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        <title>Writing Latinos</title>
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        <description>&quot;Writing Latinos&quot; is a podcast brought to you by PUBLIC BOOKS, featuring interviews with Latino authors of all sorts—scholars, novelists, memoirists, journalists—discussing their books, and how their writing contributes to the ever-changing conversation about the meanings of latinidad.</description>
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                <title>Writing Latinos</title>
                <link>https://www.publicbooks.org/category/podcast/writing-latinos/</link>
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                <itunes:subtitle>&quot;Writing Latinos&quot; is a podcast brought to you by PUBLIC BOOKS, featuring interviews with Latino authors of all sorts—scholars, novelists, memoirists, journalists—discussing their books, and how their writing contributes to the ever-changing conversation about the meanings of latinidad.</itunes:subtitle>
        <itunes:author>PUBLIC BOOKS</itunes:author>
        <itunes:type>episodic</itunes:type>
        <itunes:summary>&quot;Writing Latinos&quot; is a podcast brought to you by PUBLIC BOOKS, featuring interviews with Latino authors of all sorts—scholars, novelists, memoirists, journalists—discussing their books, and how their writing contributes to the ever-changing conversation about the meanings of latinidad.</itunes:summary>
        <itunes:owner>
            <itunes:name>Tasha Sandoval</itunes:name>
            <itunes:email>sandoval.tasha.ana@gmail.com</itunes:email>
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                                    <item>
                <title>
                    <![CDATA[Xochitl Gonzalez: Last Night in Brooklyn]]>
                </title>
                <pubDate>Wed, 13 May 2026 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
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                    https://permalink.castos.com/podcast/53111/episode/2454582</guid>
                                    <link>https://writing-latinos.castos.com/episodes/xochitl-gonzalez-last-night-in-brooklyn</link>
                                <description>
                                            <![CDATA[<p>In this week’s episode of <em>Writing Latinos</em>, we spoke with bestselling author Xochitl Gonzalez about her new novel, <em>Last Night in Brooklyn, </em>a magnificent book about gentrification, attachment to place, upward social and economic mobility, and what Gonzalez describes as the “insuperiority complex” many nonwhite Americans experience in predominantly white spaces. She wrote a 21st-century Great Gatsby set in a majority Black and Brown community in Brooklyn. <em>Last Night in Brooklyn </em>is Gonzalez’s third novel, following the widely acclaimed <em>Anita de Monte Laughs Last </em>and <em>Olga Dies Dreaming</em>. We had a blast talking with Gonzalez, and we hope you enjoy the conversation as much as we did. Thanks for listening!</p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[In this week’s episode of Writing Latinos, we spoke with bestselling author Xochitl Gonzalez about her new novel, Last Night in Brooklyn, a magnificent book about gentrification, attachment to place, upward social and economic mobility, and what Gonzalez describes as the “insuperiority complex” many nonwhite Americans experience in predominantly white spaces. She wrote a 21st-century Great Gatsby set in a majority Black and Brown community in Brooklyn. Last Night in Brooklyn is Gonzalez’s third novel, following the widely acclaimed Anita de Monte Laughs Last and Olga Dies Dreaming. We had a blast talking with Gonzalez, and we hope you enjoy the conversation as much as we did. Thanks for listening!]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Xochitl Gonzalez: Last Night in Brooklyn]]>
                </itunes:title>
                                    <itunes:episode>5</itunes:episode>
                                                    <itunes:season>4</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p>In this week’s episode of <em>Writing Latinos</em>, we spoke with bestselling author Xochitl Gonzalez about her new novel, <em>Last Night in Brooklyn, </em>a magnificent book about gentrification, attachment to place, upward social and economic mobility, and what Gonzalez describes as the “insuperiority complex” many nonwhite Americans experience in predominantly white spaces. She wrote a 21st-century Great Gatsby set in a majority Black and Brown community in Brooklyn. <em>Last Night in Brooklyn </em>is Gonzalez’s third novel, following the widely acclaimed <em>Anita de Monte Laughs Last </em>and <em>Olga Dies Dreaming</em>. We had a blast talking with Gonzalez, and we hope you enjoy the conversation as much as we did. Thanks for listening!</p>]]>
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                                <itunes:summary>
                    <![CDATA[In this week’s episode of Writing Latinos, we spoke with bestselling author Xochitl Gonzalez about her new novel, Last Night in Brooklyn, a magnificent book about gentrification, attachment to place, upward social and economic mobility, and what Gonzalez describes as the “insuperiority complex” many nonwhite Americans experience in predominantly white spaces. She wrote a 21st-century Great Gatsby set in a majority Black and Brown community in Brooklyn. Last Night in Brooklyn is Gonzalez’s third novel, following the widely acclaimed Anita de Monte Laughs Last and Olga Dies Dreaming. We had a blast talking with Gonzalez, and we hope you enjoy the conversation as much as we did. Thanks for listening!]]>
                </itunes:summary>
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                                                                            <itunes:duration>00:41:05</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
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                            </item>
                    <item>
                <title>
                    <![CDATA[Jaquira Díaz: This is the Only Kingdom]]>
                </title>
                <pubDate>Wed, 29 Apr 2026 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
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                    https://permalink.castos.com/podcast/53111/episode/2430818</guid>
                                    <link>https://writing-latinos.castos.com/episodes/jaquira-diaz-this-is-the-only-kingdom</link>
                                <description>
                                            <![CDATA[<p>Our guest this week on Writing Latinos is Jaquira Díaz, discussing her new novel <i>This Is the Only Kingdom</i>, published by Algonquin Books. <i>This Is the Only Kingdom</i> was named one of the best books of 2025 by The New York Times and was long-listed for the Center for Fiction First Novel Prize. A professor of writing at Columbia University, Díaz is also the author of an award-winning memoir, <i>Ordinary Girls</i>. When we caught up with her, we talked about the intergenerational traumas caused by violence, displacement, racism, and homophobia. We also talked about salsa-fueled nights out-on-the-town and the many ways that music inspires her writing. You’ll want to listen to our episode, and then go read this fast-paced story that’s tough to put down. </p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[Our guest this week on Writing Latinos is Jaquira Díaz, discussing her new novel This Is the Only Kingdom, published by Algonquin Books. This Is the Only Kingdom was named one of the best books of 2025 by The New York Times and was long-listed for the Center for Fiction First Novel Prize. A professor of writing at Columbia University, Díaz is also the author of an award-winning memoir, Ordinary Girls. When we caught up with her, we talked about the intergenerational traumas caused by violence, displacement, racism, and homophobia. We also talked about salsa-fueled nights out-on-the-town and the many ways that music inspires her writing. You’ll want to listen to our episode, and then go read this fast-paced story that’s tough to put down. ]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Jaquira Díaz: This is the Only Kingdom]]>
                </itunes:title>
                                    <itunes:episode>4</itunes:episode>
                                                    <itunes:season>4</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p>Our guest this week on Writing Latinos is Jaquira Díaz, discussing her new novel <i>This Is the Only Kingdom</i>, published by Algonquin Books. <i>This Is the Only Kingdom</i> was named one of the best books of 2025 by The New York Times and was long-listed for the Center for Fiction First Novel Prize. A professor of writing at Columbia University, Díaz is also the author of an award-winning memoir, <i>Ordinary Girls</i>. When we caught up with her, we talked about the intergenerational traumas caused by violence, displacement, racism, and homophobia. We also talked about salsa-fueled nights out-on-the-town and the many ways that music inspires her writing. You’ll want to listen to our episode, and then go read this fast-paced story that’s tough to put down. </p>]]>
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                                <itunes:summary>
                    <![CDATA[Our guest this week on Writing Latinos is Jaquira Díaz, discussing her new novel This Is the Only Kingdom, published by Algonquin Books. This Is the Only Kingdom was named one of the best books of 2025 by The New York Times and was long-listed for the Center for Fiction First Novel Prize. A professor of writing at Columbia University, Díaz is also the author of an award-winning memoir, Ordinary Girls. When we caught up with her, we talked about the intergenerational traumas caused by violence, displacement, racism, and homophobia. We also talked about salsa-fueled nights out-on-the-town and the many ways that music inspires her writing. You’ll want to listen to our episode, and then go read this fast-paced story that’s tough to put down. ]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/2430818/c1a-7k8nj-dmjzknprbvd9-j8xhfd.jpeg"></itunes:image>
                                                                            <itunes:duration>00:34:03</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
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                            </item>
                    <item>
                <title>
                    <![CDATA[Mirta Ojito: Deeper Than the Ocean]]>
                </title>
                <pubDate>Wed, 15 Apr 2026 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
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                    https://permalink.castos.com/podcast/53111/episode/2415681</guid>
                                    <link>https://writing-latinos.castos.com/episodes/mirta-ojito-deeper-than-the-ocean</link>
                                <description>
                                            <![CDATA[<p>The Pulitzer Prize-winning journalist Mirta Ojito, who has written two non-fiction books, has now written her first novel. <i>Deeper Than the Ocean </i>(published by Union Square &amp; Co.) is a family drama that moves between Spain, Cuba, and the United States.</p>
<p>In this episode of <i>Writing Latinos</i>, we talk with Ojito about the meaning of “Spain” for Latinos and the desire to return. We also discuss mothers and daughters, the obligations of love, the sinking of the S.S. Valbanera, and our shared fear of swimming in open bodies of water. Thanks so much for listening!</p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[The Pulitzer Prize-winning journalist Mirta Ojito, who has written two non-fiction books, has now written her first novel. Deeper Than the Ocean (published by Union Square & Co.) is a family drama that moves between Spain, Cuba, and the United States.
In this episode of Writing Latinos, we talk with Ojito about the meaning of “Spain” for Latinos and the desire to return. We also discuss mothers and daughters, the obligations of love, the sinking of the S.S. Valbanera, and our shared fear of swimming in open bodies of water. Thanks so much for listening!]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Mirta Ojito: Deeper Than the Ocean]]>
                </itunes:title>
                                    <itunes:episode>3</itunes:episode>
                                                    <itunes:season>4</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p>The Pulitzer Prize-winning journalist Mirta Ojito, who has written two non-fiction books, has now written her first novel. <i>Deeper Than the Ocean </i>(published by Union Square &amp; Co.) is a family drama that moves between Spain, Cuba, and the United States.</p>
<p>In this episode of <i>Writing Latinos</i>, we talk with Ojito about the meaning of “Spain” for Latinos and the desire to return. We also discuss mothers and daughters, the obligations of love, the sinking of the S.S. Valbanera, and our shared fear of swimming in open bodies of water. Thanks so much for listening!</p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/2415681/c1e-rdgo6iow019s2k8o4-34xz03nnfgk9-34fmyl.mp3" length="36157781"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[The Pulitzer Prize-winning journalist Mirta Ojito, who has written two non-fiction books, has now written her first novel. Deeper Than the Ocean (published by Union Square & Co.) is a family drama that moves between Spain, Cuba, and the United States.
In this episode of Writing Latinos, we talk with Ojito about the meaning of “Spain” for Latinos and the desire to return. We also discuss mothers and daughters, the obligations of love, the sinking of the S.S. Valbanera, and our shared fear of swimming in open bodies of water. Thanks so much for listening!]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/2415681/c1a-7k8nj-1prn9xw5i99g-f8njry.jpg"></itunes:image>
                                                                            <itunes:duration>00:37:39</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Álvaro Enrigue: Now I Surrender]]>
                </title>
                <pubDate>Wed, 25 Mar 2026 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/2397092</guid>
                                    <link>https://writing-latinos.castos.com/episodes/alvaro-enrigue-now-i-surrender</link>
                                <description>
                                            <![CDATA[<p>In this latest episode of <em>Writing Latinos</em>, we talk with Álvaro Enrigue about the first-ever English translation of his novel <em>Now I Surrender</em>, published by Riverhead Books. Enrigue is the author of many other books, including the widely acclaimed <em>You Dreamed of Empires</em>, set in the immediate aftermath of the Spanish Conquest. <em>Now I Surrender</em> is also set mainly in the past, during the Apache Wars in Arizona that led to Geronimo’s capture. It was great to hear Enrigue’s thoughts about Geronimo’s legacy in Mexico, desert borderlands, road trips through the Southwest, and how Latino identity gets shaped through the experience of diaspora. Thank you for tuning in!</p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[In this latest episode of Writing Latinos, we talk with Álvaro Enrigue about the first-ever English translation of his novel Now I Surrender, published by Riverhead Books. Enrigue is the author of many other books, including the widely acclaimed You Dreamed of Empires, set in the immediate aftermath of the Spanish Conquest. Now I Surrender is also set mainly in the past, during the Apache Wars in Arizona that led to Geronimo’s capture. It was great to hear Enrigue’s thoughts about Geronimo’s legacy in Mexico, desert borderlands, road trips through the Southwest, and how Latino identity gets shaped through the experience of diaspora. Thank you for tuning in!]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Álvaro Enrigue: Now I Surrender]]>
                </itunes:title>
                                    <itunes:episode>2</itunes:episode>
                                                    <itunes:season>4</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p>In this latest episode of <em>Writing Latinos</em>, we talk with Álvaro Enrigue about the first-ever English translation of his novel <em>Now I Surrender</em>, published by Riverhead Books. Enrigue is the author of many other books, including the widely acclaimed <em>You Dreamed of Empires</em>, set in the immediate aftermath of the Spanish Conquest. <em>Now I Surrender</em> is also set mainly in the past, during the Apache Wars in Arizona that led to Geronimo’s capture. It was great to hear Enrigue’s thoughts about Geronimo’s legacy in Mexico, desert borderlands, road trips through the Southwest, and how Latino identity gets shaped through the experience of diaspora. Thank you for tuning in!</p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/2397092/c1e-2k8ojhq8wzgc678wz-okp51w8paow1-t6qxvd.mp3" length="28891556"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[In this latest episode of Writing Latinos, we talk with Álvaro Enrigue about the first-ever English translation of his novel Now I Surrender, published by Riverhead Books. Enrigue is the author of many other books, including the widely acclaimed You Dreamed of Empires, set in the immediate aftermath of the Spanish Conquest. Now I Surrender is also set mainly in the past, during the Apache Wars in Arizona that led to Geronimo’s capture. It was great to hear Enrigue’s thoughts about Geronimo’s legacy in Mexico, desert borderlands, road trips through the Southwest, and how Latino identity gets shaped through the experience of diaspora. Thank you for tuning in!]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/2397092/c1a-7k8nj-xx73q2g4fvn2-n29pvv.jpg"></itunes:image>
                                                                            <itunes:duration>00:30:05</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Jazmine Ulloa- El Paso: Five Families and One Hundred Years of Blood, Migration, Race, and Memory]]>
                </title>
                <pubDate>Wed, 11 Mar 2026 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/2386921</guid>
                                    <link>https://writing-latinos.castos.com/episodes/jazmine-ulloa-el-paso-five-families-and-one-hundred-years-of-blood-migration-race-and-memory</link>
                                <description>
                                            <![CDATA[<p>We’re back for season 4 of Writing Latinos! Our first guest is Jazmine Ulloa, a national political reporter for <i>The New York Times</i> who just published her first book. Titled <i>El Paso: Five Families and One Hundred Years of Blood, Migration, Race, and Memory</i> (from Dutton), it’s a moving portrayal of her hometown. The 2019 shooting by a self-described white supremacist at a Walmart in El Paso, which left more than 23 dead and 22 injured, haunts Ulloa’s narrative and is the point of departure for her exploration of the city’s history over the past 150 years. From the U.S.-Mexico War, to the dictatorship of Porfirio Díaz, to the charismatic healer Teresa Urrea—also known as La Santa de Cabóra—and to the anarchist Flores Magón brothers, Ulloa shows how El Paso has long been at the center of US and Mexican histories of immigration, race, capitalism, and empire. We talk about the tragedy at Walmart, how her family ended up in El Paso, and her views on the relationship between history and journalism.</p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[We’re back for season 4 of Writing Latinos! Our first guest is Jazmine Ulloa, a national political reporter for The New York Times who just published her first book. Titled El Paso: Five Families and One Hundred Years of Blood, Migration, Race, and Memory (from Dutton), it’s a moving portrayal of her hometown. The 2019 shooting by a self-described white supremacist at a Walmart in El Paso, which left more than 23 dead and 22 injured, haunts Ulloa’s narrative and is the point of departure for her exploration of the city’s history over the past 150 years. From the U.S.-Mexico War, to the dictatorship of Porfirio Díaz, to the charismatic healer Teresa Urrea—also known as La Santa de Cabóra—and to the anarchist Flores Magón brothers, Ulloa shows how El Paso has long been at the center of US and Mexican histories of immigration, race, capitalism, and empire. We talk about the tragedy at Walmart, how her family ended up in El Paso, and her views on the relationship between history and journalism.]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Jazmine Ulloa- El Paso: Five Families and One Hundred Years of Blood, Migration, Race, and Memory]]>
                </itunes:title>
                                    <itunes:episode>1</itunes:episode>
                                                    <itunes:season>4</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p>We’re back for season 4 of Writing Latinos! Our first guest is Jazmine Ulloa, a national political reporter for <i>The New York Times</i> who just published her first book. Titled <i>El Paso: Five Families and One Hundred Years of Blood, Migration, Race, and Memory</i> (from Dutton), it’s a moving portrayal of her hometown. The 2019 shooting by a self-described white supremacist at a Walmart in El Paso, which left more than 23 dead and 22 injured, haunts Ulloa’s narrative and is the point of departure for her exploration of the city’s history over the past 150 years. From the U.S.-Mexico War, to the dictatorship of Porfirio Díaz, to the charismatic healer Teresa Urrea—also known as La Santa de Cabóra—and to the anarchist Flores Magón brothers, Ulloa shows how El Paso has long been at the center of US and Mexican histories of immigration, race, capitalism, and empire. We talk about the tragedy at Walmart, how her family ended up in El Paso, and her views on the relationship between history and journalism.</p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/2386921/c1e-0204jf786prhgmo7z-250j168zfj1m-ol2krw.mp3" length="32605358"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[We’re back for season 4 of Writing Latinos! Our first guest is Jazmine Ulloa, a national political reporter for The New York Times who just published her first book. Titled El Paso: Five Families and One Hundred Years of Blood, Migration, Race, and Memory (from Dutton), it’s a moving portrayal of her hometown. The 2019 shooting by a self-described white supremacist at a Walmart in El Paso, which left more than 23 dead and 22 injured, haunts Ulloa’s narrative and is the point of departure for her exploration of the city’s history over the past 150 years. From the U.S.-Mexico War, to the dictatorship of Porfirio Díaz, to the charismatic healer Teresa Urrea—also known as La Santa de Cabóra—and to the anarchist Flores Magón brothers, Ulloa shows how El Paso has long been at the center of US and Mexican histories of immigration, race, capitalism, and empire. We talk about the tragedy at Walmart, how her family ended up in El Paso, and her views on the relationship between history and journalism.]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/2386921/c1a-7k8nj-6z9jp6k9uz9j-kwgamq.jpg"></itunes:image>
                                                                            <itunes:duration>00:33:57</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Albert Camarillo: Compton in My Soul]]>
                </title>
                <pubDate>Wed, 25 Jun 2025 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/2071826</guid>
                                    <link>https://writing-latinos.castos.com/episodes/albert-camarillo-compton-in-my-soul</link>
                                <description>
                                            <![CDATA[<p>Albert Camarillo is the Leon Sloss Jr. Memorial Professor, Emeritus, at Stanford University. He’s one of a small number of people who founded the academic field of Chicano/Latino history. He has also mentored so many of the historians who’ve written books that teach us much of what we know about the history of Latinos in the United States. Not least, he is the author of a new book himself, titled <a href="https://www.sup.org/books/history/compton-my-soul"><em>Compton In My Soul: A Life In Pursuit of Racial Equality</em>,</a> published by Stanford University Press, in which he recalls growing up in the Black and Brown suburb of Los Angeles, his experience as one of a very small number of Chicano students at UCLA, and his almost fifty years of teaching Chicano history at Stanford. In this episode of <em>Writing Latinos</em>—the season three finale!—we talk with him about the Trump administration’s attack on higher education, the recent trend in Latino history to focus on Black-Brown tension and the anti-blackness of Latinos, the writing of family history, and how our understanding of Latinos has changed since the beginning of his career.</p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[Albert Camarillo is the Leon Sloss Jr. Memorial Professor, Emeritus, at Stanford University. He’s one of a small number of people who founded the academic field of Chicano/Latino history. He has also mentored so many of the historians who’ve written books that teach us much of what we know about the history of Latinos in the United States. Not least, he is the author of a new book himself, titled Compton In My Soul: A Life In Pursuit of Racial Equality, published by Stanford University Press, in which he recalls growing up in the Black and Brown suburb of Los Angeles, his experience as one of a very small number of Chicano students at UCLA, and his almost fifty years of teaching Chicano history at Stanford. In this episode of Writing Latinos—the season three finale!—we talk with him about the Trump administration’s attack on higher education, the recent trend in Latino history to focus on Black-Brown tension and the anti-blackness of Latinos, the writing of family history, and how our understanding of Latinos has changed since the beginning of his career.]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Albert Camarillo: Compton in My Soul]]>
                </itunes:title>
                                    <itunes:episode>6</itunes:episode>
                                                    <itunes:season>3</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p>Albert Camarillo is the Leon Sloss Jr. Memorial Professor, Emeritus, at Stanford University. He’s one of a small number of people who founded the academic field of Chicano/Latino history. He has also mentored so many of the historians who’ve written books that teach us much of what we know about the history of Latinos in the United States. Not least, he is the author of a new book himself, titled <a href="https://www.sup.org/books/history/compton-my-soul"><em>Compton In My Soul: A Life In Pursuit of Racial Equality</em>,</a> published by Stanford University Press, in which he recalls growing up in the Black and Brown suburb of Los Angeles, his experience as one of a very small number of Chicano students at UCLA, and his almost fifty years of teaching Chicano history at Stanford. In this episode of <em>Writing Latinos</em>—the season three finale!—we talk with him about the Trump administration’s attack on higher education, the recent trend in Latino history to focus on Black-Brown tension and the anti-blackness of Latinos, the writing of family history, and how our understanding of Latinos has changed since the beginning of his career.</p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/2071826/c1e-4149jf14rqnbq8v4k-7z3p0vvpaqv-mwt6hr.mp3" length="107858048"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[Albert Camarillo is the Leon Sloss Jr. Memorial Professor, Emeritus, at Stanford University. He’s one of a small number of people who founded the academic field of Chicano/Latino history. He has also mentored so many of the historians who’ve written books that teach us much of what we know about the history of Latinos in the United States. Not least, he is the author of a new book himself, titled Compton In My Soul: A Life In Pursuit of Racial Equality, published by Stanford University Press, in which he recalls growing up in the Black and Brown suburb of Los Angeles, his experience as one of a very small number of Chicano students at UCLA, and his almost fifty years of teaching Chicano history at Stanford. In this episode of Writing Latinos—the season three finale!—we talk with him about the Trump administration’s attack on higher education, the recent trend in Latino history to focus on Black-Brown tension and the anti-blackness of Latinos, the writing of family history, and how our understanding of Latinos has changed since the beginning of his career.]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/2071826/c1a-7k8nj-9jr7mvv7bjw1-sh5lay.png"></itunes:image>
                                                                            <itunes:duration>00:44:56</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Jorell Meléndez Badillo, Puerto Rico: a National History]]>
                </title>
                <pubDate>Wed, 28 May 2025 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/2050029</guid>
                                    <link>https://writing-latinos.castos.com/episodes/jorell-melendez-badillo-puerto-rico-a-national-history</link>
                                <description>
                                            <![CDATA[<div dir="ltr">
<div>In a new episode of <em>Writing Latinos</em>, we talk with Jorell Meléndez-Badillo about his most recent book, <em>Puerto Rico: A National History</em>—out next month in paperback from Princeton University Press. Meléndez-Badillo offers a sweeping history of the island since Spanish colonization. Most provocatively, he chronicles a long tradition of thinking about Puerto Rico as an independent nation, even though it has been a territorial possession for the better part of five hundred years. In addition to the book, we talk with him about his collaboration with Bad Bunny on the historical narrative accompanying San Benito’s new album, Debí Tirar Más Fotos, which had him frantically writing dozens of history lessons, scrawled by hand, at the end of last year. Not exactly an everyday occurrence for a history professor! <em>Puerto Rico: A National History</em> is Meléndez-Badillo’s third book, following <em>The Lettered Barriada: Workers, Archival Power, and the Politics of Knowledge in Puerto Rico</em> (2021), and <em>Voces libertarias: Los orígenes del anarquismo en Puerto Rico</em> (2015).</div>
</div>
<div> </div>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[
In a new episode of Writing Latinos, we talk with Jorell Meléndez-Badillo about his most recent book, Puerto Rico: A National History—out next month in paperback from Princeton University Press. Meléndez-Badillo offers a sweeping history of the island since Spanish colonization. Most provocatively, he chronicles a long tradition of thinking about Puerto Rico as an independent nation, even though it has been a territorial possession for the better part of five hundred years. In addition to the book, we talk with him about his collaboration with Bad Bunny on the historical narrative accompanying San Benito’s new album, Debí Tirar Más Fotos, which had him frantically writing dozens of history lessons, scrawled by hand, at the end of last year. Not exactly an everyday occurrence for a history professor! Puerto Rico: A National History is Meléndez-Badillo’s third book, following The Lettered Barriada: Workers, Archival Power, and the Politics of Knowledge in Puerto Rico (2021), and Voces libertarias: Los orígenes del anarquismo en Puerto Rico (2015).

