CELIA LÓPEZ GONZÁLEZ

ERASMUS
II SEMESTER

WORK ON CHICANA AND

LATINO LITERATURE

Table of Contents
WORK ON CHICANA AND LATINO LITERATURE......................................................................1
BRIEF ANALYSIS OF WORKS....................................................................................................2
DENISE CHAVEZ: The Last Of The Menu Girls......................................................................2
SANDRA CISNEROS: ..............................................................................................................3
My Lucky Friend Who Smells Like Corn, Mericans..................................................................3
JULIA ALVAREZ: Before We Were Free...................................................................................4
CRISTINA HENRIQUEZ: Carnival, Las Tablas. ......................................................................5
KEYS IN LATINO AND CHICANA LITERATURE.....................................................................5
“LATINO” AMBIGUITY...........................................................................................................5
CONSTRUCTING AN IDENTITY............................................................................................6
PATRIARCHATE. GENDER ISSUES.......................................................................................9
CHICANA LITERATURE: A RESISTANCE CASE...............................................................10
CONCLUTION..............................................................................................................................11
BIBLIOGRAPHY..........................................................................................................................12
 BRIEF ANALYSIS OF WORKS

DENISE CHAVEZ: The Last Of The Menu Girls

Denise Chavez depicts the atmosphere in the Altavista Memorial Hospital in New Mexico in
the sixties in which a Mexican-American seventeen girl has to work. Rocío Esquivel, the main
character of the book lead the reader to the recreate the American society of that period in just in a
hospital life as well as make a naive Rocío to understand and reconcile their ethic roots as a part of
herself. She is a Mexican woman in 1966 working in a male directed hospital full of interracial
female stuff, so she is a witness of first hand of the conflicts of a sexist, racist, homophobic society
in which she has not place. Rocío is an spectator of the stories, some of them really sad, of the
people she is supposed to take care, but, unconsciousnessly, all of that help her to discover her
future and her identity which is something unknown and uncategorized.

The life of the patients orchestrated according to their rooms number is interlinked with stories
of the people of el otro lado (the other side), term that southern Americans uses to refer Mexican
borderland. She remembers past events that happened she was told like Don José Esparza en Agua
Viva, a dying Doña Mercedes or aunt Eutilia and more memories of the other side that are in fact
the inheritage of Mexican culture she receives at home. She is the factual character of the book but
throughout her working experience as a the menu girl she is reconstructing the society thinking and
perception of the others. The latter is a key in Denise Chavez, how Rocío perceive herself when she
enters in contact with the world she is living that seems to be bringing her into an inner conflict. She
does not fit in women's role of that time as working as a nurse and she knows she is different and in
betweens. Different for example of Arlene Rutchman, “president of Our Lady's Solidarity”,
stereotype of a good American young lady from a Anglo family. Rocío neither is white as snow as
the Anglo-colored mainstream uses to say, nor she is heterosexual or interested in marriage. For
that reason she is out of the society, of the both world she has to life, the patriarchal family one and
the Anglo protestant one.

The staff of the hospital and the patients in there are a reliable source of information of what is
though and taught in that moment about wetbacks. We can see it in the conversion and racist
commentaries about the patients that employees make even they have a Mexican past (their names
are surprisingly Spanish that evoke the history of Texas which was part of Mexican State).Juan
María “The Nose” who has not surname because he was beaten in a fight and he has her nose broke
off.
 “-Some of them, they ain't human”
“-it's a disgrace that those all wetbacks and healthy college students getting our hard
earned tax money”
“-We had to tack her all the way back to Piedras Negras and even then she wouldn't
give them up.”
Juan maria represents one of the thousand of people that try to reach the border to America
crossing river Rio Grande seeking for an opportunity and when they arrive have not even a name,
they are “illegal alien”, they “don't speak English”.

Denise Chavez uses an expressive and connotative language to describe a confronted

borderland where they coexist first and second-class citizens and which a Mexican-American are
not even included. However, the story has a happy ending so that Rocío manages to realize as a
person by pursuing her dreams of being an artist. It is in reality the story of the American dream in a
existentialist point of view: human behaviors are not controlled by any divine force to all are
responsible of ourselves. Rocío has everything against her to not to achieve his task by in the
hospital, she understands other people's lives and so, herself and her relationship with the world:

“My new life was about to begin. I have made that awesome leap into myself
that steamy summer of illness and dread-confronting and every turn, the flesh, its
lingering cries.”

