The Book of Rosy: a mother’s story of separation at the border by Rosayra Pablo Cruz and Julie Schwietert Collazo

The Book of Rosy is the story of Rosayra Pablo Cruz, a mother of four from Guatemala who fled to the U.S. seeking asylum, co-written by Julie Schwietert Collazo, the cofounder of Immigrant Families Together. Rosy’s story and her fight for a dignified existence brings to life an immigration policy that was ignored for too long and continues to keep innocent refugee children separated from their parents. Adding to the heartbreak of the trauma inflicted on Rosy and her children is the fact that her story is not extraordinary at all. Like many of the U.S.’s immigration policies, Trump’s Zero Tolerance Policy was designed to dehumanize those seeking refuge at the border. The goal of these policies was not to keep anyone safe, but rather for certain people to either make massive amounts of money off of the lucrative detention center industry or to benefit politically from the suffering of others.

Beautifully written by these two women whose lives became unexpectedly intertwined, The Book of Rosy is an important read for those wanting to better understand the realities of immigration from the Global South.

My heart breaks when I think about all the losses that have occurred along the Migrant Highway, each one a story that will be remembered only by the person who suffered it.

— Rosayra Pablo Cruz

              At its core, Rosy’s story is about faith, sacrifice, and what it means to show up for other people when it counts.

“Some of us who have already begun to break the silence of the night have found that the calling to speak is often a vocation of agony, but we must speak… For we are deeply in need of a new way beyond the darkness that seems so close around us…A true revolution of values will soon cause us to question the fairness and justice of many of our past and present policies.”

— Rev. Martin Luther King Jr., 1967

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Once I Was You: A Memoir of Love and Hate in a Torn America by Maria Hinojosa

Originally published at Latinobookreview.com

Maria Hinojosa’s memoir tells the vulnerable story of becoming her truest, unapologetic self, deftly woven with decades of American history. From U.S.-funded conflicts throughout Central America, to 9/11, to Hurricane Katrina, to the ongoing humanitarian crisis at the U.S.-Mexico border, Hinojosa has been on the front lines bringing both humanity and high-quality journalism to these devastating events. Always acutely aware of the human impact of these tragedies, Hinojosa identifies patterns in the political landscape while also humbly depicting the emotional toll of her reporting on her own mental health and family.

Beginning with her family’s move from Mexico to the U.S. when she was a baby, and her childhood growing up in South Side Chicago, Hinojosa formed personal relationships with some of the marginalized populations that she would one day report on. Immigrants, refugees, and grassroots political activists were some of the most impactful members of her community while she was a student at Barnard College. After first taking up the microphone to host a Latino segment on college radio, she went on to become a producer and reporter at major media outlets such as NPR and CNN. Hinojosa paved her way in a white male-dominated industry despite struggling with discrimination, profit-driven management in corporate media, and crippling imposter syndrome.

Her resolve to stay true to her values as a journalist led to some of her greatest work: POC-centered, community-based reporting and the founding of the independent, nonprofit Futuro Media Group. Beyond her career achievements, elements of her story are relatable on so many levels. She is an inspiration to bi-national and multicultural people who never feel “enough” of any specific identity, to women struggling in their industries and in need of strong mentors, and to anyone looking to others for validation. Once I Was You is rich in historical context and insights that will strike a chord with readers across borders and cultures.

“The people and stories I wanted to do focused on the forgotten, the other, those who are thought of as different. At the same time, I aimed to evoke universal themes so that anyone, no matter who they were, could see themselves in my stories.”

In the Dream House by Carmen Maria Machado

51ITzTfc7pL._SX331_BO1,204,203,200_In this fragmented memoir of her relationship with an abusive long-term partner, Machado imbues her own personal story with an exposition of the “archival silence” on the topic of abuse in the queer community. It starts with a fervent crush on a beautiful, charming acquaintance. Progressing through the stages of friendship, torrid love, and polyamorous romance, the “woman in the dream house” gradually transforms into a manipulative, living nightmare. Their mutual infatuation, tangled up with the euphoria of love and lust, leads to a co-dependent relationship—a deceptive bondage that is all too common in romantic partnerships.

With each short chapter, Machado dares readers to continue exploring every inexplicable contradiction and dark crevice of the hellish relationship that dominates her life. Machado forces the reader into the protagonist’s mind and body with the 2nd person narration throughout the book and a detour into a downward spiraling “choose your own adventure” scenario. The memoir is sprinkled with references to the Motif-Index of Folk-Literature—frequent reminders that while her experience is unique and devastating, elements of her story are also universal and timeless.

