front cover of América Is Her Name
América Is Her Name
Luis J. Rodriguez
Northwestern University Press, 1998
Set in the Pilsen barrio of Chicago, this children's picture book gives a heartwarming message of hope. The heroine, América, is a primary school student who is unhappy in school until a poet visits the class and inspires the students to express themselves creatively-in Spanish or English. América Is Her Name emphasizes the power of individual creativity in overcoming a difficult environment and establishing self-worth and identity through the young girl América's desire and determination to be a writer. This story deals realistically with the problems in urban neighborhoods and has an upbeat theme: you can succeed in spite of the odds against you. Carlos Vázquez's inspired four-color illustrations give a vivid sense of the barrio, as well as the beauty and strength of the young girl América.
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front cover of Borrowed Bones
Borrowed Bones
New Poems from the Poet Laureate of Los Angeles
Luis J. Rodriguez
Northwestern University Press, 2016

Foreword by Martín Espada

This chapbook collection offers new poems from the prolific career of a community leader, activist, and healer. Luis J. Rodríguez’s work asks profound questions of us as readers and fellow humans, such as, "If society cooperates, can we nurture the full / and healthy development of everyone?" In his introductory remarks, Martín Espada describes the poet as a man engaged in people and places: "Luis Rodríguez is a poet of many tongues, befitting a city of many tongues. He speaks English, Spanish, ‘Hip Hop,’ ‘the Blues,’ and ‘cool jazz.’ He speaks in ‘mad solos.’ He speaks in ‘People’s Sonnets.’ He speaks in the language of protest. He speaks in the language of praise."

 

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front cover of The Concrete River
The Concrete River
Poems
Luis J. Rodríguez
Northwestern University Press, 1995
1991 PEN Oakland/Josephine Miles Award for Literary Excellence

The Concrete River
is a collection of poems by poet laureate of Los Angeles Luis Rodríguez. They illuminate the gritty idiosyncrasies of immigrant life in urban barrios spanning Los Angeles to Chicago to Harlem. Rodríguez lends powerful voices to those struggling to keep the gas on, to find work, and to keep love.  Populated by a vibrant cast of characters, ranging from the drugged, to the eccentric, to the heartbroken, Rodríguez’s poems protest capitalism, violence, and exploitation while reveling in the potential of compassion.
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front cover of La llaman América
La llaman América
Luis J. Rodríguez
Northwestern University Press, 1998
Una niña de nueve años, América Soliz, vive con su familia en el Barrio Pilsen de Chicago. Echa de menos su hogar en México y se siente descontenta en la escuela, donde experimenta el prejuicio contra los inmigrantes mexicanos. América se siente en la fila de atrás del salón de clase y se la pasa soñando con su aldea en Oaxaca hasta que un día un poeta, el Sr. Aponte, visita la clase. "Todos llevamos le poesía por dentro," le dice el Sr. Aponte a la clase e inspira a América a escribir. "Escriban en español o en inglés," exhorta él. América escribe cuentos y poemas, aun cuando su padre dice que es una manera poco práctica de utilizar el tiempo. Tanto el tío como la madre de América disfrutan los cuentos de la chica, y ésta descubre para sí lo que el Sr. Aponte ha dicho en clase. "Cuando se usan las palabras para compartir los sentimientos con otra persona se es poeta y los poetas pertenecen a todo el mundo." A través de la escritura, América se siente "en casa" en el Barrio Pilsen.

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front cover of My Nature Is Hunger
My Nature Is Hunger
New and Selected Poems, 1989 2004
Luis J. Rodriguez
Northwestern University Press, 2005
    Award-winning Latino author Luis J. Rodríguez stuns with My Nature is Hunger. The collection features 26 new poems that reflect Rodríguez’s increasingly global view, his hard-won spirituality, and his movement toward reconciliation with his family and his past, as well as selections from his previous books, Poems Across the Pavement, The Concrete River, and Trochemoche.
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front cover of Trochemoche
Trochemoche
Poems
Luis J. Rodriguez
Northwestern University Press, 1998
TROCHEMOCHE means helter-skelter in Spanish, and this book expresses the turmoil of the barrio and the various themes that drive Luis J. Rodríguez's poetry. Drawing on more than ten years of poems, Rodríguez writes powerfully and passionately about urban youth, family, and the plight of neglected communities, while exploring the rich cultural roots of his Chicano ancestry.
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front cover of What Saves Us
What Saves Us
Poems of Empathy and Outrage in the Age of Trump
Edited by Martín Espada
Northwestern University Press, 2019

This is an anthology of poems in the Age of Trump—and much more than Trump. These are poems that either embody or express a sense of empathy or outrage, both prior to and following his election, since it is empathy the president lacks and outrage he provokes.

There is an extraordinary diversity of voices here. The ninety-three poets featured include Elizabeth Alexander, Julia Alvarez, Richard Blanco, Carolyn Forché, Aracelis Girmay, Donald Hall, Juan Felipe Herrera, Yusef Komunyakaa, Naomi Shihab Nye, Marge Piercy, Robert Pinsky, Danez Smith, Patricia Smith, Brian Turner, Ocean Vuong, Bruce Weigl, and Eleanor Wilner. They speak of persecuted and scapegoated immigrants. They bear witness to violence: police brutality against African Americans, mass shootings in a school or synagogue, the rage inflicted on women everywhere. They testify to poverty: the waitress surviving on leftovers at the restaurant, the battles of a teacher in a shelter for homeless mothers, the emergency-room doctor listening to the heartbeats of his patients. There are voices of labor, in the factory and the fields. There are prophetic voices, imploring us to imagine the world we will leave behind in ruins lest we speak and act.

However, this is not merely a collection of grievances. The poets build bridges. One poet steps up to translate in Arabic at the airport; another walks through the city and sees her immigrant past in the immigrant present; another declaims a musical manifesto after the hurricane that devastated his island; another evokes a demonstration in the street, shouting in an ecstasy of defiance. The poets take back the language, resisting the demagogic corruption of words themselves. They assert our common humanity in the face of dehumanization.

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