New Mission Poesía of the '80s - Revision history

Ccarlsson at 04:39, 22 November 2021

2021-11-22T04:39:38Z

← Older revision		Revision as of 21:39, 21 November 2021
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	[[El Sexto Sol Shines For You\|Prev. Document]] [[KENNETH PATCHEN and his Picture-Poems\|Next Document]]		[[El Sexto Sol Shines For You\|Prev. Document]] [[KENNETH PATCHEN and his Picture-Poems\|Next Document]]

	[[category:Literary San Francisco]] [[category:Latino]] [[category:Mission]] [[category:1970s]] [[category:Public Art]] [[category:1980s]] [[category:2000s]] [[category:gentrification]] [[category:murals]]		[[category:Literary San Francisco]] [[category:Latino]] [[category:Mission]] [[category:1970s]] [[category:Public Art]] [[category:1980s]] [[category:2000s]] [[category:gentrification]] [[category:murals]] [[category:Reclaiming San Francisco]]

Ccarlsson: fixed formatting on photos

2018-09-07T22:59:50Z

fixed formatting on photos

← Older revision		Revision as of 15:59, 7 September 2018
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	Back in the Mission, the new wave of Salvadorean writers were emerging, with poets like Cecilia Guidos, Jorge Argueta and Marta Ivon Galindo. Piri Thomas returned from New York on the East-West net to la Mission. Latino multimedia groups sprang up with names like Grupo Pedrada, Tupac Amaru, Teatro Gusto and Teatro Yerba Buena. Culture Clash, a ferocious comedy ensemble, hit the streets with rap, sound track and a mod verbal repertoire. Francisco X. Alarcón and I worked on a special issue of the literary supplement to the nation's largest Spanish speaking newspaper, ''La Opinion'' which became their first Chicano arts section, published on July 13, 1980. We featured artists such as Gronk, Willie Herron, Patssi Valdez, John Valadez, writer-photographer Harry Gamboa Jr. and music groups such as "The Brat" and "Los Illegals." This effort was followed up in 1982 by ''El Gallo Ilustrado,'' a literary supplement of Mexico's periodical, ''El Día,'' featuring a Chicano literary special edited by Oscar U. Somoza. The early Mission of personal chapbooks, tight cafe readings, live political rally performance turned to a media theatre format, a textual act enacted through the private readings of an unknown Spanish-speaking cast across nations.		Back in the Mission, the new wave of Salvadorean writers were emerging, with poets like Cecilia Guidos, Jorge Argueta and Marta Ivon Galindo. Piri Thomas returned from New York on the East-West net to la Mission. Latino multimedia groups sprang up with names like Grupo Pedrada, Tupac Amaru, Teatro Gusto and Teatro Yerba Buena. Culture Clash, a ferocious comedy ensemble, hit the streets with rap, sound track and a mod verbal repertoire. Francisco X. Alarcón and I worked on a special issue of the literary supplement to the nation's largest Spanish speaking newspaper, ''La Opinion'' which became their first Chicano arts section, published on July 13, 1980. We featured artists such as Gronk, Willie Herron, Patssi Valdez, John Valadez, writer-photographer Harry Gamboa Jr. and music groups such as "The Brat" and "Los Illegals." This effort was followed up in 1982 by ''El Gallo Ilustrado,'' a literary supplement of Mexico's periodical, ''El Día,'' featuring a Chicano literary special edited by Oscar U. Somoza. The early Mission of personal chapbooks, tight cafe readings, live political rally performance turned to a media theatre format, a textual act enacted through the private readings of an unknown Spanish-speaking cast across nations.

	[[Image:Central-American-Revolutionary-Poetry-&-Song-flyer-mid-1970s.jpg\|320px\|left~~\|thumb\|~~Image: courtesy Nina Serrano]] By the mid-eighties, the Mission poetic voice catapulted with the young revolution in Nicaragua, the increased struggles of El Salvador, Guatemala and our ongoing resistance to the conservative tightening of the Reagan agenda. The Roque Dalton Brigade focused on organizing readings to fund the translations of Central American poets into English, specifically Dalton's poems as well as Otto Rene Castillo's writing. This project became the ''Volcan anthology,'' published by City Lights. On occasion many of us would merge with other literary events in the Mission such as Steve Abbot's ''Left Write Conference'' held at the Noe Valley Ministry on February 14th, 1981. We would co-sponsor events such "The Leash" a Latino play at the Mission Cultural Center by Teatro Gusto, the "In Defense of Free Speech" poetry reading at La Pea in Berkeley with poets including Alice Walker, Karen Brodine, Nellie Wong and Merle Woo. We would read at Casa Salvador on Valencia Street and pay homage those killed in El Salvador's 1979 massacres. The photo images of the caskets of 21 militants were put up on the store front door and flyers and displayed at the fourth "El Salvador" anniversary reading on October 29th, 1983. What exploded in the late sixties and early seventies continued, changed and proliferated through experiment, invention, factional sabotage, global social conflict and ultimately, the re-thinking of sexual orientation and gender stratified voices and communities.		[[Image:Central-American-Revolutionary-Poetry-&-Song-flyer-mid-1970s.jpg\|320px\|left]]