As she unearths years of emotional trauma, Machado also explains how gendered perceptions of abusers and victims excludes narratives of the non-binary and queer, leaving a historical, legal, and canonical void where stories of countless people have been invalidated by mainstream culture. Machado’s domestic fantasy turned to extreme dysfunction claims a space in literature that has long been silenced. In the collective bits of her broken self and story, Machado’s insight illustrates why it’s important to value the stories not only of the obvious perpetrators of violence, but also the terrors taking place all the time beyond white picket fences and the façade of the dream house.

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“I speak into the silence. I toss the stone of my story into a vast crevice; measure the emptiness by its small sound.”

Native Country of the Heart by Cherríe Moraga

 

**Originally published on Latino Book Review

9780374219666From the beloved queer Chicana feminist writer Cherríe Moraga, Native Country of the Heart is a memoir told in parallel with the memoir of her Mexican mother, Elvira. Elvira is the foundational stone on which Moraga builds her own Chicana feminism and family, a woman whose beauty, rage, and fuerza incansable were unmatched in the eyes of Cherríe. Cherríe Moraga’s life story is one of reclamation and resistance: reclaiming her indigenous Californian and Mexican roots in a Gringo world, while resisting the shame and guilt forged by the patriarchy and religion of her family’s culture.

With Spanish words and phrases infusing her prose with a poetic precision that only the two languages combined can achieve, Moraga takes us from the 1930’s in Tijuana, Mexico to the 1960’s in San Gabriel, California, and beyond.  Alzheimer’s disease eventually takes the wheel of Elvira’s life, both incapacitating her at a functional level while simultaneously revealing her most repressed desires and authentic self. Cherríe, becoming a mother to her deteriorating parents, grapples with the feat of relinquishing control and surrendering her mother through the haze of dementia to the spirits of her ancestors.

From her childhood experience of being isolated and fearful that her identity might be the thing that tears her family part, to her mixed-blood experience of feeling always on the edge of two cultures, to the prolonged, painful loss of the matriarchs of her family, Moraga’s storytelling embodies both an immense grief and a powerful life-force.

How to explain the complexity of this? What it means to be—not just me but us. To know yourself as a member of a pueblo on the edge of a kind of extinction, and at the same time a lesbian lover and mother, where you truly do live your life in constant navigation through whatever part of your identity is being snuffed out that morning—in the classroom, at the community meeting, the gasoline station, the take-out counter—Mexican, mixed-blood, queer, female, almost-Indian. And a poverty masked by circumstance. For all my feminism, this is why I left a white women’s movement in the late 1970’s. So I wouldn’t have to explain anymore, translate anymore.

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The Terrible by Yrsa Daley-Ward

“Some days you can’t breathe; you know what that feels like: When you are bored at night and everything bad is loud and important take to the streets. It’s a one-time thing, this life. You’ve got to move. When in doubt, always move. Or you ain’t going to make it.”

416gpO3czjLAn autobiographical poem or a poetic autobiography, Yrsa Daley-Ward’s memoir is a testimony to the tenacity of the human spirit, its ability to contain an immense darkness and release it in waves of destruction, love, and poetry.  As a child, Yrsa and her little brother are raised partly by their strict, religious grandparents and by their single mother. As Yrsa gets older, her body becomes a “haunted unreal place”, where mental illness reigns. Her body is the source of her power as well as her fear. Her story gives voice to the chaos of sexuality, addiction, depression, and anxiety, and the potential for redemption in the form of self-expression.

 

 

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I Know Why the Caged Bird Sings by Maya Angelou

angelouMaya Angelou’s memoir begins in Stamps, Arkansas during the 1930’s. In this rural community, raised by her grandmother and crippled uncle, she learns from a young age what it means to be a tough woman as she and her family endure the humiliations of racism and prejudice. When her estranged father unexpectedly returns for Maya and her brother, they are introduced to an entirely new cast of family members and misadventures as they transition to life in urban northern cities.

This biography reads like a heartbreaking poem. With a seamless narrative style, Angelou depicts the petty struggles of adolescence alongside the traumatizing injustices of being a young black girl. She recounts her experiences in the refined voice of her adult self while capturing the innocence of her younger version. I loved reading Angelou’s story, and by the last page I was overwhelmed with awe at the woman she becomes.

 

“It seemed terribly unfair to have a toothache and a headache and have to bear at the same time the heavy burden of blackness.”

 “Horatio Alger was the greatest writer in the world. His heroes were always good, always won, and were always boys. I could have developed the first two virtues, but becoming a boy was sure to be difficult, if not impossible.”

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