Bøger udgivet af Inlandia Institute

On the eve of leaving Cuba for Florida, a four-year-old girl promises her dying grandfather to return to her birthplace. That night an intruder sexually assaults her. As she adapts to her new American reality, she suffers distressing physical and emotional symptoms. Convinced that her daughter is possessed, her mother takes her to a Santeria priest for a cure. Years later, she returns to her homeland as a journalist, becomes entrapped in the game of espionage between Cuba and the U.S., suffers a devastating betrayal, and learns family secrets. Disillusioned by the experience, she embarks on a spiritual journey that leads to reconciliation, forgiveness, and a return to wholeness.

After the 1979 Iranian Revolution, Ellen Estilai and her family attempt to leave Tehran, their home of nine years. At the airport, her Iranian husband is inexplicably prevented from leaving. As he confronts hostile colleagues and the Islamic Republic's opaque bureaucracy, Ellen examines their lives, trying to understand what might have brought them to this point. Exit Prohibited is a story of a complex Iran, at once welcoming and hostile, progressive and traditional, enamored of and distrustful of the West-an Iran as complex as Estilai's relationship to it.

YA fiction about a Latina cowgirl in Riverside, CA whose victory is disrupted by wealthy competitors, school struggles, and family.

With the 2015 Writing From Inlandia: Work of the Inlandia Creative Writing Workshops anthology, the fourth anthology in this series, the Inlandia Institute brings you new work by twenty-six talented writers - some veterans of the program, and some new voices - writing in the genres of poetry, fiction, and creative nonfiction. These works represent hours of dedication to the craft, both in the workshop and outside of it. The Writing from Inlandia series was created to celebrate the participants in our Creative Writing Workshops series -- but more than that, it serves as a record of who we are at the present moment, here in this place that we call home.

Do you have a favorite Tía? Well, I sure do. My Tía is the kind of person who lets everyone hang out at her house after school. She keeps us all busy, and out of trouble. As you can imagine, Tía's house was a very busy place. It's also the place where we learned to make tamales. Yes, I said tamales. You see, Tía wasn't just the neighborhood babysitter; she was also the neighborhood Tamale Maker. So, I bet you are wondering what her secret recipe was, and why this story is called Tía's Tamale Trouble. Well, we all had a hand in that.... *** Julianna Maya Cruz, has been teaching in Riverside, CA for fifteen years and has found her inspiration to write childrens' books from living life as a mother and teacher. She writes to show others that everyone has a story to share. Julianna has written, The Tale of Tommy and Teresa Trout: A Learning Journey from Egg to Fry, Dos Chiles, Two Chilies, and Tia's Tamale Troubles. She currently teaches at Bryant Elementary School of Arts & Innovation, in Riverside, CA and is always looking for a new story to help her students make connections.

Oranges helped create the Golden Dream of Southern California from the time Eliza and Luther Tibbetts planted two Washington Navel Oranges in their Riverside yard in 1873. Over a century later, Inlandia Literary Laureate Gayle Brandeis has assembled a juicy collection of poetry, prose and recipes that explore, celebrate and memorialize our region's powerful citrus heritage. Together, these voices create a chorus singing of sweetness and loss, deep roots and seismic change. You will never look at an orange the same way again. Take a bite of Orangelandia!

With the 2013 Writing From Inlandia: Work of the Inlandia Creative Writing Workshops anthology, the third anthology in this series, the Inlandia Institute brings you new work by twenty-three talented writers - some veterans of the program, and some new voices - writing in the genres of poetry, fiction, and creative nonfiction. These works represent hours of dedication to the craft, both in the workshop and outside of it. The Writing from Inlandia series was created to celebrate the participants in our workshops -- but more than that, it serves as a record of who we are at the present moment, here in this place that we call home.

With the 2012 Writing From Inlandia: Work of the Inlandia Creative Writing Workshops anthology, the Inlandia Institute brings you new work by thirty-six talented writers - some veterans of the program, and some new voices - writing in the genres of poetry, fiction, and creative nonfiction. These works represent hours of dedication to the craft, both in the workshop and outside of it. The Writing from Inlandia series was created to celebrate the participants in our workshops -- but more than that, it serves as a record of who we are at the present moment, here in this place that we call home.

Julianna had been pestering her grandpa, Julian, to teach her how to make their family's special New Mexico green chile, but now that he is finally ready to what she needs most is his help with her social studies project. When he suggests that they can do both at the same time, Julianna is skeptical. "But how are you going to tell me about why our family came to Riverside and make chili at the same time?" "Making really good chile is a lot like telling a good story." Follow Julianna as she spends the day with Grandpa Julian, learning about her family's history -- and the secret ingredient to their version of New Mexico Green Chile -- along the way.