			''Image: courtesy Nina Serrano''

			By the mid-eighties, the Mission poetic voice catapulted with the young revolution in Nicaragua, the increased struggles of El Salvador, Guatemala and our ongoing resistance to the conservative tightening of the Reagan agenda. The Roque Dalton Brigade focused on organizing readings to fund the translations of Central American poets into English, specifically Dalton's poems as well as Otto Rene Castillo's writing. This project became the ''Volcan anthology,'' published by City Lights. On occasion many of us would merge with other literary events in the Mission such as Steve Abbot's ''Left Write Conference'' held at the Noe Valley Ministry on February 14th, 1981. We would co-sponsor events such "The Leash" a Latino play at the Mission Cultural Center by Teatro Gusto, the "In Defense of Free Speech" poetry reading at La Pea in Berkeley with poets including Alice Walker, Karen Brodine, Nellie Wong and Merle Woo. We would read at Casa Salvador on Valencia Street and pay homage those killed in El Salvador's 1979 massacres. The photo images of the caskets of 21 militants were put up on the store front door and flyers and displayed at the fourth "El Salvador" anniversary reading on October 29th, 1983. What exploded in the late sixties and early seventies continued, changed and proliferated through experiment, invention, factional sabotage, global social conflict and ultimately, the re-thinking of sexual orientation and gender stratified voices and communities.

	''--Juan Felipe Herrera from "Riffs on Mission District Raza Writers" in '''Reclaiming San Francisco: History, Politics, Culture''' A City Lights Anthology (City Lights Books: 1998)''		''--Juan Felipe Herrera from "Riffs on Mission District Raza Writers" in '''Reclaiming San Francisco: History, Politics, Culture''' A City Lights Anthology (City Lights Books: 1998)''

Ccarlsson at 08:32, 15 February 2013

2013-02-15T08:32:43Z

← Older revision		Revision as of 01:32, 15 February 2013
Line 11:		Line 11:
	Back in the Mission, the new wave of Salvadorean writers were emerging, with poets like Cecilia Guidos, Jorge Argueta and Marta Ivon Galindo. Piri Thomas returned from New York on the East-West net to la Mission. Latino multimedia groups sprang up with names like Grupo Pedrada, Tupac Amaru, Teatro Gusto and Teatro Yerba Buena. Culture Clash, a ferocious comedy ensemble, hit the streets with rap, sound track and a mod verbal repertoire. Francisco X. Alarcón and I worked on a special issue of the literary supplement to the nation's largest Spanish speaking newspaper, ''La Opinion'' which became their first Chicano arts section, published on July 13, 1980. We featured artists such as Gronk, Willie Herron, Patssi Valdez, John Valadez, writer-photographer Harry Gamboa Jr. and music groups such as "The Brat" and "Los Illegals." This effort was followed up in 1982 by ''El Gallo Ilustrado,'' a literary supplement of Mexico's periodical, ''El Día,'' featuring a Chicano literary special edited by Oscar U. Somoza. The early Mission of personal chapbooks, tight cafe readings, live political rally performance turned to a media theatre format, a textual act enacted through the private readings of an unknown Spanish-speaking cast across nations.		Back in the Mission, the new wave of Salvadorean writers were emerging, with poets like Cecilia Guidos, Jorge Argueta and Marta Ivon Galindo. Piri Thomas returned from New York on the East-West net to la Mission. Latino multimedia groups sprang up with names like Grupo Pedrada, Tupac Amaru, Teatro Gusto and Teatro Yerba Buena. Culture Clash, a ferocious comedy ensemble, hit the streets with rap, sound track and a mod verbal repertoire. Francisco X. Alarcón and I worked on a special issue of the literary supplement to the nation's largest Spanish speaking newspaper, ''La Opinion'' which became their first Chicano arts section, published on July 13, 1980. We featured artists such as Gronk, Willie Herron, Patssi Valdez, John Valadez, writer-photographer Harry Gamboa Jr. and music groups such as "The Brat" and "Los Illegals." This effort was followed up in 1982 by ''El Gallo Ilustrado,'' a literary supplement of Mexico's periodical, ''El Día,'' featuring a Chicano literary special edited by Oscar U. Somoza. The early Mission of personal chapbooks, tight cafe readings, live political rally performance turned to a media theatre format, a textual act enacted through the private readings of an unknown Spanish-speaking cast across nations.