SANDRA CISNEROS:

My Lucky Friend Who Smells Like Corn, Mericans

Both of this works are short-stories published in 1991 as the first story of Woman Hollering
Greek who relates the experiences of a young girl in Texas and her friend Lucy, both with a
Mexican ancestors. They are two girl who struggles in a sexist and racist America lean the one on
the other and hide of the adult's world.

They are supposedly Mexican-American for they description that Cisneros makes about them
and the atmosphere they are set in. The main character likes the way her friend smells, as a feature
of someone who is different and beautiful at the same time: the corn, a symbol of Mexico, shows a
metaphorical depiction of a character as a something genuine and connotative at the same time.
Things that are connected with both Mexican culture in United States are seen as pejorative for the
rest of the population who does not like corns at all.

Mericans offer the reader a sympathy contemplation in a controversial term “Merican”,

someone who is not American nor Mexican but a combination of both cultures. The narrator is a
small girl, as in the above explained story, that describes a trip she and her family make to Mexico
to visit some relatives. Both her brother and her does not comfortable in a world they do not belong
with her “awful grandmother” and their weird customs such a praying at the Virgin of Guadalupe.
They have two loyalties, their ancestor's and the American one that seem to fight each other all the
time as an inner compulsion.

JULIA ALVAREZ: Before We Were Free

Julia Alvarez seems to be highlight the question she talks about in her book (freedom) as an
irony. The plot relates the life of an Dominican girl of thirteen years old during the last days of the
political dictatorship of Trujillo and his son after Trujillo's assassination. Anita de la Torre is a
curios girl who does not think about restrictions or resistance against a political regimen until her
relatives start to flee to United States seeking for asylum. She is still two young for anyone to talk
about these matters that “does not concern to a kid of your age” and she is witness of numerous
violations and outrage the Trujillo's forces use over her own life and family. Her father and her
uncle are involved in a failed coup d'etat that murders of the Dominican dictator following a bloody
repression of the rebels for her son who succeedes him in his office. For that reason, Ana and her
mother has to hide in the Italian embassy house, a friend of the family with political immunity,
while her father and uncle are under arrested for the government forces. Ana, her brother who also
flee from “justice”, and a devastated mother manage to fly illegally to the United States where they
meet the rest of the family. There, while waiting for asylum, heard the tragic news of her father's
murder.

For Ana, United States and this culture is a way to scape of an oppressive regime, one of the
most bloodiest dictatorships in the XX century, and to star a decent life. She is attending an
American school so that she is able to speak English and to abrogate another culture without inner
conflicts. It is seem to me Ana is at the beginning a normal kid for an Latin country who suffers a
involuntary uproot and begin to assimilate a culture voluntarily. She is victim of two essential
element that constitutes everyone's identity, the land she grew up and her father. Ana represents the
figure of the person who unluckily looses everything but can manage to be free, as her Hawaiian
maid said to her, as a butterfly in a new land. Otherwise, she could not forgive her family suffer in a
devastated island. Ana were in the group of the lucky ones, those who could scape from horror.

CRISTINA HENRIQUEZ: Carnival, Las Tablas.

Set in a overcrowded street Carnival in Las Tablas, Panama, Cristina Henriquez relates in a
short story the feelings of Katia about an imminent divorce of her parents and the different ways
their family cope up with it. Katia is a beautiful Panamanian girl who is a hard worker and
emotionally strong who does not need the figure of a man to feel self-realized as a woman. She is
stubborn and does not fear to face her father because of his constant absences at home getting away
of his responsibilities. By contrast, Yesenia and her mother represent the prototypic Latin woman
that have to please and understand man behavior forgetting their own well-being. Even they are
suffering from male outrage both psychically and emotionally in the case of Yesenia, they still
support and justify them.

Katia is the only one who seems to keep firm before these social injustices and at the same
time she does not loose her womanhood (or what is considered to be womanhood in the society) so
that she kisses a boy during the carnival party. That means a woman can be attractive and sexual
active and not subjugated for he opposite sex.

The author describe a masculine domination by depicting some gestures, commentaries and
small details that underlie in everyday life and in fact lead to a physical violence against woman.
This short story can be applied at a lot of places around the world and not only in South and Central
America. This is the story of a symbolic war with verifiable facts.