 ]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Jorell Meléndez Badillo, Puerto Rico: a National History]]>
                </itunes:title>
                                    <itunes:episode>5</itunes:episode>
                                                    <itunes:season>3</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<div dir="ltr">
<div>In a new episode of <em>Writing Latinos</em>, we talk with Jorell Meléndez-Badillo about his most recent book, <em>Puerto Rico: A National History</em>—out next month in paperback from Princeton University Press. Meléndez-Badillo offers a sweeping history of the island since Spanish colonization. Most provocatively, he chronicles a long tradition of thinking about Puerto Rico as an independent nation, even though it has been a territorial possession for the better part of five hundred years. In addition to the book, we talk with him about his collaboration with Bad Bunny on the historical narrative accompanying San Benito’s new album, Debí Tirar Más Fotos, which had him frantically writing dozens of history lessons, scrawled by hand, at the end of last year. Not exactly an everyday occurrence for a history professor! <em>Puerto Rico: A National History</em> is Meléndez-Badillo’s third book, following <em>The Lettered Barriada: Workers, Archival Power, and the Politics of Knowledge in Puerto Rico</em> (2021), and <em>Voces libertarias: Los orígenes del anarquismo en Puerto Rico</em> (2015).</div>
</div>
<div> </div>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/2050029/c1e-d5jdpamkorgh5wk6q-xxo02wmmbr2-ocacs8.mp3" length="107071808"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[
In a new episode of Writing Latinos, we talk with Jorell Meléndez-Badillo about his most recent book, Puerto Rico: A National History—out next month in paperback from Princeton University Press. Meléndez-Badillo offers a sweeping history of the island since Spanish colonization. Most provocatively, he chronicles a long tradition of thinking about Puerto Rico as an independent nation, even though it has been a territorial possession for the better part of five hundred years. In addition to the book, we talk with him about his collaboration with Bad Bunny on the historical narrative accompanying San Benito’s new album, Debí Tirar Más Fotos, which had him frantically writing dozens of history lessons, scrawled by hand, at the end of last year. Not exactly an everyday occurrence for a history professor! Puerto Rico: A National History is Meléndez-Badillo’s third book, following The Lettered Barriada: Workers, Archival Power, and the Politics of Knowledge in Puerto Rico (2021), and Voces libertarias: Los orígenes del anarquismo en Puerto Rico (2015).