With the 2014 Writing From Inlandia: Work of the Inlandia Creative Writing Workshops anthology, the fourth anthology in this series, the Inlandia Institute brings you new work by twenty talented writers - some veterans of the program, and some new voices - writing in the genres of poetry, fiction, and creative nonfiction. These works represent hours of dedication to the craft, both in the workshop and outside of it. The Writing from Inlandia series was created to celebrate the participants in our Creative Writing Workshops series -- but more than that, it serves as a record of who we are at the present moment, here in this place that we call home.

The 2017 Writing From Inlandia anthology brings you new work by thirty-nine talented writers - some veterans of the program, and some new voices - writing in the genres of poetry, fiction, and creative nonfiction. These works represent hours of dedication to the craft, both in the workshop and outside of it. The Writing from Inlandia series was created to celebrate the participants in our Creative Writing Workshops series -- but more than that, it serves as a record of who we are at the present moment, here in this place that we call home.

Angelica Maria Barraza Tran's debut collection, How to Know You're Dreaming When You're Dreaming, Lesson One, articulates a practice of queer-of-color worldmaking in which the lyric strives to bridge the gaps and silences that separate past and present. In a language that is both speculative and grounded in the material, these poems re-enchant the everyday, revealing the sacred within the rituals of domestic life. They devote themselves, like candles on an altar, to life in all its manifestations: to the ancestors, to lives too soon lost, to the disappeared, and to all those who are to come. In the tradition of Ana Mendieta, these poems construct a rigorous textual body, a body responsive to environment, to violence and erasure, and to collective, intergenerational desires and longings. With this collection, Barraza Tran claims her place within a rich lineage of experimental poetics and Latinx feminism.

"Winner of the regional 2021 Hillary Gravendyk Prize, Alexandra Martinez's Our Lady of the Perpetual Desert sings out to an America that is both foreign and home, a place where the gold of citrus is tarnished by sacrifice, where to be American is to cast off who you really are. "America": "While you were asleep me and your dad sang all of American Pie him in the front seat me in the back and it made me want to cry because I wanted him to know how much I wanted to be what he wanted me to be but all he says is bye bye miss American Pie I wanted to tell him about the girl with skin browner than me and how we'd drive around in her little blue scoot scoot with this exact song playing loud and all the windows down to let winter remind us that we were still walking along the edge of a levy of the mind but all he said was bye bye miss American Pie and I am trying to explain to him that there were plenty of us girls raised on tortillas y los Beatles and that we love this goddamn country eternally we love the frost on the pines and we love the desert needles and we'd seen so much more of America than he would ever see that we've been on all the highways and ran out of cars screaming like banshees about how much we loved these stars but I can't say any of this so instead I bake him the goddamn best American Pie he eats it all and still says bye bye"--

After heroic prodigies Sebraâe Harris (The Vermillion Speedateer) and Barry Harrison (The Wiz) are threatened out of their existence, they take on the task of establishing a brand-new Speedateer division, The Riverside Rangeneers.

Eliud Martínez -- scholar, painter, novelist, professor, husband, father, brother, son, friend -- was a proponent of what he called "multiple ancestries." Inspired by Carlos Fuentes' novel The Death of Artemio Cruz, he conceived of Mexico as "a thousand countries with a single name." In Güero-Güero: The White Mexican and Other Published and Unpublished Stories, discover twenty tales inspired by Martínez's own upbringing in Pflugerville, Texas, on the outskirts of Austin. The complicated histories of his ancestors were passed down to him by family elders. A gifted and natural storyteller, frequent visits with his father to Pflugerville's segregated cemetery compelled him to write. Here, authentic autobiographical detail elevates these stories to a high art, melding personal and cultural histories, crossing the ocean and spanning continents to divine what it means to be who we are.

"The forces at work in Care: Stories tell the stories of ordinary queer people living ordinary lives in an ordinary place -- Inland Southern California but the image of the future that these stories describe is a country defined by stagnation and loneliness and cruelty, millions of people rendered economically and socially useless, political and cultural corruption seeping into ordinary lives and relationships and degrading them, a turn toward easy and destructive solutions to complicated, messy, human problems"--

Anthology featuring the work of 48 writers and artists about San Bernardino.

All the Emergency-Type Structures is a poetic survival manual for those in need of shelter from climate change, American life, motherhood, technology, death, and extinction. These poems navigate both cultural anxieties--climate change, American consumerism, technological creep--and personal anxieties--motherhood, apocalyptic thinking, suburban complacency. What does it mean to face a future in which building emergency-type structures may be necessary for our survival?

Winner of the 2018 Hillary Gravendyk National Prize, this piece explores grief and violence, the intersections of race, gender, and sexuality, and the complications of desire. Aimee Nezhukumatathil says, "Of this I am certain: I'll be celebrating this poet for many years to come."