KEYS IN LATINO AND CHICANA LITERATURE

“LATINO” AMBIGUITY
First of all, I want to remark that the term “Latino” was constructed by cultural references to
an alleged ethic group in United States of America. At the beginning was the official term for the
Spanish speaking community in this country used by the government and mass media and
afterwards was changed by the less-pejorative “Hispanic”. Latin is suppose to embrace a same
cultural community in the American continent and was exported to another places around the world
as Europe and even within that community. However, the use of this encompassing word rises a
question of what makes a person to be a “Latino”. It is not by reasoned of nationality, origin
country or time they have been assimilated into the American society. It is not by reason of colored
line, physical appearance or by language origin so that Latino refers to all the language that come
from old Latin. Latin people have not an homogeneous background even in their origin country:
Europeans immigrants and colonists were intermarried with indigenous native population, African
slaves and also latter with Easter Asian immigrants (as happen in the province of Las Misiones in
Argentina, for example). This genetic interchanges create a new society with a big variety of
appearances and skin color. Regarding historical events it is impossible to put in the same bag a
non-educated wetback with a political exiled writer from the dictatorship around South America and
Central America. Furthermore, to what to extend a person for the humid Panama have the same
cultural patterns than someone from the gelid Tierra del Fuego in Argentina or Chile? However, if
they are neighbors somewhere in United Sates they are considered “latinos”.

It is the use of language what make them to be in the same group not matter their differences.
For that reason, woman writers as Henriquez, Cisneros, Álvarez, Anzaldúa among others uses the
language to create and reshape a new identity of Latin term within American borders. Their works
contributes to “demarginalize” a community which has been not well-defined. They are conscious
of differences between the community and about what is the result of being and Spanish speaking
American citizen, a new cultural entity fusing together American and ancestor's world. It is the
conscious merging of modernity offered by the country and the reality they live and their cultural
roots by the country they have left. There are private and public spheres that seem not to be
reconciled between them. It is what Gloria Andalzúa put in inquire with a beautiful metaphor of
cultural mixture, the “new mestiza”, the daugthers of La Malinche or la Gran Chingada (the fucked
one). Furthermore she refers only with this name to women as a paradigm of being in between of
two confronting worlds and for that Chicana and Latino writers literature becomes a fight in order
to obtain a place in American culture as women and as mestizas.

CONSTRUCTING AN IDENTITY

BORDERLAND: A PROMISE LAND

Borderland designates the territories abutting a geopolitical division between two states
(America and Mexico in this case). It is referred to the states of Texas, California, Arizona, New
Mexico on US side and the states of Baja California, Sonora, Chihuahua, Coahuila, Nuevo León
and Tamaulipas in Mexican side. These states are interrelated and have an historical common origin
as they took part of the former Spanish Empire of Nueva España and the following Republic of
Mexico. The presence of Mexican in the borderland not only is due to the recent flows of migration
south-north but also their stay as settlers. Catholicism, Spanish and “latinity” are part of the culture
of these regions even have been considered a stigma for the Anglo-white ones. As Alllatson
remarks “US-borderlands have exerted a definitive hold on Chicano/a and Mexican cultural
typologies and perceptions of self and place since 1898 (Guadalupe Hidalgo Treaty)”. The residents
in borderlands US are in constant motion between two cultures and they have to suffer a cultural
clash that cross both lines. Anzaldua defines the term at stake as “shock culture, a border culture, a
third country, a closed country”. For her, Aztlán is “the other Mexico”, a homeland where the
Mexicans where once a respected population oppressed afterwards for the Anglo-white supremacy.
Borderland is a place where the “atravesados” live: the squint-eyed, the perverse, the queers, the
troublesome, the mongrel, the mulato, the half-breed, the half dead; in short, those who cross over,
pass over, or go throug the confiness of the “normal”. It is a political and cultural claim made by a
writer who well knows the social situation of those who does not fit in the white-protestant
standards, not only as a Chicana but also as a queer, non-white woman. Furthermore, borderland is
presented as a constant in Chicana literature as we can see in Chavez and Cisneros' works.