 ]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/2050029/c1a-7k8nj-ndnkxojjtzrv-jh2t9a.png"></itunes:image>
                                                                            <itunes:duration>00:44:36</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Justin Torres Reads “Youth: The Palisades as a Backdrop”]]>
                </title>
                <pubDate>Wed, 14 May 2025 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/2039356</guid>
                                    <link>https://writing-latinos.castos.com/episodes/justin-torres-a-special-reading</link>
                                <description>
                                            <![CDATA[<p style="font-weight:400;">In this special episode of Writing Latinos, with the writer Justin Torres, we tried something new. Torres reads a short vignette —“Youth: The Palisades as a Backdrop,” by the Afro-Puerto Rican writer, Jesús Colón—and then we discuss it together. We had so much to talk about! Historical references. Readings of imagery. His message about gender, class, and race. “Youth” in the context of Colón’s other writings. The vignette as a powerfully evocative genre that Torres uses in his own writing. And what a treat to do this with Torres, a professor at UCLA and the author of two stunning novels: <em>We the Animals</em>, which was made into a feature film, and <em>Blackouts</em>, the winner of the National Book Award for Fiction.</p>
<p style="font-weight:400;"> </p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[In this special episode of Writing Latinos, with the writer Justin Torres, we tried something new. Torres reads a short vignette —“Youth: The Palisades as a Backdrop,” by the Afro-Puerto Rican writer, Jesús Colón—and then we discuss it together. We had so much to talk about! Historical references. Readings of imagery. His message about gender, class, and race. “Youth” in the context of Colón’s other writings. The vignette as a powerfully evocative genre that Torres uses in his own writing. And what a treat to do this with Torres, a professor at UCLA and the author of two stunning novels: We the Animals, which was made into a feature film, and Blackouts, the winner of the National Book Award for Fiction.
 ]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Justin Torres Reads “Youth: The Palisades as a Backdrop”]]>
                </itunes:title>
                                    <itunes:episode>4</itunes:episode>
                                                    <itunes:season>3</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p style="font-weight:400;">In this special episode of Writing Latinos, with the writer Justin Torres, we tried something new. Torres reads a short vignette —“Youth: The Palisades as a Backdrop,” by the Afro-Puerto Rican writer, Jesús Colón—and then we discuss it together. We had so much to talk about! Historical references. Readings of imagery. His message about gender, class, and race. “Youth” in the context of Colón’s other writings. The vignette as a powerfully evocative genre that Torres uses in his own writing. And what a treat to do this with Torres, a professor at UCLA and the author of two stunning novels: <em>We the Animals</em>, which was made into a feature film, and <em>Blackouts</em>, the winner of the National Book Award for Fiction.</p>
<p style="font-weight:400;"> </p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/2039356/c1e-3g53jsk0pgjt8wvj7-0vkx2vw4iodm-ightds.mp3" length="115373888"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[In this special episode of Writing Latinos, with the writer Justin Torres, we tried something new. Torres reads a short vignette —“Youth: The Palisades as a Backdrop,” by the Afro-Puerto Rican writer, Jesús Colón—and then we discuss it together. We had so much to talk about! Historical references. Readings of imagery. His message about gender, class, and race. “Youth” in the context of Colón’s other writings. The vignette as a powerfully evocative genre that Torres uses in his own writing. And what a treat to do this with Torres, a professor at UCLA and the author of two stunning novels: We the Animals, which was made into a feature film, and Blackouts, the winner of the National Book Award for Fiction.
 ]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/2039356/c1a-7k8nj-8drg9dgxt9ov-pwemw8.png"></itunes:image>
                                                                            <itunes:duration>00:48:04</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Nicolas Medina Mora: América del Norte]]>
                </title>
                <pubDate>Wed, 16 Apr 2025 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/2014000</guid>
                                    <link>https://writing-latinos.castos.com/episodes/nicolas-medina-mora-america-del-norte</link>
                                <description>
                                            <![CDATA[<p>Sebastián Arteaga y Salazar is the descendant of an elite Mexican family who studies at Yale and then enrolls in an MFA program at the University of Iowa Writers’ Workshop. He’s working on a failed history of Mexico—meaning his own failure to write his book, and the Mexican nation’s failures, especially in relation to the United States. Along the way, “Sebas” crosses many borders—between the United States and Mexico, of course, but also between elite and non-elite Mexicans and Latinos in the United States. This is the basic plot of Nicolás Medina Mora’s debut novel, <em>América del Norte</em>, which offers a beautifully written meditation on historical, cultural, and political relationships between the United States and Mexico. Sebas, like Medina, sees the subject of <em>Latinidad</em> from the perspective of a member of the Mexican elite who is more like other elites in the United States than like working class Mexicans and Mexican Americans on either side of the border. On this newest episode of <em>Writing Latinos</em>, we talk about all of it, including how Medina wrestles with “Latino” as a concept in a way that makes for great listening</p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[Sebastián Arteaga y Salazar is the descendant of an elite Mexican family who studies at Yale and then enrolls in an MFA program at the University of Iowa Writers’ Workshop. He’s working on a failed history of Mexico—meaning his own failure to write his book, and the Mexican nation’s failures, especially in relation to the United States. Along the way, “Sebas” crosses many borders—between the United States and Mexico, of course, but also between elite and non-elite Mexicans and Latinos in the United States. This is the basic plot of Nicolás Medina Mora’s debut novel, América del Norte, which offers a beautifully written meditation on historical, cultural, and political relationships between the United States and Mexico. Sebas, like Medina, sees the subject of Latinidad from the perspective of a member of the Mexican elite who is more like other elites in the United States than like working class Mexicans and Mexican Americans on either side of the border. On this newest episode of Writing Latinos, we talk about all of it, including how Medina wrestles with “Latino” as a concept in a way that makes for great listening]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Nicolas Medina Mora: América del Norte]]>
                </itunes:title>
                                    <itunes:episode>3</itunes:episode>
                                                    <itunes:season>3</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p>Sebastián Arteaga y Salazar is the descendant of an elite Mexican family who studies at Yale and then enrolls in an MFA program at the University of Iowa Writers’ Workshop. He’s working on a failed history of Mexico—meaning his own failure to write his book, and the Mexican nation’s failures, especially in relation to the United States. Along the way, “Sebas” crosses many borders—between the United States and Mexico, of course, but also between elite and non-elite Mexicans and Latinos in the United States. This is the basic plot of Nicolás Medina Mora’s debut novel, <em>América del Norte</em>, which offers a beautifully written meditation on historical, cultural, and political relationships between the United States and Mexico. Sebas, like Medina, sees the subject of <em>Latinidad</em> from the perspective of a member of the Mexican elite who is more like other elites in the United States than like working class Mexicans and Mexican Americans on either side of the border. On this newest episode of <em>Writing Latinos</em>, we talk about all of it, including how Medina wrestles with “Latino” as a concept in a way that makes for great listening</p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/2014000/c1e-wm4n3h34gqgf58wno-34dn1212hqx6-vxxks1.mp3" length="89390528"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[Sebastián Arteaga y Salazar is the descendant of an elite Mexican family who studies at Yale and then enrolls in an MFA program at the University of Iowa Writers’ Workshop. He’s working on a failed history of Mexico—meaning his own failure to write his book, and the Mexican nation’s failures, especially in relation to the United States. Along the way, “Sebas” crosses many borders—between the United States and Mexico, of course, but also between elite and non-elite Mexicans and Latinos in the United States. This is the basic plot of Nicolás Medina Mora’s debut novel, América del Norte, which offers a beautifully written meditation on historical, cultural, and political relationships between the United States and Mexico. Sebas, like Medina, sees the subject of Latinidad from the perspective of a member of the Mexican elite who is more like other elites in the United States than like working class Mexicans and Mexican Americans on either side of the border. On this newest episode of Writing Latinos, we talk about all of it, including how Medina wrestles with “Latino” as a concept in a way that makes for great listening]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/2014000/c1a-7k8nj-rk4zv820cz7j-uxdcmd.png"></itunes:image>
                                                                            <itunes:duration>00:37:14</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Marie Arana: Latinoland]]>
                </title>
                <pubDate>Wed, 02 Apr 2025 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/2005146</guid>
                                    <link>https://writing-latinos.castos.com/episodes/marie-arana-latinoland</link>
                                <description>
                                            <![CDATA[<p>Marie Arana has had a fascinating career as an editor and writer of both fiction and nonfiction. She is the author of the novels <em>Cellophane </em>and <em>Lima Nights</em>; a<em> </em>memoir called <em>American Chica</em>; a history of Latin America titled <em>Silver, Sword, and Stone</em>; and a stunning biography of Simón Bolívar, the so-called Liberator of Latin America. Arana was the editor of the <em>Washington Post</em>’s Book World and the inaugural literary director of the Library of Congress. We talk with her in this new episode of <em>Writing Latinos</em> about her newest book, <em>LatinoLand: A Portrait of America’s Largest and Least Understood Minority</em>. We discuss how, as a Peruvian American raised in places as different as Wyoming and New Jersey, her somewhat unique Latino experience (but aren’t they all?) shaped the questions she wanted to answer in <em>LatinoLand</em>. She explores such a wide variety of subjects—religion, politics, business, identity and more—and in a way that’s unorthodox compared with how other Latino authors have written about them. Come and listen to us talk about her life and writing and her thoughts about the inevitability of Latino unity.</p>
<p>As always, thanks for listening to <em>Writing Latinos</em>!</p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[Marie Arana has had a fascinating career as an editor and writer of both fiction and nonfiction. She is the author of the novels Cellophane and Lima Nights; a memoir called American Chica; a history of Latin America titled Silver, Sword, and Stone; and a stunning biography of Simón Bolívar, the so-called Liberator of Latin America. Arana was the editor of the Washington Post’s Book World and the inaugural literary director of the Library of Congress. We talk with her in this new episode of Writing Latinos about her newest book, LatinoLand: A Portrait of America’s Largest and Least Understood Minority. We discuss how, as a Peruvian American raised in places as different as Wyoming and New Jersey, her somewhat unique Latino experience (but aren’t they all?) shaped the questions she wanted to answer in LatinoLand. She explores such a wide variety of subjects—religion, politics, business, identity and more—and in a way that’s unorthodox compared with how other Latino authors have written about them. Come and listen to us talk about her life and writing and her thoughts about the inevitability of Latino unity.
As always, thanks for listening to Writing Latinos!]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Marie Arana: Latinoland]]>
                </itunes:title>
                                    <itunes:episode>2</itunes:episode>
                                                    <itunes:season>3</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p>Marie Arana has had a fascinating career as an editor and writer of both fiction and nonfiction. She is the author of the novels <em>Cellophane </em>and <em>Lima Nights</em>; a<em> </em>memoir called <em>American Chica</em>; a history of Latin America titled <em>Silver, Sword, and Stone</em>; and a stunning biography of Simón Bolívar, the so-called Liberator of Latin America. Arana was the editor of the <em>Washington Post</em>’s Book World and the inaugural literary director of the Library of Congress. We talk with her in this new episode of <em>Writing Latinos</em> about her newest book, <em>LatinoLand: A Portrait of America’s Largest and Least Understood Minority</em>. We discuss how, as a Peruvian American raised in places as different as Wyoming and New Jersey, her somewhat unique Latino experience (but aren’t they all?) shaped the questions she wanted to answer in <em>LatinoLand</em>. She explores such a wide variety of subjects—religion, politics, business, identity and more—and in a way that’s unorthodox compared with how other Latino authors have written about them. Come and listen to us talk about her life and writing and her thoughts about the inevitability of Latino unity.</p>
<p>As always, thanks for listening to <em>Writing Latinos</em>!</p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/2005146/c1e-m19q6fqkk3vi3g67n-9jn4no62fp3-5ivg2c.mp3" length="93304448"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[Marie Arana has had a fascinating career as an editor and writer of both fiction and nonfiction. She is the author of the novels Cellophane and Lima Nights; a memoir called American Chica; a history of Latin America titled Silver, Sword, and Stone; and a stunning biography of Simón Bolívar, the so-called Liberator of Latin America. Arana was the editor of the Washington Post’s Book World and the inaugural literary director of the Library of Congress. We talk with her in this new episode of Writing Latinos about her newest book, LatinoLand: A Portrait of America’s Largest and Least Understood Minority. We discuss how, as a Peruvian American raised in places as different as Wyoming and New Jersey, her somewhat unique Latino experience (but aren’t they all?) shaped the questions she wanted to answer in LatinoLand. She explores such a wide variety of subjects—religion, politics, business, identity and more—and in a way that’s unorthodox compared with how other Latino authors have written about them. Come and listen to us talk about her life and writing and her thoughts about the inevitability of Latino unity.
As always, thanks for listening to Writing Latinos!]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/2005146/c1a-7k8nj-rkzwzr7ni2o4-lgqt9r.png"></itunes:image>
                                                                            <itunes:duration>00:38:52</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Lori Flores: Awaiting Their Feast]]>
                </title>
                <pubDate>Wed, 19 Mar 2025 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1994829</guid>
                                    <link>https://writing-latinos.castos.com/episodes/lori-flores-awaiting-their-feast</link>
                                <description>
                                            <![CDATA[<p>You probably remember the picture of himself, both thumbs up, that Donald Trump posted on social media with the caption, “Best Taco Bowl.” It was his ode to Mexican food on Cinco de Mayo 2016. The picture mocked relentlessly, and deservedly so. For Latinos, taco bowls aren’t really a thing. And even if they were, it’s doubtful that Trump Tower would serve the best of them. For Latinos, Cinco de Mayo is less of a thing than it is for other groups. But most importantly, Trump was celebrating Mexican food at the same time that, on the campaign trail, he was denigrating Mexican immigrants. Lori A. Flores’s new book, <em>Awaiting Their Feast: Latinx Food Workers and Activism from World War II to COVID-19</em>, effectively explores this tension between many Americans’ love for Mexican food and their simultaneous distaste for Mexican people.</p>
<p>Fortunately, Flores doesn’t make us relive the cringe of Trump’s post—as I’ve done here. Instead, she introduces us to the Latina and Latino food workers; Latina and Latino–owned restaurants; and American consumer’s taste for Latin American and Latino cuisine in New England, especially New York. I’m so glad to kick off Season 3 of <em>Writing Latinos</em> by talking with Flores about her new book. We discuss the popularity of tamales in New York during the 19th century, Latino workers’ demands for healthy food and food from their culture, the Mexican proprietor of a high-end Mexican restaurant, the laborers who assemble our Christmas wreaths, and the workers who harvest the mighty sea cucumber. All these subjects are original contributions to the field of Latino history, but they’re also just super interesting, as you’ll see when you listen. Flores is a professor of history at SUNY–Stony Brook. <em>Awaiting Their Feast</em>, published by the University of North Carolina Press, as part of their Latinx Histories series, is her second book. Enjoy!</p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[You probably remember the picture of himself, both thumbs up, that Donald Trump posted on social media with the caption, “Best Taco Bowl.” It was his ode to Mexican food on Cinco de Mayo 2016. The picture mocked relentlessly, and deservedly so. For Latinos, taco bowls aren’t really a thing. And even if they were, it’s doubtful that Trump Tower would serve the best of them. For Latinos, Cinco de Mayo is less of a thing than it is for other groups. But most importantly, Trump was celebrating Mexican food at the same time that, on the campaign trail, he was denigrating Mexican immigrants. Lori A. Flores’s new book, Awaiting Their Feast: Latinx Food Workers and Activism from World War II to COVID-19, effectively explores this tension between many Americans’ love for Mexican food and their simultaneous distaste for Mexican people.
Fortunately, Flores doesn’t make us relive the cringe of Trump’s post—as I’ve done here. Instead, she introduces us to the Latina and Latino food workers; Latina and Latino–owned restaurants; and American consumer’s taste for Latin American and Latino cuisine in New England, especially New York. I’m so glad to kick off Season 3 of Writing Latinos by talking with Flores about her new book. We discuss the popularity of tamales in New York during the 19th century, Latino workers’ demands for healthy food and food from their culture, the Mexican proprietor of a high-end Mexican restaurant, the laborers who assemble our Christmas wreaths, and the workers who harvest the mighty sea cucumber. All these subjects are original contributions to the field of Latino history, but they’re also just super interesting, as you’ll see when you listen. Flores is a professor of history at SUNY–Stony Brook. Awaiting Their Feast, published by the University of North Carolina Press, as part of their Latinx Histories series, is her second book. Enjoy!]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Lori Flores: Awaiting Their Feast]]>
                </itunes:title>
                                    <itunes:episode>1</itunes:episode>
                                                    <itunes:season>3</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p>You probably remember the picture of himself, both thumbs up, that Donald Trump posted on social media with the caption, “Best Taco Bowl.” It was his ode to Mexican food on Cinco de Mayo 2016. The picture mocked relentlessly, and deservedly so. For Latinos, taco bowls aren’t really a thing. And even if they were, it’s doubtful that Trump Tower would serve the best of them. For Latinos, Cinco de Mayo is less of a thing than it is for other groups. But most importantly, Trump was celebrating Mexican food at the same time that, on the campaign trail, he was denigrating Mexican immigrants. Lori A. Flores’s new book, <em>Awaiting Their Feast: Latinx Food Workers and Activism from World War II to COVID-19</em>, effectively explores this tension between many Americans’ love for Mexican food and their simultaneous distaste for Mexican people.</p>
<p>Fortunately, Flores doesn’t make us relive the cringe of Trump’s post—as I’ve done here. Instead, she introduces us to the Latina and Latino food workers; Latina and Latino–owned restaurants; and American consumer’s taste for Latin American and Latino cuisine in New England, especially New York. I’m so glad to kick off Season 3 of <em>Writing Latinos</em> by talking with Flores about her new book. We discuss the popularity of tamales in New York during the 19th century, Latino workers’ demands for healthy food and food from their culture, the Mexican proprietor of a high-end Mexican restaurant, the laborers who assemble our Christmas wreaths, and the workers who harvest the mighty sea cucumber. All these subjects are original contributions to the field of Latino history, but they’re also just super interesting, as you’ll see when you listen. Flores is a professor of history at SUNY–Stony Brook. <em>Awaiting Their Feast</em>, published by the University of North Carolina Press, as part of their Latinx Histories series, is her second book. Enjoy!</p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/1994829/c1e-kdo56igmdj9czgwpo-9jn6gmr1in0-ljr3q3.mp3" length="97941248"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[You probably remember the picture of himself, both thumbs up, that Donald Trump posted on social media with the caption, “Best Taco Bowl.” It was his ode to Mexican food on Cinco de Mayo 2016. The picture mocked relentlessly, and deservedly so. For Latinos, taco bowls aren’t really a thing. And even if they were, it’s doubtful that Trump Tower would serve the best of them. For Latinos, Cinco de Mayo is less of a thing than it is for other groups. But most importantly, Trump was celebrating Mexican food at the same time that, on the campaign trail, he was denigrating Mexican immigrants. Lori A. Flores’s new book, Awaiting Their Feast: Latinx Food Workers and Activism from World War II to COVID-19, effectively explores this tension between many Americans’ love for Mexican food and their simultaneous distaste for Mexican people.
Fortunately, Flores doesn’t make us relive the cringe of Trump’s post—as I’ve done here. Instead, she introduces us to the Latina and Latino food workers; Latina and Latino–owned restaurants; and American consumer’s taste for Latin American and Latino cuisine in New England, especially New York. I’m so glad to kick off Season 3 of Writing Latinos by talking with Flores about her new book. We discuss the popularity of tamales in New York during the 19th century, Latino workers’ demands for healthy food and food from their culture, the Mexican proprietor of a high-end Mexican restaurant, the laborers who assemble our Christmas wreaths, and the workers who harvest the mighty sea cucumber. All these subjects are original contributions to the field of Latino history, but they’re also just super interesting, as you’ll see when you listen. Flores is a professor of history at SUNY–Stony Brook. Awaiting Their Feast, published by the University of North Carolina Press, as part of their Latinx Histories series, is her second book. Enjoy!]]>
                </itunes:summary>
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                                                                            <itunes:duration>00:40:48</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Karla Cornejo Villavicencio: Catalina]]>
                </title>
                <pubDate>Wed, 24 Jul 2024 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1790767</guid>
                                    <link>https://writing-latinos.castos.com/episodes/karla-cornejo-villavicencio-catalina</link>
                                <description>
                                            <![CDATA[<p>For the final episode of Season 2 of Writing Latinos, we talked with Karla Cornejo<br />Villavicencio about her new novel, <em>Catalina,</em> published by One World. It is an engrossing<br />read about a young woman named Catalina, who lived in Ecuador as a small girl,<br />migrated to New York to live with her grandparents, attended Harvard University, and,<br />by the novel’s end, finds herself flirting with a career in writing and publishing. We talked<br />about the sorts of lessons we learn about Latin American history from our families and our professors,  Catalina’s encounter with different kinds of Latinos at Harvard, as well as her desire for fame and<br />stardom, and the differences between writing fiction and creative non-fiction, which was<br />the genre of Cornejo Villavicencio’s first book,<em> The Undocumented Americans,</em> a<br />finalist for a National Book Award. Thank you for listening to Season 2 and stay<br />tuned for an announcement about Season 3.</p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[For the final episode of Season 2 of Writing Latinos, we talked with Karla CornejoVillavicencio about her new novel, Catalina, published by One World. It is an engrossingread about a young woman named Catalina, who lived in Ecuador as a small girl,migrated to New York to live with her grandparents, attended Harvard University, and,by the novel’s end, finds herself flirting with a career in writing and publishing. We talkedabout the sorts of lessons we learn about Latin American history from our families and our professors,  Catalina’s encounter with different kinds of Latinos at Harvard, as well as her desire for fame andstardom, and the differences between writing fiction and creative non-fiction, which wasthe genre of Cornejo Villavicencio’s first book, The Undocumented Americans, afinalist for a National Book Award. Thank you for listening to Season 2 and staytuned for an announcement about Season 3.]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Karla Cornejo Villavicencio: Catalina]]>
                </itunes:title>
                                    <itunes:episode>8</itunes:episode>
                                                    <itunes:season>2</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p>For the final episode of Season 2 of Writing Latinos, we talked with Karla Cornejo<br />Villavicencio about her new novel, <em>Catalina,</em> published by One World. It is an engrossing<br />read about a young woman named Catalina, who lived in Ecuador as a small girl,<br />migrated to New York to live with her grandparents, attended Harvard University, and,<br />by the novel’s end, finds herself flirting with a career in writing and publishing. We talked<br />about the sorts of lessons we learn about Latin American history from our families and our professors,  Catalina’s encounter with different kinds of Latinos at Harvard, as well as her desire for fame and<br />stardom, and the differences between writing fiction and creative non-fiction, which was<br />the genre of Cornejo Villavicencio’s first book,<em> The Undocumented Americans,</em> a<br />finalist for a National Book Award. Thank you for listening to Season 2 and stay<br />tuned for an announcement about Season 3.</p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/1790767/c1e-4149jf4j3p8uq8v4k-5zgdq779hgw7-kmdvnj.mp3" length="92355008"
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                                <itunes:summary>
                    <![CDATA[For the final episode of Season 2 of Writing Latinos, we talked with Karla CornejoVillavicencio about her new novel, Catalina, published by One World. It is an engrossingread about a young woman named Catalina, who lived in Ecuador as a small girl,migrated to New York to live with her grandparents, attended Harvard University, and,by the novel’s end, finds herself flirting with a career in writing and publishing. We talkedabout the sorts of lessons we learn about Latin American history from our families and our professors,  Catalina’s encounter with different kinds of Latinos at Harvard, as well as her desire for fame andstardom, and the differences between writing fiction and creative non-fiction, which wasthe genre of Cornejo Villavicencio’s first book, The Undocumented Americans, afinalist for a National Book Award. Thank you for listening to Season 2 and staytuned for an announcement about Season 3.]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/1790767/c1a-7k8nj-7z4x8op6h841-azcmb7.jpg"></itunes:image>
                                                                            <itunes:duration>00:38:28</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Jamie Figueroa: Mother Island]]>
                </title>
                <pubDate>Wed, 10 Jul 2024 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1777025</guid>
                                    <link>https://writing-latinos.castos.com/episodes/jamie-figueroa-mother-island</link>
                                <description>
                                            <![CDATA[<p>In this episode of Writing Latinos, we talk with the widely published, award-winning author, Jamie Figueroa, about her new memoir, <em><a href="https://www.penguinrandomhouse.com/books/723451/mother-island-by-jamie-figueroa/" target="_blank" rel="noreferrer noopener">Mother Island: A Daughter Claims Puerto Rico</a></em>, published by Pantheon. As a child growing up in Ohio, Figueroa experienced an othering that made her feel like she needed to recover centuries of family history shaped by colonialism and diaspora. It was a journey that took her to Santa Fe, New Mexico, where she teaches creative writing at the Institute of American Indian Arts, and to Puerto Rico, where her mother was born. Along the way, she recognizes the similarities and differences that brought her closer to and pushed her away from her mom, especially when it came to universal themes like love, longing, family, and acculturation. Figueroa’s second book, <em>Mother Island</em> is both beautiful and moving, and ultimately it is a book that we can all relate to. </p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[In this episode of Writing Latinos, we talk with the widely published, award-winning author, Jamie Figueroa, about her new memoir, Mother Island: A Daughter Claims Puerto Rico, published by Pantheon. As a child growing up in Ohio, Figueroa experienced an othering that made her feel like she needed to recover centuries of family history shaped by colonialism and diaspora. It was a journey that took her to Santa Fe, New Mexico, where she teaches creative writing at the Institute of American Indian Arts, and to Puerto Rico, where her mother was born. Along the way, she recognizes the similarities and differences that brought her closer to and pushed her away from her mom, especially when it came to universal themes like love, longing, family, and acculturation. Figueroa’s second book, Mother Island is both beautiful and moving, and ultimately it is a book that we can all relate to. ]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Jamie Figueroa: Mother Island]]>
                </itunes:title>
                                    <itunes:episode>7</itunes:episode>
                                                    <itunes:season>2</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p>In this episode of Writing Latinos, we talk with the widely published, award-winning author, Jamie Figueroa, about her new memoir, <em><a href="https://www.penguinrandomhouse.com/books/723451/mother-island-by-jamie-figueroa/" target="_blank" rel="noreferrer noopener">Mother Island: A Daughter Claims Puerto Rico</a></em>, published by Pantheon. As a child growing up in Ohio, Figueroa experienced an othering that made her feel like she needed to recover centuries of family history shaped by colonialism and diaspora. It was a journey that took her to Santa Fe, New Mexico, where she teaches creative writing at the Institute of American Indian Arts, and to Puerto Rico, where her mother was born. Along the way, she recognizes the similarities and differences that brought her closer to and pushed her away from her mom, especially when it came to universal themes like love, longing, family, and acculturation. Figueroa’s second book, <em>Mother Island</em> is both beautiful and moving, and ultimately it is a book that we can all relate to. </p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/1777025/c1e-kdo56ij87rkfzgwpo-mq88v699u2zn-swizrj.mp3" length="99084608"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[In this episode of Writing Latinos, we talk with the widely published, award-winning author, Jamie Figueroa, about her new memoir, Mother Island: A Daughter Claims Puerto Rico, published by Pantheon. As a child growing up in Ohio, Figueroa experienced an othering that made her feel like she needed to recover centuries of family history shaped by colonialism and diaspora. It was a journey that took her to Santa Fe, New Mexico, where she teaches creative writing at the Institute of American Indian Arts, and to Puerto Rico, where her mother was born. Along the way, she recognizes the similarities and differences that brought her closer to and pushed her away from her mom, especially when it came to universal themes like love, longing, family, and acculturation. Figueroa’s second book, Mother Island is both beautiful and moving, and ultimately it is a book that we can all relate to. ]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/1777025/c1a-7k8nj-p8dd76nkc1nj-z6b9rz.jpg"></itunes:image>
                                                                            <itunes:duration>00:41:17</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Sarah McNamara, Ybor City: Crucible of the Latina South]]>
                </title>
                <pubDate>Wed, 26 Jun 2024 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1762126</guid>
                                    <link>https://writing-latinos.castos.com/episodes/sarah-mcnamara-ybor-city-crucible-of-the-latina-south</link>
                                <description>
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<div class="_rhs_1ubzy_10" style="text-align:left;">Sarah McNamara’s new book, <em>Ybor City: Crucible of the Latina South</em> is a deeply personal history of the Florida city where she grew up. In this episode of <em>Writing Latinos</em>, we talk about her Cuban grandmother, the family storyteller and archivist of Ybor City’s Latino community. When McNamara was a little girl, her grandma brought her to the museum where she was a docent, vowing to tell stories about Ybor City that ran counter to the official version of local history told by the museum’s curators. The stories McNamara learned focused on a radical political activism in Ybor City that’s very different than the stories we often hear about Miami’s conservative exile community. Women led the charge and inspired McNamara to write the story of how Ybor City became one of the first places where a pan-ethnic Latino identity was forged. She places in an unfamiliar context some ofthe most familiar figures of Latino history: José Martí, Luisa Capetillo, Luisa Moreno, and Fidel Castro, all of whom spent time in Ybor City before they made names for themselves.What we learn about them is both new and surprising. <em>Ybor City</em>, published by The University of North Carolina Press, is McNamara’s first book. Her next book is about Latino electoral politics in Florida.</div>
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                    <![CDATA[




