the other, the brilliant daughter of penniless aristocrats. Steeped in affluence and grandeur, their marriage excites gossip and allows a continued ascent--all at a moment when the country is undergoing a great transformation. This is the story at the center of Harold Vanner's novel Bonds, which everyone in 1938 New York seems to have read. But it isn't the only version. Provocative, propulsive, and repeatedly surprising, Hernan Diaz's TRUST puts the story of these characters into conversation with the the truth--and in tension with the life and perspective of an outsider immersed in the mystery of a competing account. The result is an overarching novel that becomes more exhilarating and profound with each new layer and revelation, engaging the reader in a treasure hunt for the truth that confronts the reality-warping gravitational pull of money, and how power often manipulates facts--Provided by publisher.

Summary:

Celia del Pino, 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. In Havana, Celia prepares to reunite with her lost lover, Gustavo, and wonders whether age and the decades spent apart have altered their bond. Over the course of a momentous year, each will grapple with their histories as they are pulled to Berlin for a final, explosive reunion.

Summary:

Nationally bestselling author Julissa Arce interweaves her own story with cultural commentary in a powerful polemic against the myth that assimilation leads to happiness and belonging for immigrants in America. Instead, she calls for a celebration of our uniqueness, our origins, our heritage, and the beauty of the differences that make us Americans. You sound like a White girl. These were the words spoken to Julissa by a high school crush as she struggled to find her place in America. As a Brown immigrant from Mexico, assimilation had been demanded of her since the moment she set foot in San Antonio, Texas, in 1994. She'd spent so much time getting rid of her accent so no one could tell English was her second language that in that moment she felt those words--you sound like a White girl--were a compliment. As a child, she didn't yet understand that assimilating to American culture really meant imitating White America--that sounding like a White girl was a racist idea meant to tame her, change her, and make her small. She ran the race, completing each stage, but never quite fit in, until she stopped running altogether. In this dual polemic and manifesto, Julissa dives into and tears apart the lie that assimilation leads to belonging. She combs through history and her own story to break down this myth, arguing that assimilation is a moving finish line designed to keep Black and brown Americans and immigrants chasing racist American ideals. She talks about the Lie of Success, the Lie of Legality, the Lie of Whiteness, and the Lie of English--each promising that if you obtain these things, you will reach acceptance and won't be an outsider anymore. Julissa deftly argues that these demands leave her and those like her in a purgatory--neither able to secure the power and belonging within whiteness nor find it in the community and cultures whiteness demands immigrants and people of color leave behind. In You Sound Like a White Girl, Julissa offers a bold new promise: Belonging only comes through celebrating yourself, your history, your culture, and everything that makes you uniquely you. Only in turning away from the white gaze can we truly make America beautiful. An America where difference is celebrated, heritage is shared and embraced, and belonging is for everyone. Through unearthing veiled history and reclaiming her own identity, Julissa shows us how to do this--

Summary:

The first time someone called Brammer Papi was on the gay hookup app Grindr. At first he took this as white-guy speak for hey, handsome. What started as a racialized moniker given to him on the hookup app soon became the inspiration for his now wildly popular advice column. Here Brammer shares his story of growing up biracial and in the closet in America's heartland, while attempting to answer some of life's toughest questions. This book is for anyone--gay, straight, and everything in between--who has ever taken stock of their unique place in the world. -- adapted from jacket.