OTHERNESS

The “otherness” or the notion of “alter-native”, as Allatson proposes, is the flag of the Latino
and Chicana fiction. This community are a mixture itself and hybridism is their motto even in the
use of language. All of the writers in this analysis alter words and combine English and Spanish in
texts that provide them with more expressiveness:

“Quíeres chicle? the lady asks in a Spanish too big for her mouth. “Gracias” (from
Mericans)
“Dios......”, she cried in the shrill voice. “Dios mío, diosíto por favor. Ay, I don't tell
your mama, just help me get away...” (from My Lucy Friend Who Smells Like Corn)
“Policía secreta”, she explained. “they go around investigating everyone and then
dissapearing.” (from Before We Were Free)
“She is on the teléfono.”(from Before We Were Free)

The alternative or mestizaje is seen in the language the author uses and in the reality the want
to portrait: Santeria, magic practices and superstitions typical from the indigenous myths in
combination with Catholic images and saints as la Virgen de Guadalupe (Marian adoration of
Mexico) or la Virgen de las Mercedes (Marian adoration of Republica Dominicana). Even the
Carnival in Las Tablas is a pagan festivity celebrated in their origin in may and July and later
converted into a catholic festivity. The “latinity” are a feature that are common in the identity of
Latin population as song, dancing and gastronomy. Believes, customs and other cultural
manifestations as music are compounding elements of every community and that is also expressed
in fiction: Carnival, tortillas, criollo bands, guava paste, celebration of fifteen, night of Nochebuena
(25th of January), bachata, boleros and so on. For example in The last Girl of Menu Girls some of
patients were all time singing rancheras as Cielito Lindo and Las Mañanitas. In Before We Were
Free, Chucha, the maid of Ana de Torres, comes from the neighbor Haiti and can see the future. The
altar is present in every Latin home in order to pray to the saints and it is seen as a fanatic devotion
to saints and virgin but It should be considered as a culture feature resulted from the Western image
of almighty god and the indigenous spirit world which men and women can alter god will by magic,
offers and praying:

[...]We were waiting an awful grandmother who is inside dropping pesos into la ofrenda
box before the altar to la Divina Providencia[...] Running a crystal rosary between her
fingers.[...] (from Mericans)
[...]The two young women stuffed piles of shredded disinfected rags soaked in Lysol into
Doña Mercedes' chest cavity, filling it, and horrified, with clothes over the mouths, said
the prayers for the dead.[...] (from The Last of The Menu Girls)

FAMILY AND SHORT-STORIES

Family is a crucial feature in Chicano and Latin fictions because offer the writers the
possibility to rebuilt an identity throughout relatives lives and stories. Family is the key of
transmitting cultural patterns and, moreover, family is what perpetuate patriarchate, homophobia,
things that these authors condemn.

Dominant paradigms, predefined concepts that exist unquestionable,

unchangeable, are transmitted to us trough culture. […] For a lesbian of color, the
ultimate rebellion she can make against her native culture is through her sexual
behavior. She goes against two moral prohibitions: sexuality and homosexuality.
(Bordelands: La Frontera, Anzaldua)
Family and short-stories are correlated, like in South Asian American writers and African
American as Kinsgton or Lahiri, in order to construct an ethnic identity and formation or reshaping.
It reflects the narrator's process of memory as non-lineal, non-temporal, fragmented and incomplete.
Anzaldua, Cisneros, Henríquez and Chavez are a good example of this strategy. For instance, as
we can see in Chavez in The last of The Menu Girls she tries to discover or rediscover a heritage by
including the stories Rocío Esquivel was told. So, Rocío becomes a transmitter of her culture
among other aesthetic role in the writing process. In Before We Were Free Ana is defined herself
for being part of a family who fights against a cruel dictatorship and she cannot be explained
without her relation with her relatives: it is implicit in the text she becomes a free woman in
America and a strong “butterfly” that flies boundlessly. For instance, the same strategy is used in
Carnival, Las Tablas in which her mother and sister experiences help to construct a male-chauvinist
society.

PATRIARCHATE. GENDER ISSUES

It cannot be separated the works of these woman writer of gender issues and social denounce
of patriarchal world. As happens with Asian woman literature, constructing identity of a marginal
ethnic community entails depicting another excluded group, women. It is a political question rise
by writers who are out of the mainstream for two reasons: gender and ethnicity. For that, they have
to define themselves in their writing to reconcile both sides. As Cisneros proclaims “novels
represent my political side. They're written to change people's mind”.