 


Sarah McNamara’s new book, Ybor City: Crucible of the Latina South is a deeply personal history of the Florida city where she grew up. In this episode of Writing Latinos, we talk about her Cuban grandmother, the family storyteller and archivist of Ybor City’s Latino community. When McNamara was a little girl, her grandma brought her to the museum where she was a docent, vowing to tell stories about Ybor City that ran counter to the official version of local history told by the museum’s curators. The stories McNamara learned focused on a radical political activism in Ybor City that’s very different than the stories we often hear about Miami’s conservative exile community. Women led the charge and inspired McNamara to write the story of how Ybor City became one of the first places where a pan-ethnic Latino identity was forged. She places in an unfamiliar context some ofthe most familiar figures of Latino history: José Martí, Luisa Capetillo, Luisa Moreno, and Fidel Castro, all of whom spent time in Ybor City before they made names for themselves.What we learn about them is both new and surprising. Ybor City, published by The University of North Carolina Press, is McNamara’s first book. Her next book is about Latino electoral politics in Florida.


















 














   

 




 
 
 ]]>
                </itunes:subtitle>
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                                <itunes:title>
                    <![CDATA[Sarah McNamara, Ybor City: Crucible of the Latina South]]>
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                                    <itunes:episode>6</itunes:episode>
                                                    <itunes:season>2</itunes:season>
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<div class="_rhs_1ubzy_10" style="text-align:left;">Sarah McNamara’s new book, <em>Ybor City: Crucible of the Latina South</em> is a deeply personal history of the Florida city where she grew up. In this episode of <em>Writing Latinos</em>, we talk about her Cuban grandmother, the family storyteller and archivist of Ybor City’s Latino community. When McNamara was a little girl, her grandma brought her to the museum where she was a docent, vowing to tell stories about Ybor City that ran counter to the official version of local history told by the museum’s curators. The stories McNamara learned focused on a radical political activism in Ybor City that’s very different than the stories we often hear about Miami’s conservative exile community. Women led the charge and inspired McNamara to write the story of how Ybor City became one of the first places where a pan-ethnic Latino identity was forged. She places in an unfamiliar context some ofthe most familiar figures of Latino history: José Martí, Luisa Capetillo, Luisa Moreno, and Fidel Castro, all of whom spent time in Ybor City before they made names for themselves.What we learn about them is both new and surprising. <em>Ybor City</em>, published by The University of North Carolina Press, is McNamara’s first book. Her next book is about Latino electoral politics in Florida.</div>
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                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/1762126/c1e-2k8ojh8qv85tvqpvd-ddko5vv8cmmo-qwn3qs.mp3" length="111731096"
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                                <itunes:summary>
                    <![CDATA[




 


Sarah McNamara’s new book, Ybor City: Crucible of the Latina South is a deeply personal history of the Florida city where she grew up. In this episode of Writing Latinos, we talk about her Cuban grandmother, the family storyteller and archivist of Ybor City’s Latino community. When McNamara was a little girl, her grandma brought her to the museum where she was a docent, vowing to tell stories about Ybor City that ran counter to the official version of local history told by the museum’s curators. The stories McNamara learned focused on a radical political activism in Ybor City that’s very different than the stories we often hear about Miami’s conservative exile community. Women led the charge and inspired McNamara to write the story of how Ybor City became one of the first places where a pan-ethnic Latino identity was forged. She places in an unfamiliar context some ofthe most familiar figures of Latino history: José Martí, Luisa Capetillo, Luisa Moreno, and Fidel Castro, all of whom spent time in Ybor City before they made names for themselves.What we learn about them is both new and surprising. Ybor City, published by The University of North Carolina Press, is McNamara’s first book. Her next book is about Latino electoral politics in Florida.


















 














   

 




 
 