	[[Image:Central-American-Revolutionary-Poetry-&-Song-flyer-mid-1970s.jpg\|~~400px~~\|left\|thumb\|Image: courtesy Nina Serrano]] By the mid-eighties, the Mission poetic voice catapulted with the young revolution in Nicaragua, the increased struggles of El Salvador, Guatemala and our ongoing resistance to the conservative tightening of the Reagan agenda. The Roque Dalton Brigade focused on organizing readings to fund the translations of Central American poets into English, specifically Dalton's poems as well as Otto Rene Castillo's writing. This project became the ''Volcan anthology,'' published by City Lights. On occasion many of us would merge with other literary events in the Mission such as Steve Abbot's ''Left Write Conference'' held at the Noe Valley Ministry on February 14th, 1981. We would co-sponsor events such "The Leash" a Latino play at the Mission Cultural Center by Teatro Gusto, the "In Defense of Free Speech" poetry reading at La Pea in Berkeley with poets including Alice Walker, Karen Brodine, Nellie Wong and Merle Woo. We would read at Casa Salvador on Valencia Street and pay homage those killed in El Salvador's 1979 massacres. The photo images of the caskets of 21 militants were put up on the store front door and flyers and displayed at the fourth "El Salvador" anniversary reading on October 29th, 1983. What exploded in the late sixties and early seventies continued, changed and proliferated through experiment, invention, factional sabotage, global social conflict and ultimately, the re-thinking of sexual orientation and gender stratified voices and communities.		[[Image:Central-American-Revolutionary-Poetry-&-Song-flyer-mid-1970s.jpg\|320px\|left\|thumb\|Image: courtesy Nina Serrano]] By the mid-eighties, the Mission poetic voice catapulted with the young revolution in Nicaragua, the increased struggles of El Salvador, Guatemala and our ongoing resistance to the conservative tightening of the Reagan agenda. The Roque Dalton Brigade focused on organizing readings to fund the translations of Central American poets into English, specifically Dalton's poems as well as Otto Rene Castillo's writing. This project became the ''Volcan anthology,'' published by City Lights. On occasion many of us would merge with other literary events in the Mission such as Steve Abbot's ''Left Write Conference'' held at the Noe Valley Ministry on February 14th, 1981. We would co-sponsor events such "The Leash" a Latino play at the Mission Cultural Center by Teatro Gusto, the "In Defense of Free Speech" poetry reading at La Pea in Berkeley with poets including Alice Walker, Karen Brodine, Nellie Wong and Merle Woo. We would read at Casa Salvador on Valencia Street and pay homage those killed in El Salvador's 1979 massacres. The photo images of the caskets of 21 militants were put up on the store front door and flyers and displayed at the fourth "El Salvador" anniversary reading on October 29th, 1983. What exploded in the late sixties and early seventies continued, changed and proliferated through experiment, invention, factional sabotage, global social conflict and ultimately, the re-thinking of sexual orientation and gender stratified voices and communities.

	''--Juan Felipe Herrera from "Riffs on Mission District Raza Writers" in '''Reclaiming San Francisco: History, Politics, Culture''' A City Lights Anthology (City Lights Books: 1998)''		''--Juan Felipe Herrera from "Riffs on Mission District Raza Writers" in '''Reclaiming San Francisco: History, Politics, Culture''' A City Lights Anthology (City Lights Books: 1998)''

Ccarlsson: changed images

2013-02-15T08:31:41Z

changed images

← Older revision		Revision as of 01:31, 15 February 2013
Line 3:		Line 3:
	''by Juan Felipe Herrera''		''by Juan Felipe Herrera''

	[[Image:~~Lily~~-~~ann~~-~~mural~~-~~IMG0006~~.jpg]]		[[Image:Nina-serrano-and-raul-salinas-at-Mission-Cultural-Center-c-1978.jpg]]

	'''~~New~~ Mission ~~Mural by Chuy Campusano~~, ~~illegally painted over by the Cort Foundation when they bought this triangular building at 17th between Treat and Harrison~~.'''		'''Nina Serrano and Raul Salinas at the Mission Cultural Center, c. 1978.'''