In Our Bruises Keep Singing Purple, Afro-Jamaican-Boricua poet, Malcolm Friend, has gifted us with a collection that is politically charged and culturally woke. Crafted in rhythmseasoned Latinx dialect, emerging from ancestral roots, replanted in the urban spectrum of hip-hop and rap, Friend's voice is heart-inspired, soul-empowered, new-wave griot, a fearless weapon forged from South End Seattle, Puerto Rico, and Pittsburgh. Friend creates personal and family stories that connect communal tragedies and national consciousness in expressions of rage, affirmation and self-determination, confronting the brutal realities of being Black and young while caught in the colonial grip of America, enlisting the vibrations of sound masters like Ismael Rivera, Cheo Feliciano, Tato Laviera and Bob Marley. Friend chases ghosts that emerge from living scars and painful realizations experienced by people of color happening in the barbershop, the bar, the dining table, college, on the 7, in between a mofongo of jazz, blues, calypso, rumba, bomba, plena and dembow celebrations, where his heart is. -Sandra María EstevesIn Our Bruises Kept Singing Purple, Malcolm Friend coasts the curvature of the blue note, revealing in his brooding, songful, and formally masterful verse heritages that pull from the ancestral into the vibrancy and violence of this moment. He guides us carefully through the intricacies of his landscape and identity as Afro-Latino, all while flexing his linguistic and literary dexterity. The balance of beauty and punch is maintained in English and Spanish with meaning and metaphorical integrity upheld. From the haunting resonance of Orpheus' lament to the allure of the sultry bolero, from the soul that soothes a man when his mother fears the robbing of his blood far from home to the tension of bomba and blues in the bones, here are the poems that bring us back to the purity of sound in their careful and studied composition. Friend shows us the terrible, delicate, beloved, ever-shifting truths; he guides us to hear beyond the stopping of our own ears.-Raina J. León, PhD author of sombra: (dis)locate and founding editor of The Acentos Review Blues and Bomba bless the pages of this unique collection. They embody those nagging voices of doubt, of "no" and defiance, and of the dozens. They're born of English and Spanish, of Seattle, of transiency, of trash-talking and singing, and betweenness. And-do I have to say it? Yesterday's hurts and today's bruises. Li-Young Lee once described poetry as a kind of homesickness. Malcolm's poems-nostalgic and tender-evoke this feeling. These poems are startling and affirming. They hold their own. They know where they come from. -Yona Harvey author of Hemming the Water

Traces of a Fifth Column gives us gorgeous, haunting glimpses of the transhuman future that looms already in the indispensability of our sleek little devices... but sounds neither a moralistic warning bell nor a death knell for the human race in these poems; rather, he revels in rich layers of feeling and loss as only we humans can. - Laura Sims

Micah Chatterton's beautifully orchestrated, deeply elegiac first book chronicles what it means to be "father of two sons who can never touch". Go To the Living plumbs the trajectories of grief, memory, and writing about these, with searing truthfulness; its language is alive with a creative spirit of fathering. -- Judy Z. Kronenfeld

2016 Writing from Inlandia is an anthology produced by participants in Inlandia's Creative Writing Workshops program.

Total magnificence. Multi-sensory voyager - sculptor of love and painter of concept and delirium, a choreographer of space and a duende-splicer between Baudelaire, Lorca and Strauss. Angela is somewhere in there, cinematic; a Casanova pin-stripe suit, then a fl aring thigh, then a topaz sari. I fi nd Peñaredondo a most accomplished poet, a devouring mind and most of all, a deep, intimate observer touching the big bright, dark worlds - their wounds and miracles. She says, "I want to be that kind / who walks through a wall of fi fty lives." Indeed she possesses this kind of power. A genius at work. - Juan Felipe Herrera Poet Laureate of the United States Angela Peñaredondo's powerful debut, All Things Lose Thousands of Times, is a luminous and timely book of migratory poetics that gathers in the body, no matter how impossibly marooned, the mouth of the lyric I. Drawn from the compression of loss, "...beyond the clenched doors, the perfume / of starved fl owers." Peñaredondo's speaker seeks in the "...web of wetness, what...has been written out." The poet's collapsing of cultural dimensions into the weight of traveling through an embodied history and present reveals an urgent landscape (of war, of art, of nature, of people) of the inevitable and the incommensurable: "I'd rather be whoever bathes / in the monsoon, knees swaying- / unequaled. Wanting allows gospel..." Peñaredondo's truth brilliantly explores precariousness, revealing the need to move at its edges, and to escape, into "husk" and "crystalline pictograph"-"I came back not to regret / or ask the particulars why I left. / When a tree falls, its roots / aim jagged, pointing / in all directions..." - Ronaldo Wilson Author of Farthest Traveler The poems in All Things Lose Thousands of Times aptly tell a transnational coming of age story, a becoming from the savage and the fertile, the urban and the fantastic, where "heaven comes after collision." This is a stunning debut for Peñaredondo, poems that shimmer with dense and riveting lyricism. - Carmen Giménez Smith Author of Milk and Filth