 ]]>
                </itunes:summary>
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                                                                            <itunes:duration>00:46:33</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Luis Miranda: Relentless]]>
                </title>
                <pubDate>Wed, 12 Jun 2024 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1755995</guid>
                                    <link>https://writing-latinos.castos.com/episodes/luis-miranda-relentless</link>
                                <description>
                                            <![CDATA[<p>Luis Miranda migrated from Puerto Rico in the 1970s and has maintained deep connections<br />with the island ever since. He has worked for the mayor of New York City. He is a Latino<br />advocate and political consultant with decades of experience. He also happens to be the<br />father of an international celebrity. In this episode of Writing Latinos, we talk with him<br />about his new memoir, Relentless: My Story of the Latino Spirit That Is Transforming<br />America, published by Hachette Books. Our sprawling conversation touches on his ideas<br />about Latino politics in New York, his work with national Latino advocacy organizations,<br />Puerto Rico’s territorial status, his dedication to family above all, and how the meanings of<br />fatherhood both have and have not changed for him since one of his children became<br />famous. Oh, we also talked about what he wants his funeral to be like, including the<br />soundtrack he wants played on the occasion. You’ll have to listen to find out what it<br />is!</p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[Luis Miranda migrated from Puerto Rico in the 1970s and has maintained deep connectionswith the island ever since. He has worked for the mayor of New York City. He is a Latinoadvocate and political consultant with decades of experience. He also happens to be thefather of an international celebrity. In this episode of Writing Latinos, we talk with himabout his new memoir, Relentless: My Story of the Latino Spirit That Is TransformingAmerica, published by Hachette Books. Our sprawling conversation touches on his ideasabout Latino politics in New York, his work with national Latino advocacy organizations,Puerto Rico’s territorial status, his dedication to family above all, and how the meanings offatherhood both have and have not changed for him since one of his children becamefamous. Oh, we also talked about what he wants his funeral to be like, including thesoundtrack he wants played on the occasion. You’ll have to listen to find out what itis!]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Luis Miranda: Relentless]]>
                </itunes:title>
                                    <itunes:episode>5</itunes:episode>
                                                    <itunes:season>1</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p>Luis Miranda migrated from Puerto Rico in the 1970s and has maintained deep connections<br />with the island ever since. He has worked for the mayor of New York City. He is a Latino<br />advocate and political consultant with decades of experience. He also happens to be the<br />father of an international celebrity. In this episode of Writing Latinos, we talk with him<br />about his new memoir, Relentless: My Story of the Latino Spirit That Is Transforming<br />America, published by Hachette Books. Our sprawling conversation touches on his ideas<br />about Latino politics in New York, his work with national Latino advocacy organizations,<br />Puerto Rico’s territorial status, his dedication to family above all, and how the meanings of<br />fatherhood both have and have not changed for him since one of his children became<br />famous. Oh, we also talked about what he wants his funeral to be like, including the<br />soundtrack he wants played on the occasion. You’ll have to listen to find out what it<br />is!</p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/1755995/c1e-q4px6t27o9xc6jmz4-2og9rj6ob4jx-nnbrrs.mp3" length="91046528"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[Luis Miranda migrated from Puerto Rico in the 1970s and has maintained deep connectionswith the island ever since. He has worked for the mayor of New York City. He is a Latinoadvocate and political consultant with decades of experience. He also happens to be thefather of an international celebrity. In this episode of Writing Latinos, we talk with himabout his new memoir, Relentless: My Story of the Latino Spirit That Is TransformingAmerica, published by Hachette Books. Our sprawling conversation touches on his ideasabout Latino politics in New York, his work with national Latino advocacy organizations,Puerto Rico’s territorial status, his dedication to family above all, and how the meanings offatherhood both have and have not changed for him since one of his children becamefamous. Oh, we also talked about what he wants his funeral to be like, including thesoundtrack he wants played on the occasion. You’ll have to listen to find out what itis!]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/1755995/c1a-7k8nj-k5mvv752s76r-nnnbhz.jpg"></itunes:image>
                                                                            <itunes:duration>00:37:56</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Melissa Mogollon: Oye]]>
                </title>
                <pubDate>Wed, 22 May 2024 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1744806</guid>
                                    <link>https://writing-latinos.castos.com/episodes/melissa-mogollon-oye</link>
                                <description>
                                            <![CDATA[<p>Melissa Mogollón is the author of a new novel called <em>Oye</em>, out this spring from Hogarth. Meaning “listen to me,” <em>Oye</em> is Luciana’s demand to be heard. And hear her we do, in her one-sided conversation with her older sister, Mari. <em>Oye </em>is a family drama for the ages, set in the time of Hurricane Irma, which struck Florida and much of the Southeast in 2017. The family runs from the hurricane, but long before the hurricane struck they’d been running from each other and from themselves. As <em>Oye</em> unfolds, we learn the family’s secrets and the sources of deep intergenerational traumas that nevertheless tie them together. Mogollón and I discuss all of it in a conversation about <em>Oye</em>, a book that anyone with a family—which is to say everyone—will relate to. <em>Oye </em>is Mogollón’s debut novel. Don’t miss it.</p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[Melissa Mogollón is the author of a new novel called Oye, out this spring from Hogarth. Meaning “listen to me,” Oye is Luciana’s demand to be heard. And hear her we do, in her one-sided conversation with her older sister, Mari. Oye is a family drama for the ages, set in the time of Hurricane Irma, which struck Florida and much of the Southeast in 2017. The family runs from the hurricane, but long before the hurricane struck they’d been running from each other and from themselves. As Oye unfolds, we learn the family’s secrets and the sources of deep intergenerational traumas that nevertheless tie them together. Mogollón and I discuss all of it in a conversation about Oye, a book that anyone with a family—which is to say everyone—will relate to. Oye is Mogollón’s debut novel. Don’t miss it.]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Melissa Mogollon: Oye]]>
                </itunes:title>
                                    <itunes:episode>4</itunes:episode>
                                                    <itunes:season>2</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p>Melissa Mogollón is the author of a new novel called <em>Oye</em>, out this spring from Hogarth. Meaning “listen to me,” <em>Oye</em> is Luciana’s demand to be heard. And hear her we do, in her one-sided conversation with her older sister, Mari. <em>Oye </em>is a family drama for the ages, set in the time of Hurricane Irma, which struck Florida and much of the Southeast in 2017. The family runs from the hurricane, but long before the hurricane struck they’d been running from each other and from themselves. As <em>Oye</em> unfolds, we learn the family’s secrets and the sources of deep intergenerational traumas that nevertheless tie them together. Mogollón and I discuss all of it in a conversation about <em>Oye</em>, a book that anyone with a family—which is to say everyone—will relate to. <em>Oye </em>is Mogollón’s debut novel. Don’t miss it.</p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/1744806/c1e-4149jf414g1tq8wqd-2ogpn4pxaw1p-bggo7b.mp3" length="81646148"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[Melissa Mogollón is the author of a new novel called Oye, out this spring from Hogarth. Meaning “listen to me,” Oye is Luciana’s demand to be heard. And hear her we do, in her one-sided conversation with her older sister, Mari. Oye is a family drama for the ages, set in the time of Hurricane Irma, which struck Florida and much of the Southeast in 2017. The family runs from the hurricane, but long before the hurricane struck they’d been running from each other and from themselves. As Oye unfolds, we learn the family’s secrets and the sources of deep intergenerational traumas that nevertheless tie them together. Mogollón and I discuss all of it in a conversation about Oye, a book that anyone with a family—which is to say everyone—will relate to. Oye is Mogollón’s debut novel. Don’t miss it.]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/1744806/c1a-7k8nj-ddk3z239b225-rbjnzp.png"></itunes:image>
                                                                            <itunes:duration>00:34:01</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Cecilia Marquez: Making the Latino South]]>
                </title>
                <pubDate>Wed, 08 May 2024 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1735341</guid>
                                    <link>https://writing-latinos.castos.com/episodes/cecilia-marquez-making-the-latino-south</link>
                                <description>
                                            <![CDATA[<p><span style="font-weight:400;">Cecilia Márquez joins us this week to talk about her new book, </span><a href="https://uncpress.org/book/9781469676050/making-the-latino-south/"><em><span style="font-weight:400;">Making the Latino South: A History of Racial Formation</span></em></a><span style="font-weight:400;">, published by The University of North Carolina Press. Above all, we discussed the production of Latino identity in relation to Blackness. Márquez argues that, in the South, Latinos are either Black or non-Black—not Black or white, mind you, but Black or non-Black. It was an important distinction not only during the Jim Crow era, but also today given our ongoing debates about Latino racial identity. Márquez’s broad arguments come to life through fascinating characters and places like the South of the Border rest stop, just on the South Carolina side of the North/South Carolina divide. Beyond the subjects in </span><em><span style="font-weight:400;">Making the Latino South</span></em><span style="font-weight:400;">, we talk in general about some of the most important themes preoccupying Latino historians today. Márquez is the </span><a href="https://history.duke.edu/cecilia-marquez"><span style="font-weight:400;">Hunt Family Assistant Professor of History</span></a><span style="font-weight:400;"> at Duke University. She’s currently working on her next book, about the Latino Far Right in the late 20th and early 21st centuries. </span></p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[Cecilia Márquez joins us this week to talk about her new book, Making the Latino South: A History of Racial Formation, published by The University of North Carolina Press. Above all, we discussed the production of Latino identity in relation to Blackness. Márquez argues that, in the South, Latinos are either Black or non-Black—not Black or white, mind you, but Black or non-Black. It was an important distinction not only during the Jim Crow era, but also today given our ongoing debates about Latino racial identity. Márquez’s broad arguments come to life through fascinating characters and places like the South of the Border rest stop, just on the South Carolina side of the North/South Carolina divide. Beyond the subjects in Making the Latino South, we talk in general about some of the most important themes preoccupying Latino historians today. Márquez is the Hunt Family Assistant Professor of History at Duke University. She’s currently working on her next book, about the Latino Far Right in the late 20th and early 21st centuries. ]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Cecilia Marquez: Making the Latino South]]>
                </itunes:title>
                                    <itunes:episode>3</itunes:episode>
                                                    <itunes:season>2</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p><span style="font-weight:400;">Cecilia Márquez joins us this week to talk about her new book, </span><a href="https://uncpress.org/book/9781469676050/making-the-latino-south/"><em><span style="font-weight:400;">Making the Latino South: A History of Racial Formation</span></em></a><span style="font-weight:400;">, published by The University of North Carolina Press. Above all, we discussed the production of Latino identity in relation to Blackness. Márquez argues that, in the South, Latinos are either Black or non-Black—not Black or white, mind you, but Black or non-Black. It was an important distinction not only during the Jim Crow era, but also today given our ongoing debates about Latino racial identity. Márquez’s broad arguments come to life through fascinating characters and places like the South of the Border rest stop, just on the South Carolina side of the North/South Carolina divide. Beyond the subjects in </span><em><span style="font-weight:400;">Making the Latino South</span></em><span style="font-weight:400;">, we talk in general about some of the most important themes preoccupying Latino historians today. Márquez is the </span><a href="https://history.duke.edu/cecilia-marquez"><span style="font-weight:400;">Hunt Family Assistant Professor of History</span></a><span style="font-weight:400;"> at Duke University. She’s currently working on her next book, about the Latino Far Right in the late 20th and early 21st centuries. </span></p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/1735341/c1e-wm4n3hrrqp2a58wno-ddkm55qzh9vk-lpwuze.mp3" length="97035968"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[Cecilia Márquez joins us this week to talk about her new book, Making the Latino South: A History of Racial Formation, published by The University of North Carolina Press. Above all, we discussed the production of Latino identity in relation to Blackness. Márquez argues that, in the South, Latinos are either Black or non-Black—not Black or white, mind you, but Black or non-Black. It was an important distinction not only during the Jim Crow era, but also today given our ongoing debates about Latino racial identity. Márquez’s broad arguments come to life through fascinating characters and places like the South of the Border rest stop, just on the South Carolina side of the North/South Carolina divide. Beyond the subjects in Making the Latino South, we talk in general about some of the most important themes preoccupying Latino historians today. Márquez is the Hunt Family Assistant Professor of History at Duke University. She’s currently working on her next book, about the Latino Far Right in the late 20th and early 21st centuries. ]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/1735341/c1a-7k8nj-2og5kkzobno6-nkxzcp.jpg"></itunes:image>
                                                                            <itunes:duration>00:40:25</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Andrew Boryga: Victim]]>
                </title>
                <pubDate>Wed, 24 Apr 2024 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1724573</guid>
                                    <link>https://writing-latinos.castos.com/episodes/andrew-boryga-victim</link>
                                <description>
                                            <![CDATA[<p>If you liked American Fiction, you’ll love Andrew Boryga’s debut novel <em>Victim,</em> from Doubleday. It follows the career of Javier Perez, who learns at an early age thebenefits—and devastating consequences—of writing about one’s traumas and victimization.High school teachers encourage “Javi” to write about how tough things are for him, so he could get into college. It worked. At Cornell, he wrote stories about race on campus, and his personal experience with race. After graduation, his blossoming career asa writer was based on telling the gritty stories his editors found compelling. The problem was that much of what he wrote was untrue. His family, friends, and an old lover don’t understand why he opted fort hese false accounts of his life. But you’re just going to have to read <em>Victim</em> in order to find out how it all blows up in his face, and what lessons he has learned, if any.</p>
<p>In this second episode of Writing Latinos, Boryga describes how he arrived at the idea to write Victim, his thoughts about the relationship between his life and the characters he invented, and speculation about how <em>Victim</em> might be read in the post-affirmativeaction era. Boryga is a Miami-based writer who grew up in the Bronx, where muchof the action inVictimtakes place</p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[If you liked American Fiction, you’ll love Andrew Boryga’s debut novel Victim, from Doubleday. It follows the career of Javier Perez, who learns at an early age thebenefits—and devastating consequences—of writing about one’s traumas and victimization.High school teachers encourage “Javi” to write about how tough things are for him, so he could get into college. It worked. At Cornell, he wrote stories about race on campus, and his personal experience with race. After graduation, his blossoming career asa writer was based on telling the gritty stories his editors found compelling. The problem was that much of what he wrote was untrue. His family, friends, and an old lover don’t understand why he opted fort hese false accounts of his life. But you’re just going to have to read Victim in order to find out how it all blows up in his face, and what lessons he has learned, if any.
In this second episode of Writing Latinos, Boryga describes how he arrived at the idea to write Victim, his thoughts about the relationship between his life and the characters he invented, and speculation about how Victim might be read in the post-affirmativeaction era. Boryga is a Miami-based writer who grew up in the Bronx, where muchof the action inVictimtakes place]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Andrew Boryga: Victim]]>
                </itunes:title>
                                    <itunes:episode>2</itunes:episode>
                                                    <itunes:season>2</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p>If you liked American Fiction, you’ll love Andrew Boryga’s debut novel <em>Victim,</em> from Doubleday. It follows the career of Javier Perez, who learns at an early age thebenefits—and devastating consequences—of writing about one’s traumas and victimization.High school teachers encourage “Javi” to write about how tough things are for him, so he could get into college. It worked. At Cornell, he wrote stories about race on campus, and his personal experience with race. After graduation, his blossoming career asa writer was based on telling the gritty stories his editors found compelling. The problem was that much of what he wrote was untrue. His family, friends, and an old lover don’t understand why he opted fort hese false accounts of his life. But you’re just going to have to read <em>Victim</em> in order to find out how it all blows up in his face, and what lessons he has learned, if any.</p>
<p>In this second episode of Writing Latinos, Boryga describes how he arrived at the idea to write Victim, his thoughts about the relationship between his life and the characters he invented, and speculation about how <em>Victim</em> might be read in the post-affirmativeaction era. Boryga is a Miami-based writer who grew up in the Bronx, where muchof the action inVictimtakes place</p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/1724573/c1e-vzv0oa980j9tqd05k-v0n4g2vdi83-kdttmy.mp3" length="85756928"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[If you liked American Fiction, you’ll love Andrew Boryga’s debut novel Victim, from Doubleday. It follows the career of Javier Perez, who learns at an early age thebenefits—and devastating consequences—of writing about one’s traumas and victimization.High school teachers encourage “Javi” to write about how tough things are for him, so he could get into college. It worked. At Cornell, he wrote stories about race on campus, and his personal experience with race. After graduation, his blossoming career asa writer was based on telling the gritty stories his editors found compelling. The problem was that much of what he wrote was untrue. His family, friends, and an old lover don’t understand why he opted fort hese false accounts of his life. But you’re just going to have to read Victim in order to find out how it all blows up in his face, and what lessons he has learned, if any.
In this second episode of Writing Latinos, Boryga describes how he arrived at the idea to write Victim, his thoughts about the relationship between his life and the characters he invented, and speculation about how Victim might be read in the post-affirmativeaction era. Boryga is a Miami-based writer who grew up in the Bronx, where muchof the action inVictimtakes place]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/1724573/c1a-7k8nj-2og4v784tqx3-jvlari.jpg"></itunes:image>
                                                                            <itunes:duration>00:35:43</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Melissa Lozada-Oliva: Candelaria]]>
                </title>
                <pubDate>Wed, 10 Apr 2024 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1713353</guid>
                                    <link>https://writing-latinos.castos.com/episodes/melissa-lozada-oliva-candelaria</link>
                                <description>
                                            <![CDATA[<p>Melissa Lozada-Oliva is a New York-based author who grew up in Boston and calls herself a “Guatelombian” writer—half Guatemalan, half Colombian. We had a lively conversation about her second novel, <em>Candelaria</em>—an intergenerational family drama set during the apocalypse. Lozada-Oliva’s book explores the fraught but loving relationships between three sisters, their mother, their grandmother, and their connections, both real and imagined, with their Guatemalan homeland. It offers deep insights into Latina/o/x/e family dynamics, and is laugh-out-loud funny. <em>Candelaria </em>and Lozada-Oliva’s first novel, <em>Dreaming of You: A Novel in Verse,</em> were both published by Astra House. A former slam poetry performer, she has also written a collection of poems called <em>Peluda</em>. Look out for <em>Candelaria’s</em> paperback publicationthis fall.</p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[Melissa Lozada-Oliva is a New York-based author who grew up in Boston and calls herself a “Guatelombian” writer—half Guatemalan, half Colombian. We had a lively conversation about her second novel, Candelaria—an intergenerational family drama set during the apocalypse. Lozada-Oliva’s book explores the fraught but loving relationships between three sisters, their mother, their grandmother, and their connections, both real and imagined, with their Guatemalan homeland. It offers deep insights into Latina/o/x/e family dynamics, and is laugh-out-loud funny. Candelaria and Lozada-Oliva’s first novel, Dreaming of You: A Novel in Verse, were both published by Astra House. A former slam poetry performer, she has also written a collection of poems called Peluda. Look out for Candelaria’s paperback publicationthis fall.]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Melissa Lozada-Oliva: Candelaria]]>
                </itunes:title>
                                    <itunes:episode>1</itunes:episode>
                                                    <itunes:season>2</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p>Melissa Lozada-Oliva is a New York-based author who grew up in Boston and calls herself a “Guatelombian” writer—half Guatemalan, half Colombian. We had a lively conversation about her second novel, <em>Candelaria</em>—an intergenerational family drama set during the apocalypse. Lozada-Oliva’s book explores the fraught but loving relationships between three sisters, their mother, their grandmother, and their connections, both real and imagined, with their Guatemalan homeland. It offers deep insights into Latina/o/x/e family dynamics, and is laugh-out-loud funny. <em>Candelaria </em>and Lozada-Oliva’s first novel, <em>Dreaming of You: A Novel in Verse,</em> were both published by Astra House. A former slam poetry performer, she has also written a collection of poems called <em>Peluda</em>. Look out for <em>Candelaria’s</em> paperback publicationthis fall.</p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/1713353/c1e-90g2xhnqzgvc4wqjr-8m69qq7ourdp-pmnb4j.mp3" length="72335168"
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                    </enclosure>
                                <itunes:summary>
                    <![CDATA[Melissa Lozada-Oliva is a New York-based author who grew up in Boston and calls herself a “Guatelombian” writer—half Guatemalan, half Colombian. We had a lively conversation about her second novel, Candelaria—an intergenerational family drama set during the apocalypse. Lozada-Oliva’s book explores the fraught but loving relationships between three sisters, their mother, their grandmother, and their connections, both real and imagined, with their Guatemalan homeland. It offers deep insights into Latina/o/x/e family dynamics, and is laugh-out-loud funny. Candelaria and Lozada-Oliva’s first novel, Dreaming of You: A Novel in Verse, were both published by Astra House. A former slam poetry performer, she has also written a collection of poems called Peluda. Look out for Candelaria’s paperback publicationthis fall.]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/1713353/c1a-7k8nj-1xnd55gru133-2pagzw.jpg"></itunes:image>
                                                                            <itunes:duration>00:30:08</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Ingrid Rojas Contreras: The Man Who Could Move Clouds]]>
                </title>
                <pubDate>Wed, 26 Jul 2023 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1521203</guid>
                                    <link>https://writing-latinos.castos.com/episodes/ingrid-rojas-contreras-the-man-who-could-move-clouds</link>
                                <description>
                                            <![CDATA[<p><span style="font-weight:400;">Writing Latinos, from </span><em><span style="font-weight:400;">Public Books</span></em><span style="font-weight:400;">, features interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.</span></p>
<p> </p>
<p><span style="font-weight:400;">In our final episode of Season One, we talk with Ingrid Rojas Contreras about her book, </span><a href="https://www.penguinrandomhouse.com/books/653582/the-man-who-could-move-clouds-by-ingrid-rojas-contreras/"><em><span style="font-weight:400;">The Man Who Could Move Clouds: A Memoir</span></em></a><span style="font-weight:400;">, published last year by Doubleday. </span><em><span style="font-weight:400;">The Man Who Could Move Clouds</span></em><span style="font-weight:400;"> was a finalist for the Pulitzer Prize, National Book Award, and National Book Critics Circle Award, and was named a best book of the year by </span><em><span style="font-weight:400;">Time</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">NPR</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Boston Globe</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Vanity Fair</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Esquire</span></em><span style="font-weight:400;">, and more. Her first book, </span><a href="https://www.penguinrandomhouse.com/books/555091/fruit-of-the-drunken-tree-by-ingrid-rojas-contreras/9780525434313/"><em><span style="font-weight:400;">Fruit of the Drunken Tree: A Novel</span></em></a><span style="font-weight:400;">, was a national bestseller. </span></p>
<p> </p>
<p><span style="font-weight:400;">There was so much to discuss! We covered the bicycle accident that left Ingrid with amnesia and led her to write her family’s story, including their supernatural abilities. We talked about a doctor’s impulse to come up with a scientific rationale for phenomena that might also be explained narratively, in the context of a particular family dynamic. We discussed the genre of memoir, and the yogurt Ingrid used to eat in Colombia and now seeks out every time she returns home. </span></p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[Writing Latinos, from Public Books, features interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.
 
In our final episode of Season One, we talk with Ingrid Rojas Contreras about her book, The Man Who Could Move Clouds: A Memoir, published last year by Doubleday. The Man Who Could Move Clouds was a finalist for the Pulitzer Prize, National Book Award, and National Book Critics Circle Award, and was named a best book of the year by Time, NPR, Boston Globe, Vanity Fair, Esquire, and more. Her first book, Fruit of the Drunken Tree: A Novel, was a national bestseller. 
 
There was so much to discuss! We covered the bicycle accident that left Ingrid with amnesia and led her to write her family’s story, including their supernatural abilities. We talked about a doctor’s impulse to come up with a scientific rationale for phenomena that might also be explained narratively, in the context of a particular family dynamic. We discussed the genre of memoir, and the yogurt Ingrid used to eat in Colombia and now seeks out every time she returns home. ]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Ingrid Rojas Contreras: The Man Who Could Move Clouds]]>
                </itunes:title>
                                    <itunes:episode>9</itunes:episode>
                                                    <itunes:season>1</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p><span style="font-weight:400;">Writing Latinos, from </span><em><span style="font-weight:400;">Public Books</span></em><span style="font-weight:400;">, features interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.</span></p>
<p> </p>
<p><span style="font-weight:400;">In our final episode of Season One, we talk with Ingrid Rojas Contreras about her book, </span><a href="https://www.penguinrandomhouse.com/books/653582/the-man-who-could-move-clouds-by-ingrid-rojas-contreras/"><em><span style="font-weight:400;">The Man Who Could Move Clouds: A Memoir</span></em></a><span style="font-weight:400;">, published last year by Doubleday. </span><em><span style="font-weight:400;">The Man Who Could Move Clouds</span></em><span style="font-weight:400;"> was a finalist for the Pulitzer Prize, National Book Award, and National Book Critics Circle Award, and was named a best book of the year by </span><em><span style="font-weight:400;">Time</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">NPR</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Boston Globe</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Vanity Fair</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Esquire</span></em><span style="font-weight:400;">, and more. Her first book, </span><a href="https://www.penguinrandomhouse.com/books/555091/fruit-of-the-drunken-tree-by-ingrid-rojas-contreras/9780525434313/"><em><span style="font-weight:400;">Fruit of the Drunken Tree: A Novel</span></em></a><span style="font-weight:400;">, was a national bestseller. </span></p>
<p> </p>
<p><span style="font-weight:400;">There was so much to discuss! We covered the bicycle accident that left Ingrid with amnesia and led her to write her family’s story, including their supernatural abilities. We talked about a doctor’s impulse to come up with a scientific rationale for phenomena that might also be explained narratively, in the context of a particular family dynamic. We discussed the genre of memoir, and the yogurt Ingrid used to eat in Colombia and now seeks out every time she returns home. </span></p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/1521203/S1E9-IngridRojasContreras-0721.mp3" length="101302580"
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                    </enclosure>
                                <itunes:summary>
                    <![CDATA[Writing Latinos, from Public Books, features interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.
 
In our final episode of Season One, we talk with Ingrid Rojas Contreras about her book, The Man Who Could Move Clouds: A Memoir, published last year by Doubleday. The Man Who Could Move Clouds was a finalist for the Pulitzer Prize, National Book Award, and National Book Critics Circle Award, and was named a best book of the year by Time, NPR, Boston Globe, Vanity Fair, Esquire, and more. Her first book, Fruit of the Drunken Tree: A Novel, was a national bestseller. 
 