	''~~Photo: Chris Carlsson''~~		''Image: courtesy Nina Serrano''

	[[Image:~~Cort-Fndtn-wall 0496.jpg]]~~

	~~'''By 2009, the mural is unknown to the many new arrivals in the condominiums filling up the North Mission.'''~~

	~~''Photo: Chris Carlsson~~''

	Back in the Mission, the new wave of Salvadorean writers were emerging, with poets like Cecilia Guidos, Jorge Argueta and Marta Ivon Galindo. Piri Thomas returned from New York on the East-West net to la Mission. Latino multimedia groups sprang up with names like Grupo Pedrada, Tupac Amaru, Teatro Gusto and Teatro Yerba Buena. Culture Clash, a ferocious comedy ensemble, hit the streets with rap, sound track and a mod verbal repertoire. Francisco X. Alarcón and I worked on a special issue of the literary supplement to the nation's largest Spanish speaking newspaper, ''La Opinion'' which became their first Chicano arts section, published on July 13, 1980. We featured artists such as Gronk, Willie Herron, Patssi Valdez, John Valadez, writer-photographer Harry Gamboa Jr. and music groups such as "The Brat" and "Los Illegals." This effort was followed up in 1982 by ''El Gallo Ilustrado,'' a literary supplement of Mexico's periodical, ''El Día,'' featuring a Chicano literary special edited by Oscar U. Somoza. The early Mission of personal chapbooks, tight cafe readings, live political rally performance turned to a media theatre format, a textual act enacted through the private readings of an unknown Spanish-speaking cast across nations.		Back in the Mission, the new wave of Salvadorean writers were emerging, with poets like Cecilia Guidos, Jorge Argueta and Marta Ivon Galindo. Piri Thomas returned from New York on the East-West net to la Mission. Latino multimedia groups sprang up with names like Grupo Pedrada, Tupac Amaru, Teatro Gusto and Teatro Yerba Buena. Culture Clash, a ferocious comedy ensemble, hit the streets with rap, sound track and a mod verbal repertoire. Francisco X. Alarcón and I worked on a special issue of the literary supplement to the nation's largest Spanish speaking newspaper, ''La Opinion'' which became their first Chicano arts section, published on July 13, 1980. We featured artists such as Gronk, Willie Herron, Patssi Valdez, John Valadez, writer-photographer Harry Gamboa Jr. and music groups such as "The Brat" and "Los Illegals." This effort was followed up in 1982 by ''El Gallo Ilustrado,'' a literary supplement of Mexico's periodical, ''El Día,'' featuring a Chicano literary special edited by Oscar U. Somoza. The early Mission of personal chapbooks, tight cafe readings, live political rally performance turned to a media theatre format, a textual act enacted through the private readings of an unknown Spanish-speaking cast across nations.

	By the mid-eighties, the Mission poetic voice catapulted with the young revolution in Nicaragua, the increased struggles of El Salvador, Guatemala and our ongoing resistance to the conservative tightening of the Reagan agenda. The Roque Dalton Brigade focused on organizing readings to fund the translations of Central American poets into English, specifically Dalton's poems as well as Otto Rene Castillo's writing. This project became the ''Volcan anthology,'' published by City Lights. On occasion many of us would merge with other literary events in the Mission such as Steve Abbot's ''Left Write Conference'' held at the Noe Valley Ministry on February 14th, 1981. We would co-sponsor events such "The Leash" a Latino play at the Mission Cultural Center by Teatro Gusto, the "In Defense of Free Speech" poetry reading at La Pea in Berkeley with poets including Alice Walker, Karen Brodine, Nellie Wong and Merle Woo. We would read at Casa Salvador on Valencia Street and pay homage those killed in El Salvador's 1979 massacres. The photo images of the caskets of 21 militants were put up on the store front door and flyers and displayed at the fourth "El Salvador" anniversary reading on October 29th, 1983. What exploded in the late sixties and early seventies continued, changed and proliferated through experiment, invention, factional sabotage, global social conflict and ultimately, the re-thinking of sexual orientation and gender stratified voices and communities.		[[Image:Central-American-Revolutionary-Poetry-&-Song-flyer-mid-1970s.jpg\|400px\|left\|thumb\|Image: courtesy Nina Serrano]] By the mid-eighties, the Mission poetic voice catapulted with the young revolution in Nicaragua, the increased struggles of El Salvador, Guatemala and our ongoing resistance to the conservative tightening of the Reagan agenda. The Roque Dalton Brigade focused on organizing readings to fund the translations of Central American poets into English, specifically Dalton's poems as well as Otto Rene Castillo's writing. This project became the ''Volcan anthology,'' published by City Lights. On occasion many of us would merge with other literary events in the Mission such as Steve Abbot's ''Left Write Conference'' held at the Noe Valley Ministry on February 14th, 1981. We would co-sponsor events such "The Leash" a Latino play at the Mission Cultural Center by Teatro Gusto, the "In Defense of Free Speech" poetry reading at La Pea in Berkeley with poets including Alice Walker, Karen Brodine, Nellie Wong and Merle Woo. We would read at Casa Salvador on Valencia Street and pay homage those killed in El Salvador's 1979 massacres. The photo images of the caskets of 21 militants were put up on the store front door and flyers and displayed at the fourth "El Salvador" anniversary reading on October 29th, 1983. What exploded in the late sixties and early seventies continued, changed and proliferated through experiment, invention, factional sabotage, global social conflict and ultimately, the re-thinking of sexual orientation and gender stratified voices and communities.