Anzaldua says the negativity of woman image in Mexican culture is transmitted from
generation to generation like the llorona (the crying one), the Malinche (the fucked one) and the
Virgen de Guadalupe. A woman only can be a pasive in action (the Llorona), prostitute and
untrustworthy (the Malinche) or a faithful mother and wife (the Virgen de Guadalupe). For someone
who lives in borderland, between two oppressive worlds and for a women of color who are
“alienated from her mother culture and alien in the dominant culture” (Anzaldua) writing is a
political fight. This fight is done by leaving behind prejudices and talking, explaining, describing
with words women sexuality and homosexuality. In all the works we can see at some level this
goals: Ana is an adolescent with a new waken sexual desire; Rocío falls in love of a female patient;
Katia has a spontaneous kiss with an unknown boy. All of the characters show the reader that
women have also desires, feeling for sex both homosexual and heterosexual, and are able to
"discover the potential for joy in their bodies that is denied them" (Cisneros). Female body, tough is
it not the main theme of their works, is present in all the stories and the beauty of color skin and
mixed appearance is celebrated explicitly:

[...]My face has never much to speak of, but my body-well at sixteen I looked good.[... ],
my bra translucent underneath, my shorts plastered around my thighs, and I paraded in
front of Rogelio to remind him of what he has lost. […] (from Carnival, Las Tablas)
[…] I wanted in my little girl's way to hold her, hold her tight and in my woman's way
never to fell her pain […] (from The Last Of The Menu Girls)
This is also seen in My Lucy Friend Who Smells Like Corn in which the Mexican appearance
of Lucy is poetically express in the description of the character as a genuine and positive feature. It
is an ode of “mexicanism” where the smell of the corn is sweet, delightful even if it is different
from the norm, typical for the Chicano/a community:

Lucy Aguilano, Texas girl who smells like corn, like Frito Bandido chips, like tortillas,
something like warm smell of nixtamal or bread the way her head smells […] when the
heat makes a little hat on the top of your head and bakes the dust and weed grass and
sweat up good, all steamy and smelling like sweet corn. […]
Not only the beauty and womanhood is presented or rediscover in Latina literature but also
reflects a strong critic to a patriarchal and unfair culture where they girl has a social role that the
writes reverse. Their main characters are woman or girl who unconsciously rebel against this
patterns just with their sexual behavior or way of thinking. For example, Ana becomes a free
woman in an US; Rocío is just different from the beginning with her “invert” condition; Katia reject
energetically her father misconduct and her mother and sister passivity. It is seen that to all of them
United States offer them an opportunity to not to be afraid to themselves and be self-realized,
something that in their origin countries could be much more feasible. Moreover, the “machismo” is
interpreted by readers in events as womanhood and manhood understood in terms of reproduction
of children within a heterosexual couple, the absence of men at home, the figure of head of family,
domestic violence or sexual inferiority.

[...]There ain't boys here. Only girls and one father who is never home hardly and one
mother who says Ay! I'm real tired.[...] (from My Lucy Friend Who Smells Like Corn)
[...]Except Don José Esperanza. He had no children despite his looks. At times a
monkey can do better than a prince.[...] (from The Last Of The Menu Girls)
[...]When she gets close enough I see blood seeping through fingers.[...] Yesenia what
happened? You have to tell me. Chato, she said.[...] (from Carnival, Las Tablas)
[...] -Did you ever think that maybe it's you who is making everything worse? I mean If
I were Papi, I wouldn't exactly want to come home if I knew someone was waiting there
to yell at me every time I did.” [...] (Yesenia justifying her father's absence)

CHICANA LITERATURE: A RESISTANCE CASE

Chicano movement put at stage a lost identity of the former setters of Aztlán, a homeland for
those who where first exploited by Spanish and later by Anglo-Americans. Their indigenous
inheritance was damaged and marginalized by both dominant culture almost lost their languages,
social patterns and customs and beliefs for the colonial one. However, somehow they manage to
face the completely assimilation into the other culture and survive by emerging into a new standard.
That is called Chicano Renaissance in which the authors here studied took part of it. First former
settlers suffered a bloody cultural clash, they changed their minds to construct the world in a
Catholic thinking, and later, in USA, Chicanos had to face another cultural clash with the dominant
Anglo-American one. The image of them in American society is based on prejudices of Anti-
Catholic and Anti-Spanish view of the northern States with Protestant discourse who seen “latinos”
as intractable, cultural deficient, passionated or untrustworthy people, image that comes from the
Protestant Reform in Europe and the latter construction of Black Legend in the European metropolis
and its colonies. For Chicano literature, writing is a resistance case.