There was so much to discuss! We covered the bicycle accident that left Ingrid with amnesia and led her to write her family’s story, including their supernatural abilities. We talked about a doctor’s impulse to come up with a scientific rationale for phenomena that might also be explained narratively, in the context of a particular family dynamic. We discussed the genre of memoir, and the yogurt Ingrid used to eat in Colombia and now seeks out every time she returns home. ]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/1521203/IngridRojasContreras.png"></itunes:image>
                                                                            <itunes:duration>00:42:12</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Raquel Gutierrez: Brown Neon]]>
                </title>
                <pubDate>Wed, 12 Jul 2023 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1498175</guid>
                                    <link>https://writing-latinos.castos.com/episodes/raquel-gutierrez-brown-neon</link>
                                <description>
                                            <![CDATA[<p><span style="font-weight:400;">Writing Latinos, from Public Books, features interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.</span></p>
<p> </p>
<p><span style="font-weight:400;">In this episode, Geraldo Cadava and Tasha Sandoval talk with Raquel Gutiérrez about their critically-acclaimed book, </span><a href="https://coffeehousepress.org/products/brown-neon"><em><span style="font-weight:400;">Brown Neon: Essays</span></em></a><span style="font-weight:400;">, published by Coffee House Press. </span><em><span style="font-weight:400;">Brown Neon </span></em><span style="font-weight:400;">won the 2023 Publishing Triangle Judy Grahn Award for Lesbian Nonfiction, and was a finalist for the 2023 Lambda Literary Award in Lesbian Memoir/Biography and the 2023 Firecracker Award for Creative Nonfiction. It has received praise from </span><em><span style="font-weight:400;">The New Yorker</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Vogue</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Oprah Daily</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">SPIN</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Ms. Magazine</span></em><span style="font-weight:400;">, and so many other publications. </span></p>
<p> </p>
<p><span style="font-weight:400;">Gutiérrez, Cadava, and Sandoval discuss the legendary activist Jeanne Cordova, Leslie Marmon Silko, gentrification, belonging, performance, border walls, the Sonoran Desert, the drive on I-10 through Arizona and California, and Tucson. Really, it was a lot about Tucson, and you can thank Sandoval for editing that part down to a reasonable length. On the other hand, if you’re from the desert, or just a fan of the “Dirty T,” as Gutiérrez called it, then you’re welcome!</span></p>
<p> </p>
<p><span style="font-weight:400;">A critic, essayist, poet, performer, and educator, Gutiérrez was born and raised in Los Angeles, and is today based in Tucson. They teach in the low residency creative writing MFA programs at Oregon State University-Cascades and the Institute of American Indian Arts (IAIA). </span></p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[Writing Latinos, from Public Books, features interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.
 
In this episode, Geraldo Cadava and Tasha Sandoval talk with Raquel Gutiérrez about their critically-acclaimed book, Brown Neon: Essays, published by Coffee House Press. Brown Neon won the 2023 Publishing Triangle Judy Grahn Award for Lesbian Nonfiction, and was a finalist for the 2023 Lambda Literary Award in Lesbian Memoir/Biography and the 2023 Firecracker Award for Creative Nonfiction. It has received praise from The New Yorker, Vogue, Oprah Daily, SPIN, Ms. Magazine, and so many other publications. 
 
Gutiérrez, Cadava, and Sandoval discuss the legendary activist Jeanne Cordova, Leslie Marmon Silko, gentrification, belonging, performance, border walls, the Sonoran Desert, the drive on I-10 through Arizona and California, and Tucson. Really, it was a lot about Tucson, and you can thank Sandoval for editing that part down to a reasonable length. On the other hand, if you’re from the desert, or just a fan of the “Dirty T,” as Gutiérrez called it, then you’re welcome!
 
A critic, essayist, poet, performer, and educator, Gutiérrez was born and raised in Los Angeles, and is today based in Tucson. They teach in the low residency creative writing MFA programs at Oregon State University-Cascades and the Institute of American Indian Arts (IAIA). ]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Raquel Gutierrez: Brown Neon]]>
                </itunes:title>
                                    <itunes:episode>8</itunes:episode>
                                                    <itunes:season>1</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p><span style="font-weight:400;">Writing Latinos, from Public Books, features interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.</span></p>
<p> </p>
<p><span style="font-weight:400;">In this episode, Geraldo Cadava and Tasha Sandoval talk with Raquel Gutiérrez about their critically-acclaimed book, </span><a href="https://coffeehousepress.org/products/brown-neon"><em><span style="font-weight:400;">Brown Neon: Essays</span></em></a><span style="font-weight:400;">, published by Coffee House Press. </span><em><span style="font-weight:400;">Brown Neon </span></em><span style="font-weight:400;">won the 2023 Publishing Triangle Judy Grahn Award for Lesbian Nonfiction, and was a finalist for the 2023 Lambda Literary Award in Lesbian Memoir/Biography and the 2023 Firecracker Award for Creative Nonfiction. It has received praise from </span><em><span style="font-weight:400;">The New Yorker</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Vogue</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Oprah Daily</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">SPIN</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Ms. Magazine</span></em><span style="font-weight:400;">, and so many other publications. </span></p>
<p> </p>
<p><span style="font-weight:400;">Gutiérrez, Cadava, and Sandoval discuss the legendary activist Jeanne Cordova, Leslie Marmon Silko, gentrification, belonging, performance, border walls, the Sonoran Desert, the drive on I-10 through Arizona and California, and Tucson. Really, it was a lot about Tucson, and you can thank Sandoval for editing that part down to a reasonable length. On the other hand, if you’re from the desert, or just a fan of the “Dirty T,” as Gutiérrez called it, then you’re welcome!</span></p>
<p> </p>
<p><span style="font-weight:400;">A critic, essayist, poet, performer, and educator, Gutiérrez was born and raised in Los Angeles, and is today based in Tucson. They teach in the low residency creative writing MFA programs at Oregon State University-Cascades and the Institute of American Indian Arts (IAIA). </span></p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/1498175/RaquelGutierrez-20230616-v2.mp3" length="94749392"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[Writing Latinos, from Public Books, features interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.
 
In this episode, Geraldo Cadava and Tasha Sandoval talk with Raquel Gutiérrez about their critically-acclaimed book, Brown Neon: Essays, published by Coffee House Press. Brown Neon won the 2023 Publishing Triangle Judy Grahn Award for Lesbian Nonfiction, and was a finalist for the 2023 Lambda Literary Award in Lesbian Memoir/Biography and the 2023 Firecracker Award for Creative Nonfiction. It has received praise from The New Yorker, Vogue, Oprah Daily, SPIN, Ms. Magazine, and so many other publications. 
 
Gutiérrez, Cadava, and Sandoval discuss the legendary activist Jeanne Cordova, Leslie Marmon Silko, gentrification, belonging, performance, border walls, the Sonoran Desert, the drive on I-10 through Arizona and California, and Tucson. Really, it was a lot about Tucson, and you can thank Sandoval for editing that part down to a reasonable length. On the other hand, if you’re from the desert, or just a fan of the “Dirty T,” as Gutiérrez called it, then you’re welcome!
 
A critic, essayist, poet, performer, and educator, Gutiérrez was born and raised in Los Angeles, and is today based in Tucson. They teach in the low residency creative writing MFA programs at Oregon State University-Cascades and the Institute of American Indian Arts (IAIA). ]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/1498175/RGutierrez-2021headshot.jpg"></itunes:image>
                                                                            <itunes:duration>00:39:28</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Hector Tobar: Our Migrant Souls]]>
                </title>
                <pubDate>Wed, 21 Jun 2023 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1488596</guid>
                                    <link>https://writing-latinos.castos.com/episodes/hector-tobar-our-migrant-souls</link>
                                <description>
                                            <![CDATA[<p><em><span style="font-weight:400;">Writing Latinos</span></em><span style="font-weight:400;">, from </span><em><span style="font-weight:400;">Public Books</span></em><span style="font-weight:400;">, features interviews with Latino (a/x/e) authors. We discuss their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.</span></p>
<p> </p>
<p><span style="font-weight:400;">We recently caught up with Héctor Tobar to discuss his new book, </span><a href="https://us.macmillan.com/books/9780374609917/ourmigrantsouls"><em><span style="font-weight:400;">Our Migrant Souls: A Meditation on Race and the Meanings and Myths of “Latino”</span></em></a><span style="font-weight:400;">. Our conversation included mention of the pathbreaking historian Vicki Ruiz, to whom Tobar dedicated </span><em><span style="font-weight:400;">Our Migrant Souls</span></em><span style="font-weight:400;">, as well as discussions on the literary influence of James Baldwin, </span><span style="font-weight:400;">That was just the beginning </span><span style="font-weight:400;">the need for a revolution in how we talk about immigrants and immigration, Latino racial identity, and Tobar’s own life and travels.</span></p>
<p><br /><span style="font-weight:400;">Tobar is a writer based in Los Angeles and is a professor of Literary Journalism and Chicano/Latino Studies at the University of California, Irvine. He is the winner of a Pulitzer Prize, a frequent contributor to </span><em><span style="font-weight:400;">The New York Times</span></em><span style="font-weight:400;">, and the author of many other books, including </span><em><span style="font-weight:400;">The Last Great Road Bum</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Deep Down Dark</span></em><span style="font-weight:400;">, and </span><em><span style="font-weight:400;">The Tattooed Soldier</span></em><span style="font-weight:400;">. </span></p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[Writing Latinos, from Public Books, features interviews with Latino (a/x/e) authors. We discuss their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.
 
We recently caught up with Héctor Tobar to discuss his new book, Our Migrant Souls: A Meditation on Race and the Meanings and Myths of “Latino”. Our conversation included mention of the pathbreaking historian Vicki Ruiz, to whom Tobar dedicated Our Migrant Souls, as well as discussions on the literary influence of James Baldwin, That was just the beginning the need for a revolution in how we talk about immigrants and immigration, Latino racial identity, and Tobar’s own life and travels.
Tobar is a writer based in Los Angeles and is a professor of Literary Journalism and Chicano/Latino Studies at the University of California, Irvine. He is the winner of a Pulitzer Prize, a frequent contributor to The New York Times, and the author of many other books, including The Last Great Road Bum, Deep Down Dark, and The Tattooed Soldier. ]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Hector Tobar: Our Migrant Souls]]>
                </itunes:title>
                                    <itunes:episode>7</itunes:episode>
                                                    <itunes:season>1</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p><em><span style="font-weight:400;">Writing Latinos</span></em><span style="font-weight:400;">, from </span><em><span style="font-weight:400;">Public Books</span></em><span style="font-weight:400;">, features interviews with Latino (a/x/e) authors. We discuss their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.</span></p>
<p> </p>
<p><span style="font-weight:400;">We recently caught up with Héctor Tobar to discuss his new book, </span><a href="https://us.macmillan.com/books/9780374609917/ourmigrantsouls"><em><span style="font-weight:400;">Our Migrant Souls: A Meditation on Race and the Meanings and Myths of “Latino”</span></em></a><span style="font-weight:400;">. Our conversation included mention of the pathbreaking historian Vicki Ruiz, to whom Tobar dedicated </span><em><span style="font-weight:400;">Our Migrant Souls</span></em><span style="font-weight:400;">, as well as discussions on the literary influence of James Baldwin, </span><span style="font-weight:400;">That was just the beginning </span><span style="font-weight:400;">the need for a revolution in how we talk about immigrants and immigration, Latino racial identity, and Tobar’s own life and travels.</span></p>
<p><br /><span style="font-weight:400;">Tobar is a writer based in Los Angeles and is a professor of Literary Journalism and Chicano/Latino Studies at the University of California, Irvine. He is the winner of a Pulitzer Prize, a frequent contributor to </span><em><span style="font-weight:400;">The New York Times</span></em><span style="font-weight:400;">, and the author of many other books, including </span><em><span style="font-weight:400;">The Last Great Road Bum</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Deep Down Dark</span></em><span style="font-weight:400;">, and </span><em><span style="font-weight:400;">The Tattooed Soldier</span></em><span style="font-weight:400;">. </span></p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/1488596/S1E7-HectorTobar.mp3" length="105769856"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[Writing Latinos, from Public Books, features interviews with Latino (a/x/e) authors. We discuss their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.
 
We recently caught up with Héctor Tobar to discuss his new book, Our Migrant Souls: A Meditation on Race and the Meanings and Myths of “Latino”. Our conversation included mention of the pathbreaking historian Vicki Ruiz, to whom Tobar dedicated Our Migrant Souls, as well as discussions on the literary influence of James Baldwin, That was just the beginning the need for a revolution in how we talk about immigrants and immigration, Latino racial identity, and Tobar’s own life and travels.
Tobar is a writer based in Los Angeles and is a professor of Literary Journalism and Chicano/Latino Studies at the University of California, Irvine. He is the winner of a Pulitzer Prize, a frequent contributor to The New York Times, and the author of many other books, including The Last Great Road Bum, Deep Down Dark, and The Tattooed Soldier. ]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/1488596/HectorTobar-headshot.png"></itunes:image>
                                                                            <itunes:duration>00:44:04</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Alejandro Varela: The Town of Babylon, The People Who Report More Stress]]>
                </title>
                <pubDate>Wed, 24 May 2023 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1482805</guid>
                                    <link>https://writing-latinos.castos.com/episodes/alejandro-varela-the-town-of-babylon-the-people-who-report-more-stress</link>
                                <description>
                                            <![CDATA[<p><span style="font-weight:400;">Writing Latinos, from Public Books, features interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.</span></p>
<p> </p>
<p><span style="font-weight:400;">In this episode, you’ll hear our interview with Alejandro Varela about his books </span><a href="https://www.penguinrandomhouse.com/books/691130/the-town-of-babylon-by-alejandro-varela/"><em><span style="font-weight:400;">The Town of Babylon</span></em></a> <span style="font-weight:400;">and </span><a href="https://www.penguinrandomhouse.com/books/720254/the-people-who-report-more-stress-by-alejandro-varela/9781662601071/"><em><span style="font-weight:400;">The People Who Report More Stress</span></em></a><span style="font-weight:400;">, both published by Astra House. </span><em><span style="font-weight:400;">The Town of Babylon</span></em><span style="font-weight:400;"> was a finalist for the National Book Award, and </span><em><span style="font-weight:400;">The People Who Report More Stress</span></em><span style="font-weight:400;"> will earn similar accolades. We discussed stress as a silent killer in Latinx communities, the challenges of interethnic and interracial relationships, whether it’s possible to partner with someone who doesn’t share your politics, suburbs and cities, the meanings of Latinx literature as a genre, and so much more. </span></p>
<p> </p>
<p><span style="font-weight:400;">Varela is a writer based in New York City. He has a background in Public Health, which is evident in his writing. His writing has appeared in </span><em><span style="font-weight:400;">The Point Magazine</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Georgia Review</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Boston Review</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Harper’s</span></em><span style="font-weight:400;">, T</span><em><span style="font-weight:400;">he Offing</span></em><span style="font-weight:400;">, and other places. </span></p>
<p> </p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[Writing Latinos, from Public Books, features interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.
 
In this episode, you’ll hear our interview with Alejandro Varela about his books The Town of Babylon and The People Who Report More Stress, both published by Astra House. The Town of Babylon was a finalist for the National Book Award, and The People Who Report More Stress will earn similar accolades. We discussed stress as a silent killer in Latinx communities, the challenges of interethnic and interracial relationships, whether it’s possible to partner with someone who doesn’t share your politics, suburbs and cities, the meanings of Latinx literature as a genre, and so much more. 
 
Varela is a writer based in New York City. He has a background in Public Health, which is evident in his writing. His writing has appeared in The Point Magazine, Georgia Review, Boston Review, Harper’s, The Offing, and other places. 
 ]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Alejandro Varela: The Town of Babylon, The People Who Report More Stress]]>
                </itunes:title>
                                    <itunes:episode>7</itunes:episode>
                                                    <itunes:season>1</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p><span style="font-weight:400;">Writing Latinos, from Public Books, features interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.</span></p>
<p> </p>
<p><span style="font-weight:400;">In this episode, you’ll hear our interview with Alejandro Varela about his books </span><a href="https://www.penguinrandomhouse.com/books/691130/the-town-of-babylon-by-alejandro-varela/"><em><span style="font-weight:400;">The Town of Babylon</span></em></a> <span style="font-weight:400;">and </span><a href="https://www.penguinrandomhouse.com/books/720254/the-people-who-report-more-stress-by-alejandro-varela/9781662601071/"><em><span style="font-weight:400;">The People Who Report More Stress</span></em></a><span style="font-weight:400;">, both published by Astra House. </span><em><span style="font-weight:400;">The Town of Babylon</span></em><span style="font-weight:400;"> was a finalist for the National Book Award, and </span><em><span style="font-weight:400;">The People Who Report More Stress</span></em><span style="font-weight:400;"> will earn similar accolades. We discussed stress as a silent killer in Latinx communities, the challenges of interethnic and interracial relationships, whether it’s possible to partner with someone who doesn’t share your politics, suburbs and cities, the meanings of Latinx literature as a genre, and so much more. </span></p>
<p> </p>
<p><span style="font-weight:400;">Varela is a writer based in New York City. He has a background in Public Health, which is evident in his writing. His writing has appeared in </span><em><span style="font-weight:400;">The Point Magazine</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Georgia Review</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Boston Review</span></em><span style="font-weight:400;">, </span><em><span style="font-weight:400;">Harper’s</span></em><span style="font-weight:400;">, T</span><em><span style="font-weight:400;">he Offing</span></em><span style="font-weight:400;">, and other places. </span></p>
<p> </p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/1482805/AlejandroVarelas-051423-FINAL.mp3" length="105984920"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[Writing Latinos, from Public Books, features interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.
 