	''--Juan Felipe Herrera from "Riffs on Mission District Raza Writers" in '''Reclaiming San Francisco: History, Politics, Culture''' A City Lights Anthology (City Lights Books: 1998)''		''--Juan Felipe Herrera from "Riffs on Mission District Raza Writers" in '''Reclaiming San Francisco: History, Politics, Culture''' A City Lights Anthology (City Lights Books: 1998)''

Ccarlsson: added murals category

2010-04-08T00:38:30Z

added murals category

← Older revision		Revision as of 17:38, 7 April 2010
Line 23:		Line 23:
	[[El Sexto Sol Shines For You\|Prev. Document]] [[KENNETH PATCHEN and his Picture-Poems\|Next Document]]		[[El Sexto Sol Shines For You\|Prev. Document]] [[KENNETH PATCHEN and his Picture-Poems\|Next Document]]

	[[category:Literary San Francisco]] [[category:Latino]] [[category:Mission]] [[category:1970s]] [[category:Public Art]] [[category:1980s]] [[category:2000s]] [[category:gentrification]]		[[category:Literary San Francisco]] [[category:Latino]] [[category:Mission]] [[category:1970s]] [[category:Public Art]] [[category:1980s]] [[category:2000s]] [[category:gentrification]] [[category:murals]]

Ccarlsson at 05:19, 5 August 2009

2009-08-05T05:19:09Z

← Older revision		Revision as of 22:19, 4 August 2009
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	[[Image:Cort-Fndtn-wall 0496.jpg]]		[[Image:Cort-Fndtn-wall 0496.jpg]]

	'''By 2009, the mural is unknown to the many new arrivals ~~filling~~ the condominiums filling up the North Mission.'''		'''By 2009, the mural is unknown to the many new arrivals in the condominiums filling up the North Mission.'''

	''Photo: Chris Carlsson''		''Photo: Chris Carlsson''

Ccarlsson: added new photo 2009 and new categories

2009-08-05T05:18:30Z

added new photo 2009 and new categories

← Older revision		Revision as of 22:18, 4 August 2009
Line 3:		Line 3:
	''by Juan Felipe Herrera''		''by Juan Felipe Herrera''

	[[Image:~~Whitewashed~~-mural-~~17&HARIS~~.jpg]]		[[Image:Lily-ann-mural-IMG0006.jpg]]

	'''New Mission Mural by Chuy Campusano, illegally painted over by the Cort Foundation when they bought this triangular building at 17th between Treat and Harrison.'''		'''New Mission Mural by Chuy Campusano, illegally painted over by the Cort Foundation when they bought this triangular building at 17th between Treat and Harrison.'''

			''Photo: Chris Carlsson''

			[[Image:Cort-Fndtn-wall 0496.jpg]]

			'''By 2009, the mural is unknown to the many new arrivals filling the condominiums filling up the North Mission.'''

