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Memoirs of Federico José María Ronstadt
Where Wealth and Poverty Collide
Cara a Cara Encounters with Chicana/o Visual Culture
A Century of Beer in the Grand Canyon State
How does a contemporary woman with a career as a poet, professor, and editor experience motherhood with one small child, another soon to be born, and her own mother suddenly diagnosed with a brain tumor and Alzheimer’s? The dichotomy between life as a mother and life as an artist and professional is a major theme in modern literature because often the two seem irreconcilable. In Bring Down the Little Birds, Carmen Giménez Smith faces this seeming irreconcilability head-on, offering a powerful and necessary lyric memoir to shed light on the difficulties—and joys—of being a mother juggling work, art, raising children, pregnancy, and being a daughter to an ailing mother, and, perhaps most important, offering a rigorous and intensely imaginative contemplation on the concept of motherhood as such.
Writing in fragmented yet coherent sections, the author shares with us her interior monologue, affording the reader a uniquely honest, insightful, and deeply personal glimpse into a woman’s first and second journeys into motherhood. Giménez Smith begins Bring Down the Little Birds by detailing the relationship with her own mother, from whom her own concept of motherhood originated, a conception the author continually reevaluates and questions over the course of the book.
Combining fragments of thought, daydreams, entries from notebooks both real and imaginary, and real-life experiences, Giménez Smith interrogates everything involved in becoming and being a mother for both the first and second time, from wondering what her children will one day know about her own “secret life” to meditations on the physical effects of pregnancy as well as the myths, the nostalgia, and the glorification of motherhood.
While Giménez Smith incorporates universal experiences of motherhood that other authors have detailed throughout literature, what separates her book from these many others is that her reflections are captured in a style that establishes an intimacy and immediacy between author and reader through which we come to know the secret life of a mother and are made to question our own conception of what motherhood really means.
Latina/o Poetic Responses to Neoliberalism and Globalization
Contested Voices, Indian Captivity, and the Legacy of King Philip's War
Political Leadership and the Transformation of Arizona
Anita Endrezze has deep memories. Her father was a Yaqui Indian. Her mother traced her heritage to Slovenia, Germany, Romania, and Italy. And her stories seem to bubble up from this ancestral cauldron. Butterfly Moon is a collection of short stories based on folk tales from around the world. But its stories are set in the contemporary, everyday world. Or are they?
Endrezze tells these stories in a distinctive and poetic voice. Fantasy often intrudes into reality. Alternate “realities” and shifting perspectives lead us to question our own perceptions. Endrezze is especially interested in how humans hide feelings or repress thoughts by developing shadow selves. In “Raven’s Moon,” she introduces the shadow concept with a Black Moon, the “unseen reflection of the known.” (Of course the story is about a witch couple who seem very much in love.) The title character in “The Wife Who Lived on Wind” is an ogress who lives in a world somewhat similar to our own, but only somewhat. “The Vampire and the Moth Woman” reveals shape-shifters living among us.
Not surprisingly, Trickster appears in these tales. As in Native American stories, Trickster might be a fox or a coyote or a raven or a human—or something in between. “White Butterflies” and “Where the Bones Are” both deal with devastating diseases that swept through Yaqui country in the 1530s. Underneath their surfaces are old Yaqui folktales that feature the greatest Trickster of all: Death (and his little brother Fate).
Enjoyably disturbing, these stories linger—deep in our memory.