Chicano movement started in 1969 along with the Plan of Santa Barbara and the implantation
of Chicano Studies in some Universities throughout the country that was the first step to the idea of
“Pan-Hispanism”. This idea lays on the will of the population of US and South and Central America
and to intellectuals as Cisneros or Arianne Buford to construct a solidarity among them so that they
have social political cultural and linguistic common features. In US it is an obvious issue for
Chicana literature to respect the indigenous inheritance and cultural manifestations and to reshape
an identity as they have made but in other part of this continent it is not the case -consigning it to
oblivion. America is not a uniformed land but the stories there narrated have similar patterns who
have to be reinterpreted by the daughers and son of the “mestizaje”.

CONCLUTION

United States of America, the opportunity land, is the setting in which multiculturalism has
took place for a lot of time, in which this multiculturalism has suffer the cultural clash of every
marginalized community against the desired assimilation of dominant discourse. It is the land in
which people can understand and define what means to be different and to be grateful at the same
time after an awkward inner and social fight. Woman writers have a voice in ethnic literature as
combatants in such fight with words, with language, as Bourdieu claims, with the non-respectable
actions -languages- that society destines to them. However, America offers them a way to scape of
negative points in their mother culture.

Woman rights and their sexuality -homosexual and heterosexual-, family short-stories,
otherness and hybridism are strategies and themes to create an identity in US and to bring down
patriarchal patterns. This keys in Chicano and Latino literature is a try to unify an uncategorized
writings that have a political goal underlying. It is seem to me that embracing in an term -excluding
Chicano- is a social construct born in US that is ambiguous for the rest of the countries. It is an
stereotype based in real experience but it does not explain the complexity of itself -the same
happens with Asian American Diaspora. The more remarkable feature in Latinos is that they have
not loose their mother tongue in the migration to America -because of the proximity of Spanish-
Speaking language and constant people flows, something not applied in Black Americans or Jewish
communities for example. Moreover, the first generations of immigrants are still exercising
resistance practices such as cherishing Catholic faith and fulfilling rigid gender roles, but later the
next ones suffer a cultural mutation.

As a result of Chicano Renaissance “lo latino” (the latino's thing) started to be more valuable
to US multicultural society and a Latin market appears for companies and politicians as well as
cultural manifestations such as Latin music radios, mass media, associations, bilingual education,
fashion, products addressed to them. etc. Hollywood is plenty of stereotypes about “latinity” but
there are a movie revival in which ethnic actors and directors are celebrated.
 BIBLIOGRAPHY

Denise Chavez, “The Last of the Menu Girls”,Norton 5 edition, vol 2, pp. 2355-2374)
th

Sandra Cisneros, “My Lucy Friend Who Smells Like Corn”, “Mericans”,Norton 5 edition, vol 2, pp.
th

2374-2376, 2380-2382

Julia Alvarez, Before We Were Free, New York: Knopf, 2002.

Gloria Anzaldua, Borderlands/La Frontera, San Francisco: Aunt Lute Books, 1986.

Cristina Henriquez, “Carnival, Las Tablas” (The New Yorker, July 3, 2006, pp. 64-71).

Allatson, Paul, Key Terms in Latino/a Cultural Studies, Malden, MA and Oxford: Blackwell, 2007

Buford, Arianne, Between Women: Alliance And Division in American Indian, Mexican-American and
Anglo-American Literatures Of Protest To Colonialism. The University of Arizona, 2007, 306 pages;
3274498.

Wikipedia/latino (2011, May). Available in: http://es.wikipedia.org/wiki/Latino_%28Estados_Unidos%29

Wikipedia/Carnaval (2011, May). Available in: http://es.wikipedia.org/wiki/Carnaval_de_Las_Tablas

Sandra Cisneros (2011, May). Available in:http://www.sandracisneros.com/articles.php

Latino Leaders Magazine (2011, May). Available in:(http://www.latinoleaders.com/seccion/latino-

interviews/latinos-n/