In this episode, you’ll hear our interview with Alejandro Varela about his books The Town of Babylon and The People Who Report More Stress, both published by Astra House. The Town of Babylon was a finalist for the National Book Award, and The People Who Report More Stress will earn similar accolades. We discussed stress as a silent killer in Latinx communities, the challenges of interethnic and interracial relationships, whether it’s possible to partner with someone who doesn’t share your politics, suburbs and cities, the meanings of Latinx literature as a genre, and so much more. 
 
Varela is a writer based in New York City. He has a background in Public Health, which is evident in his writing. His writing has appeared in The Point Magazine, Georgia Review, Boston Review, Harper’s, The Offing, and other places. 
 ]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/1482805/Varela-4.png"></itunes:image>
                                                                            <itunes:duration>00:44:09</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Sarah Quesada: The African Heritage of Caribbean and Latinx Literature]]>
                </title>
                <pubDate>Wed, 10 May 2023 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1472324</guid>
                                    <link>https://writing-latinos.castos.com/episodes/sarah-quesada-the-african-heritage-of-latinx-and-caribbean-literature</link>
                                <description>
                                            <![CDATA[<p><span style="font-weight:400;">Writing Latinos, from Public Books, features interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.</span></p>
<p><span style="font-weight:400;">In this episode, you’ll hear our interview with Sarah Margarita Quesada about her new book </span><a href="https://www.cambridge.org/core/books/african-heritage-of-latinx-and-caribbean-literature/92CA287F943DB223D856BF09D913FAA4"><em><span style="font-weight:400;">The African Heritage of Caribbean and Latinx Literature</span></em></a><span style="font-weight:400;">, published by Cambridge University Press. We discussed how the writing of Caribbean and Latinx authors–especially Junot Díaz, Achy Obejas, Rudolfo Anaya, and Tomas Rivera–was shaped by their thinking about what Quesada describes as “Latin Africa,” Unlike other Latinx writers I know, Quesada is also trained in African Studies. She argues that we can’t talk about blackness here in the United States without also taking Africans and Africa–as a place and as an idea–seriously. </span></p>
<p><br /><span style="font-weight:400;">Quesada is an Assistant Professor of Romance Studies at Duke University. She received her Ph.D. from Stanford University. </span><em><span style="font-weight:400;">The African Heritage of Caribbean and Latinx Literature </span></em><span style="font-weight:400;">is her first book. </span></p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[Writing Latinos, from Public Books, features interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.
In this episode, you’ll hear our interview with Sarah Margarita Quesada about her new book The African Heritage of Caribbean and Latinx Literature, published by Cambridge University Press. We discussed how the writing of Caribbean and Latinx authors–especially Junot Díaz, Achy Obejas, Rudolfo Anaya, and Tomas Rivera–was shaped by their thinking about what Quesada describes as “Latin Africa,” Unlike other Latinx writers I know, Quesada is also trained in African Studies. She argues that we can’t talk about blackness here in the United States without also taking Africans and Africa–as a place and as an idea–seriously. 
Quesada is an Assistant Professor of Romance Studies at Duke University. She received her Ph.D. from Stanford University. The African Heritage of Caribbean and Latinx Literature is her first book. ]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Sarah Quesada: The African Heritage of Caribbean and Latinx Literature]]>
                </itunes:title>
                                    <itunes:episode>5</itunes:episode>
                                                    <itunes:season>1</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p><span style="font-weight:400;">Writing Latinos, from Public Books, features interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.</span></p>
<p><span style="font-weight:400;">In this episode, you’ll hear our interview with Sarah Margarita Quesada about her new book </span><a href="https://www.cambridge.org/core/books/african-heritage-of-latinx-and-caribbean-literature/92CA287F943DB223D856BF09D913FAA4"><em><span style="font-weight:400;">The African Heritage of Caribbean and Latinx Literature</span></em></a><span style="font-weight:400;">, published by Cambridge University Press. We discussed how the writing of Caribbean and Latinx authors–especially Junot Díaz, Achy Obejas, Rudolfo Anaya, and Tomas Rivera–was shaped by their thinking about what Quesada describes as “Latin Africa,” Unlike other Latinx writers I know, Quesada is also trained in African Studies. She argues that we can’t talk about blackness here in the United States without also taking Africans and Africa–as a place and as an idea–seriously. </span></p>
<p><br /><span style="font-weight:400;">Quesada is an Assistant Professor of Romance Studies at Duke University. She received her Ph.D. from Stanford University. </span><em><span style="font-weight:400;">The African Heritage of Caribbean and Latinx Literature </span></em><span style="font-weight:400;">is her first book. </span></p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/1472324/SarahQuesada-FINAL.mp3" length="88081364"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[Writing Latinos, from Public Books, features interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.
In this episode, you’ll hear our interview with Sarah Margarita Quesada about her new book The African Heritage of Caribbean and Latinx Literature, published by Cambridge University Press. We discussed how the writing of Caribbean and Latinx authors–especially Junot Díaz, Achy Obejas, Rudolfo Anaya, and Tomas Rivera–was shaped by their thinking about what Quesada describes as “Latin Africa,” Unlike other Latinx writers I know, Quesada is also trained in African Studies. She argues that we can’t talk about blackness here in the United States without also taking Africans and Africa–as a place and as an idea–seriously. 
Quesada is an Assistant Professor of Romance Studies at Duke University. She received her Ph.D. from Stanford University. The African Heritage of Caribbean and Latinx Literature is her first book. ]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/1472324/Quesada-headshot.jpg"></itunes:image>
                                                                            <itunes:duration>00:36:42</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Edgar Gomez: High Risk Homosexual]]>
                </title>
                <pubDate>Wed, 26 Apr 2023 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1463953</guid>
                                    <link>https://writing-latinos.castos.com/episodes/edgar-gomez-high-risk-homosexual</link>
                                <description>
                                            <![CDATA[<p><em>Writing Latinos</em>, from <em>Public Books,</em> is a new podcast featuring interviews with Latino (a/x/e)<br />authors discussing their books and how their writing contributes to the ever-changing<br />conversation about the meanings of latinidad.</p>
<p><br />For this episode, we caught up with Edgar Gomez on his memoir <em>High-Risk Homosexual</em><br />(Soft Skull, 2022). The conversation with Gomez was one of our<br />most wide-ranging, flowing, and honest yet. We talk about machismo, cockfighting, reconciling<br />with parents, the Pulse nightclub shooting, bilingualism in modern literature, and the<br />“messiness” of latinidad.</p>
<p><br />The New York Times called <em>High-Risk Homosexual</em> “a breath of fresh air.” The book is a finalist<br />for the Lambda Literary Award for Gay Memoir/Biography; an Honor Book for the 2023<br />Stonewall Book Award—Israel Fishman Non-Fiction Book Award; and was named a Best Book<br />of the Year by BuzzFeed, Electric Literature, and Publishers Weekly. Born in Florida but with<br />roots in Nicaragua and Puerto Rico, Gomez received an MFA from the University of<br />California, Riverside.</p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[Writing Latinos, from Public Books, is a new podcast featuring interviews with Latino (a/x/e)authors discussing their books and how their writing contributes to the ever-changingconversation about the meanings of latinidad.
For this episode, we caught up with Edgar Gomez on his memoir High-Risk Homosexual(Soft Skull, 2022). The conversation with Gomez was one of ourmost wide-ranging, flowing, and honest yet. We talk about machismo, cockfighting, reconcilingwith parents, the Pulse nightclub shooting, bilingualism in modern literature, and the“messiness” of latinidad.
The New York Times called High-Risk Homosexual “a breath of fresh air.” The book is a finalistfor the Lambda Literary Award for Gay Memoir/Biography; an Honor Book for the 2023Stonewall Book Award—Israel Fishman Non-Fiction Book Award; and was named a Best Bookof the Year by BuzzFeed, Electric Literature, and Publishers Weekly. Born in Florida but withroots in Nicaragua and Puerto Rico, Gomez received an MFA from the University ofCalifornia, Riverside.]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Edgar Gomez: High Risk Homosexual]]>
                </itunes:title>
                                    <itunes:episode>4</itunes:episode>
                                                    <itunes:season>1</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p><em>Writing Latinos</em>, from <em>Public Books,</em> is a new podcast featuring interviews with Latino (a/x/e)<br />authors discussing their books and how their writing contributes to the ever-changing<br />conversation about the meanings of latinidad.</p>
<p><br />For this episode, we caught up with Edgar Gomez on his memoir <em>High-Risk Homosexual</em><br />(Soft Skull, 2022). The conversation with Gomez was one of our<br />most wide-ranging, flowing, and honest yet. We talk about machismo, cockfighting, reconciling<br />with parents, the Pulse nightclub shooting, bilingualism in modern literature, and the<br />“messiness” of latinidad.</p>
<p><br />The New York Times called <em>High-Risk Homosexual</em> “a breath of fresh air.” The book is a finalist<br />for the Lambda Literary Award for Gay Memoir/Biography; an Honor Book for the 2023<br />Stonewall Book Award—Israel Fishman Non-Fiction Book Award; and was named a Best Book<br />of the Year by BuzzFeed, Electric Literature, and Publishers Weekly. Born in Florida but with<br />roots in Nicaragua and Puerto Rico, Gomez received an MFA from the University of<br />California, Riverside.</p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/1463953/EdgarGomez-042022-FINAL.mp3" length="95456180"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[Writing Latinos, from Public Books, is a new podcast featuring interviews with Latino (a/x/e)authors discussing their books and how their writing contributes to the ever-changingconversation about the meanings of latinidad.
For this episode, we caught up with Edgar Gomez on his memoir High-Risk Homosexual(Soft Skull, 2022). The conversation with Gomez was one of ourmost wide-ranging, flowing, and honest yet. We talk about machismo, cockfighting, reconcilingwith parents, the Pulse nightclub shooting, bilingualism in modern literature, and the“messiness” of latinidad.
The New York Times called High-Risk Homosexual “a breath of fresh air.” The book is a finalistfor the Lambda Literary Award for Gay Memoir/Biography; an Honor Book for the 2023Stonewall Book Award—Israel Fishman Non-Fiction Book Award; and was named a Best Bookof the Year by BuzzFeed, Electric Literature, and Publishers Weekly. Born in Florida but withroots in Nicaragua and Puerto Rico, Gomez received an MFA from the University ofCalifornia, Riverside.]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/1463953/Nicaraguasmaller-1-.jpg"></itunes:image>
                                                                            <itunes:duration>00:39:46</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Lorgia Garcia Peña: Translating Blackness]]>
                </title>
                <pubDate>Wed, 12 Apr 2023 12:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1455684</guid>
                                    <link>https://writing-latinos.castos.com/episodes/lorgia-garcia-pena-translating-blackness</link>
                                <description>
                                            <![CDATA[<p><em><span style="font-weight:400;">Writing Latinos</span></em><span style="font-weight:400;">, from </span><em><span style="font-weight:400;">Public Books</span></em><span style="font-weight:400;">, is a new podcast featuring interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of </span><em><span style="font-weight:400;">latinidad</span></em><span style="font-weight:400;">.</span></p>
<p> </p>
<p><span style="font-weight:400;">In this episode, Lorgia García Peña discusses her new book,</span><a href="https://www.dukeupress.edu/translating-blackness"> <em><span style="font-weight:400;">Translating Blackness: Latinx Colonialities in Global Perspective</span></em></a> <span style="font-weight:400;">(Duke University Press, 2022). For a long time, Afro-Latino scholars and community organizers have argued both for their greater belonging within Black and Latinx communities in the United States and recognition of their difference from them. </span></p>
<p> </p>
<p><span style="font-weight:400;">Conversations about Blackness within </span><em><span style="font-weight:400;">latinidad</span></em><span style="font-weight:400;"> became more urgent when members of the Los Angeles City Council were caught saying ugly things on tape and because of a proposal to combine race and ethnicity questions on the US Census that could lump all Latinos together as members of the same racial group, despite the fact that Latinos come from many racial backgrounds. As Afro-Latinas including García Peña have argued in opposition to the proposal, Latinos are not a race.</span></p>
<p> </p>
<p><span style="font-weight:400;">We discuss these broader issues of the relationship between Blackness and </span><em><span style="font-weight:400;">latinidad </span></em><span style="font-weight:400;">explicitly and implicitly by talking about historical figures like Frederick Douglass, Gregorio Luperón, and Arturo Alfonso Schomburg, as well as topics such as women’s activism and global movements led by Black Latinas and Latinos.</span></p>
<p> </p>
<p><span style="font-weight:400;">García Peña is a professor at Tufts University, in the Department of Studies in Race, Colonialism, and Diaspora. As of July 1, she will begin a new position at Princeton University as a professor in the Effron Center for the Study of America and the Department of African American Studies. In addition to </span><em><span style="font-weight:400;">Translating Blackness</span></em><span style="font-weight:400;">, she is the author of</span><a href="https://www.haymarketbooks.org/books/1870-community-as-rebellion"> <em><span style="font-weight:400;">Community as Rebellion: A Syllabus for Surviving Academia as a Woman of Color</span></em></a><span style="font-weight:400;"> (Haymarket, 2022) and</span><a href="https://www.dukeupress.edu/the-borders-of-dominicanidad"> <em><span style="font-weight:400;">The Borders of Dominicanidad: Race, Nation, and Archives of Contradiction</span></em></a><span style="font-weight:400;"> (Duke University Press, 2016).</span></p>
<p><span style="font-weight:400;"> </span></p>
<p> </p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[Writing Latinos, from Public Books, is a new podcast featuring interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.
 
In this episode, Lorgia García Peña discusses her new book, Translating Blackness: Latinx Colonialities in Global Perspective (Duke University Press, 2022). For a long time, Afro-Latino scholars and community organizers have argued both for their greater belonging within Black and Latinx communities in the United States and recognition of their difference from them. 
 
Conversations about Blackness within latinidad became more urgent when members of the Los Angeles City Council were caught saying ugly things on tape and because of a proposal to combine race and ethnicity questions on the US Census that could lump all Latinos together as members of the same racial group, despite the fact that Latinos come from many racial backgrounds. As Afro-Latinas including García Peña have argued in opposition to the proposal, Latinos are not a race.
 
We discuss these broader issues of the relationship between Blackness and latinidad explicitly and implicitly by talking about historical figures like Frederick Douglass, Gregorio Luperón, and Arturo Alfonso Schomburg, as well as topics such as women’s activism and global movements led by Black Latinas and Latinos.
 
García Peña is a professor at Tufts University, in the Department of Studies in Race, Colonialism, and Diaspora. As of July 1, she will begin a new position at Princeton University as a professor in the Effron Center for the Study of America and the Department of African American Studies. In addition to Translating Blackness, she is the author of Community as Rebellion: A Syllabus for Surviving Academia as a Woman of Color (Haymarket, 2022) and The Borders of Dominicanidad: Race, Nation, and Archives of Contradiction (Duke University Press, 2016).
 
 ]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Lorgia Garcia Peña: Translating Blackness]]>
                </itunes:title>
                                    <itunes:episode>3</itunes:episode>
                                                    <itunes:season>1</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p><em><span style="font-weight:400;">Writing Latinos</span></em><span style="font-weight:400;">, from </span><em><span style="font-weight:400;">Public Books</span></em><span style="font-weight:400;">, is a new podcast featuring interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of </span><em><span style="font-weight:400;">latinidad</span></em><span style="font-weight:400;">.</span></p>
<p> </p>
<p><span style="font-weight:400;">In this episode, Lorgia García Peña discusses her new book,</span><a href="https://www.dukeupress.edu/translating-blackness"> <em><span style="font-weight:400;">Translating Blackness: Latinx Colonialities in Global Perspective</span></em></a> <span style="font-weight:400;">(Duke University Press, 2022). For a long time, Afro-Latino scholars and community organizers have argued both for their greater belonging within Black and Latinx communities in the United States and recognition of their difference from them. </span></p>
<p> </p>
<p><span style="font-weight:400;">Conversations about Blackness within </span><em><span style="font-weight:400;">latinidad</span></em><span style="font-weight:400;"> became more urgent when members of the Los Angeles City Council were caught saying ugly things on tape and because of a proposal to combine race and ethnicity questions on the US Census that could lump all Latinos together as members of the same racial group, despite the fact that Latinos come from many racial backgrounds. As Afro-Latinas including García Peña have argued in opposition to the proposal, Latinos are not a race.</span></p>
<p> </p>
<p><span style="font-weight:400;">We discuss these broader issues of the relationship between Blackness and </span><em><span style="font-weight:400;">latinidad </span></em><span style="font-weight:400;">explicitly and implicitly by talking about historical figures like Frederick Douglass, Gregorio Luperón, and Arturo Alfonso Schomburg, as well as topics such as women’s activism and global movements led by Black Latinas and Latinos.</span></p>
<p> </p>
<p><span style="font-weight:400;">García Peña is a professor at Tufts University, in the Department of Studies in Race, Colonialism, and Diaspora. As of July 1, she will begin a new position at Princeton University as a professor in the Effron Center for the Study of America and the Department of African American Studies. In addition to </span><em><span style="font-weight:400;">Translating Blackness</span></em><span style="font-weight:400;">, she is the author of</span><a href="https://www.haymarketbooks.org/books/1870-community-as-rebellion"> <em><span style="font-weight:400;">Community as Rebellion: A Syllabus for Surviving Academia as a Woman of Color</span></em></a><span style="font-weight:400;"> (Haymarket, 2022) and</span><a href="https://www.dukeupress.edu/the-borders-of-dominicanidad"> <em><span style="font-weight:400;">The Borders of Dominicanidad: Race, Nation, and Archives of Contradiction</span></em></a><span style="font-weight:400;"> (Duke University Press, 2016).</span></p>
<p><span style="font-weight:400;"> </span></p>
<p> </p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/1455684/WL-Ep3-LorgiaGP-final.mp3" length="99651008"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[Writing Latinos, from Public Books, is a new podcast featuring interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.
 