	''Photo: Chris Carlsson''		''Photo: Chris Carlsson''
Line 17:		Line 23:
	[[El Sexto Sol Shines For You\|Prev. Document]] [[KENNETH PATCHEN and his Picture-Poems\|Next Document]]		[[El Sexto Sol Shines For You\|Prev. Document]] [[KENNETH PATCHEN and his Picture-Poems\|Next Document]]

	[[category:Literary San Francisco]] [[category:Latino]] [[category:Mission]] [[category:1970s]] [[category:Public Art]] [[category:1980s]]		[[category:Literary San Francisco]] [[category:Latino]] [[category:Mission]] [[category:1970s]] [[category:Public Art]] [[category:1980s]] [[category:2000s]] [[category:gentrification]]

Ccarlsson: swapped photo

2009-08-05T04:34:38Z

swapped photo

← Older revision		Revision as of 21:34, 4 August 2009
Line 3:		Line 3:
	''by Juan Felipe Herrera''		''by Juan Felipe Herrera''

	[[Image:~~Litersf1%24new~~-~~mission~~-~~mural~~.jpg]]		[[Image:Whitewashed-mural-17&HARIS.jpg]]

	'''New Mission Mural by Chuy Campusano, illegally painted over by the Cort Foundation when they bought this triangular building at 17th between Treat and Harrison.'''		'''New Mission Mural by Chuy Campusano, illegally painted over by the Cort Foundation when they bought this triangular building at 17th between Treat and Harrison.'''

			''Photo: Chris Carlsson''

	Back in the Mission, the new wave of Salvadorean writers were emerging, with poets like Cecilia Guidos, Jorge Argueta and Marta Ivon Galindo. Piri Thomas returned from New York on the East-West net to la Mission. Latino multimedia groups sprang up with names like Grupo Pedrada, Tupac Amaru, Teatro Gusto and Teatro Yerba Buena. Culture Clash, a ferocious comedy ensemble, hit the streets with rap, sound track and a mod verbal repertoire. Francisco X. Alarcón and I worked on a special issue of the literary supplement to the nation's largest Spanish speaking newspaper, ''La Opinion'' which became their first Chicano arts section, published on July 13, 1980. We featured artists such as Gronk, Willie Herron, Patssi Valdez, John Valadez, writer-photographer Harry Gamboa Jr. and music groups such as "The Brat" and "Los Illegals." This effort was followed up in 1982 by ''El Gallo Ilustrado,'' a literary supplement of Mexico's periodical, ''El Día,'' featuring a Chicano literary special edited by Oscar U. Somoza. The early Mission of personal chapbooks, tight cafe readings, live political rally performance turned to a media theatre format, a textual act enacted through the private readings of an unknown Spanish-speaking cast across nations.		Back in the Mission, the new wave of Salvadorean writers were emerging, with poets like Cecilia Guidos, Jorge Argueta and Marta Ivon Galindo. Piri Thomas returned from New York on the East-West net to la Mission. Latino multimedia groups sprang up with names like Grupo Pedrada, Tupac Amaru, Teatro Gusto and Teatro Yerba Buena. Culture Clash, a ferocious comedy ensemble, hit the streets with rap, sound track and a mod verbal repertoire. Francisco X. Alarcón and I worked on a special issue of the literary supplement to the nation's largest Spanish speaking newspaper, ''La Opinion'' which became their first Chicano arts section, published on July 13, 1980. We featured artists such as Gronk, Willie Herron, Patssi Valdez, John Valadez, writer-photographer Harry Gamboa Jr. and music groups such as "The Brat" and "Los Illegals." This effort was followed up in 1982 by ''El Gallo Ilustrado,'' a literary supplement of Mexico's periodical, ''El Día,'' featuring a Chicano literary special edited by Oscar U. Somoza. The early Mission of personal chapbooks, tight cafe readings, live political rally performance turned to a media theatre format, a textual act enacted through the private readings of an unknown Spanish-speaking cast across nations.

Ccarlsson: Protected "New Mission Poesía of the '80s": excerpted essay [edit=sysop:move=sysop]

2009-01-11T08:12:39Z

Protected "New Mission Poesía of the '80s": excerpted essay [edit=sysop:move=sysop]

← Older revision	Revision as of 01:12, 11 January 2009
(No difference)

Ccarlsson: PC and protected

2009-01-11T08:11:44Z

PC and protected

← Older revision		Revision as of 01:11, 11 January 2009
Line 1:		Line 1:
			'''<font face = Papyrus> <font color = maroon> <font size = 4>Historical Essay</font></font> </font>'''

			''by Juan Felipe Herrera''

	[[Image:Litersf1%24new-mission-mural.jpg]]		[[Image:Litersf1%24new-mission-mural.jpg]]