Difference between revisions of "Chicano Gay Poets"

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'''Balmy Alley murals, between 24th and 25th, part of the explosion of La Raza cultural expression during the 1970s and '80s.'''
 
'''Balmy Alley murals, between 24th and 25th, part of the explosion of La Raza cultural expression during the 1970s and '80s.'''
  
The first Chicano Gay poets writing collective, "Las Cuarto Espinas," came together in 1985 with their milestone poetry collection, ''Ya Vas Carnal'' published by Humanizarte publications, an offshoot of Poetasumanos and El Tecolote Literario, featuring work from the most active writers in the group: Francisco X. Alarcn, Juan Pablo Gutierrez and Rodrigo Reyes. In the mid-eighties, this book, marks the new mission, the "Fifth Form" and perhaps a more radical project than the earlier Tropicalization and Red Nation poetics. ''Ya Vas Carnal'' lays down the groundwork for an "out" gay Chicano poetic activism and literary practice.
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''Photo: Chris Carlsson''
  
This is heightened and followed by a hyper-event, larger than the old Mission Cultural Center political factionalism, bigger than anything we have imagined -- the formation of the "Francisco X. Alarcn Defense Fund Committee." From one day to the next, in 1985, Francisco X. Alarcn, one of our poetry carnales is implicated by the police as a suspect in the tragic murder of Teddy Gomez, a young runaway from the East Bay found bludgeoned in Golden Gate Park. Margarita Luna Robles, now living in the Mission, is one of the first to move and organize funds, legal representation and people so that Alarcn gains release from county jail and most of all from the implications of homicide.
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The first Chicano Gay poets writing collective, "Las Cuarto Espinas," came together in 1985 with their milestone poetry collection, ''Ya Vas Carnal'' published by Humanizarte publications, an offshoot of Poetasumanos and ''El Tecolote Literario,'' featuring work from the most active writers in the group: Francisco X. Alarcón, Juan Pablo Gutierrez and Rodrigo Reyes. In the mid-eighties, this book, marks the new mission, the "Fifth Form" and perhaps a more radical project than the earlier Tropicalization and Red Nation poetics. ''Ya Vas Carnal'' lays down the groundwork for an "out" gay Chicano poetic activism and literary practice.
  
Not long after the murderer confessed and Francisco was cleared we come back again; a new awareness filled us: the awareness of bloody body destruction, of Teddy Gomez's story, of the potent Mission literary scene, of writers and artists from various communities and ethnicities joining and speaking out, of Francisco's renewed sense of his gay reality, of our ignorance and separations from what is real in the streets. Awareness, I say, then weaknesses appear—the lack of coalitions with gay and lesbian communities in the Mission and the Bay at large, the inner-directed and closed circles of action and community among the poets, artists and writers.
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This is heightened and followed by a hyper-event, larger than the old Mission Cultural Center political factionalism, bigger than anything we have imagined -- the formation of the "Francisco X. Alarcón Defense Fund Committee." From one day to the next, in 1985, Francisco X. Alarcón, one of our poetry carnales is implicated by the police as a suspect in the tragic murder of Teddy Gomez, a young runaway from the East Bay found bludgeoned in Golden Gate Park. Margarita Luna Robles, now living in the Mission, is one of the first to move and organize funds, legal representation and people so that Alarcón gains release from county jail and most of all from the implications of homicide.
  
''—Juan Felipe Herrera''
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Not long after the murderer confessed and Francisco was cleared we come back again; a new awareness filled us: the awareness of bloody body destruction, of Teddy Gomez's story, of the potent Mission literary scene, of writers and artists from various communities and ethnicities joining and speaking out, of Francisco's renewed sense of his gay reality, of our ignorance and separations from what is real in the streets. Awareness, I say, then weaknesses appear —the lack of coalitions with gay and lesbian communities in the Mission and the Bay at large, the inner-directed and closed circles of action and community among the poets, artists and writers.
  
Contributors to this page include:
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''--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)''
  
''Precita Eyes Mural Project - Publisher or Photographer ''
 
  
Carlsson,Chris - Photographer-Artist
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[[KENNETH PATCHEN and his Picture-Poems |Prev. Document]]  [[Literary SF Introduction |Next Document]]
  
Herrera,Juan - Writer
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[[category:Literary San Francisco]] [[category:Gay and Lesbian]] [[category:Latino]] [[category:1970s]] [[category:1980s]]
 
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[[KENNETH PATCHEN and his Picture-Poems |Prev. Document]]  [[Literary SF Introduction |Next Document]]
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Revision as of 23:56, 23 August 2008

Litersf1$balmy-alley-mural.jpg

Balmy Alley murals, between 24th and 25th, part of the explosion of La Raza cultural expression during the 1970s and '80s.

Photo: Chris Carlsson

The first Chicano Gay poets writing collective, "Las Cuarto Espinas," came together in 1985 with their milestone poetry collection, Ya Vas Carnal published by Humanizarte publications, an offshoot of Poetasumanos and El Tecolote Literario, featuring work from the most active writers in the group: Francisco X. Alarcón, Juan Pablo Gutierrez and Rodrigo Reyes. In the mid-eighties, this book, marks the new mission, the "Fifth Form" and perhaps a more radical project than the earlier Tropicalization and Red Nation poetics. Ya Vas Carnal lays down the groundwork for an "out" gay Chicano poetic activism and literary practice.

This is heightened and followed by a hyper-event, larger than the old Mission Cultural Center political factionalism, bigger than anything we have imagined -- the formation of the "Francisco X. Alarcón Defense Fund Committee." From one day to the next, in 1985, Francisco X. Alarcón, one of our poetry carnales is implicated by the police as a suspect in the tragic murder of Teddy Gomez, a young runaway from the East Bay found bludgeoned in Golden Gate Park. Margarita Luna Robles, now living in the Mission, is one of the first to move and organize funds, legal representation and people so that Alarcón gains release from county jail and most of all from the implications of homicide.

Not long after the murderer confessed and Francisco was cleared we come back again; a new awareness filled us: the awareness of bloody body destruction, of Teddy Gomez's story, of the potent Mission literary scene, of writers and artists from various communities and ethnicities joining and speaking out, of Francisco's renewed sense of his gay reality, of our ignorance and separations from what is real in the streets. Awareness, I say, then weaknesses appear —the lack of coalitions with gay and lesbian communities in the Mission and the Bay at large, the inner-directed and closed circles of action and community among the poets, artists and writers.

--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)


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