In this episode, Lorgia García Peña discusses her new book, Translating Blackness: Latinx Colonialities in Global Perspective (Duke University Press, 2022). For a long time, Afro-Latino scholars and community organizers have argued both for their greater belonging within Black and Latinx communities in the United States and recognition of their difference from them. 
 
Conversations about Blackness within latinidad became more urgent when members of the Los Angeles City Council were caught saying ugly things on tape and because of a proposal to combine race and ethnicity questions on the US Census that could lump all Latinos together as members of the same racial group, despite the fact that Latinos come from many racial backgrounds. As Afro-Latinas including García Peña have argued in opposition to the proposal, Latinos are not a race.
 
We discuss these broader issues of the relationship between Blackness and latinidad explicitly and implicitly by talking about historical figures like Frederick Douglass, Gregorio Luperón, and Arturo Alfonso Schomburg, as well as topics such as women’s activism and global movements led by Black Latinas and Latinos.
 
García Peña is a professor at Tufts University, in the Department of Studies in Race, Colonialism, and Diaspora. As of July 1, she will begin a new position at Princeton University as a professor in the Effron Center for the Study of America and the Department of African American Studies. In addition to Translating Blackness, she is the author of Community as Rebellion: A Syllabus for Surviving Academia as a Woman of Color (Haymarket, 2022) and The Borders of Dominicanidad: Race, Nation, and Archives of Contradiction (Duke University Press, 2016).
 
 ]]>
                </itunes:summary>
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                                                                            <itunes:duration>00:41:31</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Graciela Mochkofsky: The Prophet of the Andes]]>
                </title>
                <pubDate>Wed, 29 Mar 2023 17:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1446221</guid>
                                    <link>https://writing-latinos.castos.com/episodes/graciela-mochkofsky</link>
                                <description>
                                            <![CDATA[<p><em>Writing Latinos</em>, from Public Books, is a new podcast featuring interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of <em>latinidad</em>.</p>
<p style="font-weight:400;">This episode features our conversation with Graciela Mochkofsky, author of <em><a href="https://www.penguinrandomhouse.com/books/249089/the-prophet-of-the-andes-by-graciela-mochkofsky/">The Prophet of the Andes: An Unlikely Journey to the Promised Land</a></em>. Mochkofsky’s book is about the extraordinary life of Segundo Villanueva, a Peruvian prophet who grew a following of hundreds, ultimately leading their pilgrimage to Israel and conversion to Judaism. <em>The Prophet of the Andes</em> shatters every preconception about religion in the Americas, and what we mean when we talk about Latino religiosity.</p>
<p style="font-weight:400;">Mochkofsky is Dean of CUNY’s Craig Newmark Graduate School of Journalism, contributing writer for <em>The New Yorker</em>, an award-winning journalist, and author of several books published in Latin America and the United States.</p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[Writing Latinos, from Public Books, is a new podcast featuring interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.
This episode features our conversation with Graciela Mochkofsky, author of The Prophet of the Andes: An Unlikely Journey to the Promised Land. Mochkofsky’s book is about the extraordinary life of Segundo Villanueva, a Peruvian prophet who grew a following of hundreds, ultimately leading their pilgrimage to Israel and conversion to Judaism. The Prophet of the Andes shatters every preconception about religion in the Americas, and what we mean when we talk about Latino religiosity.
Mochkofsky is Dean of CUNY’s Craig Newmark Graduate School of Journalism, contributing writer for The New Yorker, an award-winning journalist, and author of several books published in Latin America and the United States.]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Graciela Mochkofsky: The Prophet of the Andes]]>
                </itunes:title>
                                    <itunes:episode>2</itunes:episode>
                                                    <itunes:season>1</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p><em>Writing Latinos</em>, from Public Books, is a new podcast featuring interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of <em>latinidad</em>.</p>
<p style="font-weight:400;">This episode features our conversation with Graciela Mochkofsky, author of <em><a href="https://www.penguinrandomhouse.com/books/249089/the-prophet-of-the-andes-by-graciela-mochkofsky/">The Prophet of the Andes: An Unlikely Journey to the Promised Land</a></em>. Mochkofsky’s book is about the extraordinary life of Segundo Villanueva, a Peruvian prophet who grew a following of hundreds, ultimately leading their pilgrimage to Israel and conversion to Judaism. <em>The Prophet of the Andes</em> shatters every preconception about religion in the Americas, and what we mean when we talk about Latino religiosity.</p>
<p style="font-weight:400;">Mochkofsky is Dean of CUNY’s Craig Newmark Graduate School of Journalism, contributing writer for <em>The New Yorker</em>, an award-winning journalist, and author of several books published in Latin America and the United States.</p>]]>
                </content:encoded>
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                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[Writing Latinos, from Public Books, is a new podcast featuring interviews with Latino (a/x/e) authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.
This episode features our conversation with Graciela Mochkofsky, author of The Prophet of the Andes: An Unlikely Journey to the Promised Land. Mochkofsky’s book is about the extraordinary life of Segundo Villanueva, a Peruvian prophet who grew a following of hundreds, ultimately leading their pilgrimage to Israel and conversion to Judaism. The Prophet of the Andes shatters every preconception about religion in the Americas, and what we mean when we talk about Latino religiosity.
Mochkofsky is Dean of CUNY’s Craig Newmark Graduate School of Journalism, contributing writer for The New Yorker, an award-winning journalist, and author of several books published in Latin America and the United States.]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/1446221/Graciela-5.jpg"></itunes:image>
                                                                            <itunes:duration>00:36:52</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
                            </item>
                    <item>
                <title>
                    <![CDATA[Natalia Molina: A Place at the Nayarit]]>
                </title>
                <pubDate>Wed, 15 Mar 2023 13:00:00 +0000</pubDate>
                <dc:creator>PUBLIC BOOKS</dc:creator>
                <guid isPermaLink="true">
                    https://permalink.castos.com/podcast/53111/episode/1435799</guid>
                                    <link>https://writing-latinos.castos.com/episodes/natalia-molina-a-place-at-the-nayarit</link>
                                <description>
                                            <![CDATA[<p><em><span style="font-weight:400;">Writing Latinos</span></em><span style="font-weight:400;">, from Public Books, is a new podcast featuring interviews with Latino authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of </span><em><span style="font-weight:400;">latinidad</span></em><span style="font-weight:400;">.</span></p>
<p><span style="font-weight:400;">Our very first episode is our interview with</span><a href="https://dornsife.usc.edu/cf/ase/faculty_display.cfm?person_id=1085989"> <span style="font-weight:400;">Natalia Molina</span></a><span style="font-weight:400;">, a Distinguished Professor of American Studies and Ethnicity at the University of Southern California. We discuss her new book,</span><a href="https://www.ucpress.edu/book/9780520385481/a-place-at-the-nayarit"> <em><span style="font-weight:400;">A Place at the Nayarit: How a Mexican Restaurant Nourished a Community</span></em></a><span style="font-weight:400;">, about the business her grandmother, Doña Natalia, started in the Los Angeles neighborhood of Echo Park. It became an important gathering place for Mexican immigrants, Mexican Americans, Cuban Americans, and famous Angelenos like Rita Moreno and Marlon Brando, during a period of gentrification and demographic change.</span></p>
<p><span style="font-weight:400;">Before </span><em><span style="font-weight:400;">A Place at the Nayarit</span></em><span style="font-weight:400;">, Molina wrote two other award-winning books—</span><a href="https://www.ucpress.edu/book/9780520280083/how-race-is-made-in-america"><em><span style="font-weight:400;">How Race is Made in America: Immigration, Citizenship, and the Historical Power of Racial Scripts</span></em></a><span style="font-weight:400;">, and</span><a href="https://www.ucpress.edu/book/9780520246492/fit-to-be-citizens"> <em><span style="font-weight:400;">Fit to Be Citizens? Public Health and Race in Los Angeles, 1879-1939</span></em></a><span style="font-weight:400;">—in addition to an edited collection, and many articles and book chapters. In 2020, she was named a MacArthur Fellow.</span></p>
<p><span style="font-weight:400;"> </span></p>
<p><span style="font-weight:400;">Also mentioned in this episode:</span></p>
<p><span style="font-weight:400;"> </span></p>
<p><span style="font-weight:400;">Lori A. Flores,</span><a href="https://yalebooks.yale.edu/book/9780300240146/grounds-for-dreaming/#:~:text=An%20incisive%20study%20of%20labor,movement%2C%20and%20future%20immigration%20policy."> <em><span style="font-weight:400;">Grounds for Dreaming: Mexican Americans, Mexican Immigrants, and the California Farmworker Movement</span></em></a><span style="font-weight:400;"> (2018)</span></p>
<p><span style="font-weight:400;"> </span></p>
<p><span style="font-weight:400;">Matt Garcia, E. Melanie DuPuis, and Don Mitchell, editors,</span><a href="https://www.rutgersuniversitypress.org/food-across-borders/9780813591971"> <em><span style="font-weight:400;">Food Across Borders</span></em></a><span style="font-weight:400;"> (2017)</span></p>
<p><span style="font-weight:400;"> </span></p>
<p><span style="font-weight:400;">Mireya Loza,</span><a href="https://uncpress.org/book/9781469629766/defiant-braceros/"> <em><span style="font-weight:400;">Defiant Braceros: How Migrant Workers Fought for Racial, Sexual, and Political Freedom</span></em></a> <span style="font-weight:400;">(2016)</span></p>
<p><em><span style="font-weight:400;"> </span></em></p>
<p><span style="font-weight:400;">Ana Raquel Minian,</span><a href="https://www.hup.harvard.edu/catalog.php?isbn=9780674737037"> <em><span style="font-weight:400;">Undocumented Lives: The Untold Story of Mexican Migration</span></em></a><span style="font-weight:400;"> (2018)</span></p>]]>
                                    </description>
                <itunes:subtitle>
                    <![CDATA[Writing Latinos, from Public Books, is a new podcast featuring interviews with Latino authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.
Our very first episode is our interview with Natalia Molina, a Distinguished Professor of American Studies and Ethnicity at the University of Southern California. We discuss her new book, A Place at the Nayarit: How a Mexican Restaurant Nourished a Community, about the business her grandmother, Doña Natalia, started in the Los Angeles neighborhood of Echo Park. It became an important gathering place for Mexican immigrants, Mexican Americans, Cuban Americans, and famous Angelenos like Rita Moreno and Marlon Brando, during a period of gentrification and demographic change.
Before A Place at the Nayarit, Molina wrote two other award-winning books—How Race is Made in America: Immigration, Citizenship, and the Historical Power of Racial Scripts, and Fit to Be Citizens? Public Health and Race in Los Angeles, 1879-1939—in addition to an edited collection, and many articles and book chapters. In 2020, she was named a MacArthur Fellow.
 
Also mentioned in this episode:
 
Lori A. Flores, Grounds for Dreaming: Mexican Americans, Mexican Immigrants, and the California Farmworker Movement (2018)
 
Matt Garcia, E. Melanie DuPuis, and Don Mitchell, editors, Food Across Borders (2017)
 
Mireya Loza, Defiant Braceros: How Migrant Workers Fought for Racial, Sexual, and Political Freedom (2016)
 
Ana Raquel Minian, Undocumented Lives: The Untold Story of Mexican Migration (2018)]]>
                </itunes:subtitle>
                                    <itunes:episodeType>full</itunes:episodeType>
                                <itunes:title>
                    <![CDATA[Natalia Molina: A Place at the Nayarit]]>
                </itunes:title>
                                                    <itunes:season>1</itunes:season>
                                <itunes:explicit>false</itunes:explicit>
                <content:encoded>
                    <![CDATA[<p><em><span style="font-weight:400;">Writing Latinos</span></em><span style="font-weight:400;">, from Public Books, is a new podcast featuring interviews with Latino authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of </span><em><span style="font-weight:400;">latinidad</span></em><span style="font-weight:400;">.</span></p>
<p><span style="font-weight:400;">Our very first episode is our interview with</span><a href="https://dornsife.usc.edu/cf/ase/faculty_display.cfm?person_id=1085989"> <span style="font-weight:400;">Natalia Molina</span></a><span style="font-weight:400;">, a Distinguished Professor of American Studies and Ethnicity at the University of Southern California. We discuss her new book,</span><a href="https://www.ucpress.edu/book/9780520385481/a-place-at-the-nayarit"> <em><span style="font-weight:400;">A Place at the Nayarit: How a Mexican Restaurant Nourished a Community</span></em></a><span style="font-weight:400;">, about the business her grandmother, Doña Natalia, started in the Los Angeles neighborhood of Echo Park. It became an important gathering place for Mexican immigrants, Mexican Americans, Cuban Americans, and famous Angelenos like Rita Moreno and Marlon Brando, during a period of gentrification and demographic change.</span></p>
<p><span style="font-weight:400;">Before </span><em><span style="font-weight:400;">A Place at the Nayarit</span></em><span style="font-weight:400;">, Molina wrote two other award-winning books—</span><a href="https://www.ucpress.edu/book/9780520280083/how-race-is-made-in-america"><em><span style="font-weight:400;">How Race is Made in America: Immigration, Citizenship, and the Historical Power of Racial Scripts</span></em></a><span style="font-weight:400;">, and</span><a href="https://www.ucpress.edu/book/9780520246492/fit-to-be-citizens"> <em><span style="font-weight:400;">Fit to Be Citizens? Public Health and Race in Los Angeles, 1879-1939</span></em></a><span style="font-weight:400;">—in addition to an edited collection, and many articles and book chapters. In 2020, she was named a MacArthur Fellow.</span></p>
<p><span style="font-weight:400;"> </span></p>
<p><span style="font-weight:400;">Also mentioned in this episode:</span></p>
<p><span style="font-weight:400;"> </span></p>
<p><span style="font-weight:400;">Lori A. Flores,</span><a href="https://yalebooks.yale.edu/book/9780300240146/grounds-for-dreaming/#:~:text=An%20incisive%20study%20of%20labor,movement%2C%20and%20future%20immigration%20policy."> <em><span style="font-weight:400;">Grounds for Dreaming: Mexican Americans, Mexican Immigrants, and the California Farmworker Movement</span></em></a><span style="font-weight:400;"> (2018)</span></p>
<p><span style="font-weight:400;"> </span></p>
<p><span style="font-weight:400;">Matt Garcia, E. Melanie DuPuis, and Don Mitchell, editors,</span><a href="https://www.rutgersuniversitypress.org/food-across-borders/9780813591971"> <em><span style="font-weight:400;">Food Across Borders</span></em></a><span style="font-weight:400;"> (2017)</span></p>
<p><span style="font-weight:400;"> </span></p>
<p><span style="font-weight:400;">Mireya Loza,</span><a href="https://uncpress.org/book/9781469629766/defiant-braceros/"> <em><span style="font-weight:400;">Defiant Braceros: How Migrant Workers Fought for Racial, Sexual, and Political Freedom</span></em></a> <span style="font-weight:400;">(2016)</span></p>
<p><em><span style="font-weight:400;"> </span></em></p>
<p><span style="font-weight:400;">Ana Raquel Minian,</span><a href="https://www.hup.harvard.edu/catalog.php?isbn=9780674737037"> <em><span style="font-weight:400;">Undocumented Lives: The Untold Story of Mexican Migration</span></em></a><span style="font-weight:400;"> (2018)</span></p>]]>
                </content:encoded>
                                    <enclosure url="https://episodes.castos.com/603966405def65-45230528/1435799/WritingLatinos-S1E1-NataliaMolina.mp3" length="97154048"
                        type="audio/mpeg">
                    </enclosure>
                                <itunes:summary>
                    <![CDATA[Writing Latinos, from Public Books, is a new podcast featuring interviews with Latino authors discussing their books and how their writing contributes to the ever-changing conversation about the meanings of latinidad.
Our very first episode is our interview with Natalia Molina, a Distinguished Professor of American Studies and Ethnicity at the University of Southern California. We discuss her new book, A Place at the Nayarit: How a Mexican Restaurant Nourished a Community, about the business her grandmother, Doña Natalia, started in the Los Angeles neighborhood of Echo Park. It became an important gathering place for Mexican immigrants, Mexican Americans, Cuban Americans, and famous Angelenos like Rita Moreno and Marlon Brando, during a period of gentrification and demographic change.
Before A Place at the Nayarit, Molina wrote two other award-winning books—How Race is Made in America: Immigration, Citizenship, and the Historical Power of Racial Scripts, and Fit to Be Citizens? Public Health and Race in Los Angeles, 1879-1939—in addition to an edited collection, and many articles and book chapters. In 2020, she was named a MacArthur Fellow.
 
Also mentioned in this episode:
 
Lori A. Flores, Grounds for Dreaming: Mexican Americans, Mexican Immigrants, and the California Farmworker Movement (2018)
 
Matt Garcia, E. Melanie DuPuis, and Don Mitchell, editors, Food Across Borders (2017)
 
Mireya Loza, Defiant Braceros: How Migrant Workers Fought for Racial, Sexual, and Political Freedom (2016)
 
Ana Raquel Minian, Undocumented Lives: The Untold Story of Mexican Migration (2018)]]>
                </itunes:summary>
                                    <itunes:image href="https://episodes.castos.com/603966405def65-45230528/images/1435799/Natalia-Molina-square-headshot.jpg"></itunes:image>
                                                                            <itunes:duration>00:40:28</itunes:duration>
                                                    <itunes:author>
                    <![CDATA[PUBLIC BOOKS]]>
                </itunes:author>
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