Always Running
Page 27
In addition to writing poetry, Rodríguez continues to work as a journalist and nonfiction writer. He has covered crime, city life, revolutionary politics at home and abroad, Chicano heritage, and other topics for national publications such as the Nation and the New York Times. With Always Running, he captured the attention of readers around the world and become an international bestseller. Rodríguez wrote the book as a cautionary tale for his son Ramiro, who had gotten involved with gangs in Chicago. Since the success of that first memoir, Rodríguez has published more poetry collections, a novel, a short story collection, another memoir, and nonfiction accounts of youth, crime, and recovery. One of Rodríguez’s primary concerns as a writer continues to be the experience of poor immigrants in US cities, a theme reflected in his novels and children’s books as well as first-person accounts.
Rodríguez currently lives in L.A. with his wife, Trini, and their two sons. He also has a daughter and another son from his first marriage as well as four grandchildren.
From left, Luis Rodríguez’s brother Jose Rene (four years old), father Alfonso, mother Maria Estela, sister Ana Virginia (in mother’s arms, a few weeks old), and Luis (age one). This was taken in Ciudad Juárez, Mexico. About one year later, the family moved to Los Angeles. Luis’s youngest sister Gloria was born in East L.A. two years after the family moved there.
Rodríguez, age three, with his sister Ana (two), his brother Jose (six), and his niece Ana Seni (one), in Watts, California, 1957.
Rodríguez at age thirteen playing saxophone in San Gabriel, California, 1967.
Rodríguez at age thirteen in San Gabriel, 1967.
The first mural painted by Rodríguez, with the mentorship of Alicia Venegas, summer 1971.
Rodríguez, age twenty-nine, as a freelance reporter in Tijuana, Mexico, 1983.
Rodríguez, age thirty-eight, with oldest son Ramiro, age seventeen, in Chicago, summer 1992.
Rodríguez, at forty, with youngest son, Luis (one month) and son Ruben (age six), in Chicago, summer 1994.
Rodríguez with one of his grandchildren, Anastasia, visiting Homeboy Industries, summer 2007.
Wife Trini Rodríguez, Bruce Springsteen, and Rodríguez in April 2008. Springsteen is a supporter of Tia Chucha’s Centro Cultural & Bookstore.
Photo of Luis J. Rodríguez, age fifty-five, in 2009.
Luis and Trini Rodríguez being honored at an all-nations Native American Pow Wow in Los Angeles, 2010.
Rodríguez signing books for youth at Tia Chucha’s Centro Cultural and Bookstore, March 2012.
At the fifteenth annual celebration in the Native traditions for Rodríguez’s granddaughter Anastasia, age fifteen, near Sterling, Illinois, in summer 2012. With Rodríguez are his granddaughter Catalina, wife Trini, granddaughter Anastasia, granddaughter Amanda, son Ramiro, daughter Andrea, first wife Camila, and close family friend Sheilah Garland-Olaniron.
Glossary
†: PACHUCO CROSS
A la brava: To do something whether you like it or not.
Amá mira a Rano!: Ma, look at Rano!
Aquí estoy: Here I am.
Aquí nomás: Just here, doing nothing.
Aquí para Sangra—¿y qué?: Here stands Sangra—what are you going to do about it?
Así es así será: This is how it is, this is how it’s going to be.
Barrio: Neighborhood. Also the territory of Chicano gang groupings.
Bienvenidos: “Welcome,” the community center which once served South San Gabriel.
Blancas: White amphetamine pills.
Bolero: A slow ballad/dance.
Borlote: A party; a rowdy scene.
Botánica: A barrio herb and tonic shop. Known for religious and medicinal items.
Bruja: Witch.
Cabrones: Bastards.
Caiga: Come here.
Caló: Chicano street slang. Not just “Spanglish” but urbanisms which are neither Spanish or English. Linked to the Gypsy patois of Spain and Mexico.
Cantón: One’s house; “the crib.”
Camaradas: Partners.
Carnal(es)/carnala(s): Brothers or sisters, literally “of the flesh.” Also an affectionate way to greet fellow barrio members.
Carrucha: A beat-up car.
Chale: Slang for “no.”
Charrangas: A popular Cuban-based rhythm.
Chavalas: Slang for girls. Derogatory if referring to males.
Chicanos: The Mexican people in the United States.
Chicharrónes: Mexican-style pork rinds.
Chicos: Young dudes.
Chingao: A term of exclamation; “what the fuck?”
Chingaso: A hard blow; being struck down.
Chisme Arte: “Gossip Art;” an East L.A.-based literary and art magazine published during the 1970s and early 1980s.
Chiva: Heroin.
Cholo(s)/chola(s); cholillos: A low life. Appropriated by Chicano barrio youth to describe the style and people linked to local gang structures.
Chota: The police.
Chúpame: Suck me.
Churros: Mexican flour bread fried in grease and then dipped in sugar and cinnamon.
Clica(s): Slang for clique(s) or club(s).
Ciudad Juárez, Chihuahua: Juárez City, in the Mexican state of Chihuahua; a border town across from El Paso, Texas.
Coloradas (colies): Red barbiturate pills.
Compa: Companion; short for compañero or compadre.
Con Safos: Chicano slang meaning “nobody can mess with this.” Usually used in graffiti after a gang designation (often with just the letters c/s). Later an affectionate term among barrio youth for whatever is hip and cool. Also the name of a Chicano magazine from the late 1960s, and the name of an East L.A. rock-soul band during the 1980s.
Comadres: Godmothers.
Controla: To control.
Corridos: Mexican “running” ballads, usually telling a story of heroism and heartbreak.
Costurera(o): Garment worker.
Cuete: A gun; literally a firecracker.
Curandera(o): A Mexican healer, often linked with magic and Native-Catholic beliefs.
De aquellas: Of fine quality; “way out there.”
Dedos: Fingers, refers to snitches.
¿De dónde eres?: Where you from? Used to challenge rival gang-bangers.
De verotas: The real truth.
De volada: To do something in a hurry; without thinking.
Diablos: Devils; the name of a set in the Sangra barrio.
El jefito: The boss; affectionate term for father. Mothers are called la jefita.
El Loco Con La Bárbara, P/V: Loco with Barbara, for life (P/V is short for por vida).
El mero chingón: The top dog (the biggest, meanest fucker).
El pie: The foot.
Engabachados: To be anglicized.
Escamao: Caló term for “losing it;” shaken up or panicky.
Ése: A greeting among vatos; “hey you.” In L.A., African American street youth use this term to mean any Mexican gang-banger, pronounced as “essay.”
Eso, así: Yes, like that …
Ese malvado, deje que se pudra: That no-good, let him rot.
Esqüintar: To leave, derived from “making our squints.”
Está bien: It’s okay.
Está derecho: He’s straight; on the mark.
Feria: Money; Spanglish from “fare.”
Fíjese: Check this out.
Firme: Caló term for hip, cool; the best. Also the name of a lowrider culture magazine in the 1970s and 1980s.
Flaquillo: A skinny little dude.
Folklórico: Traditional Mexican/Spanish dance and music.
Frajo: Cigarette.
Gabacho/Gaba: A white American; Anglo.
Grifa: A reefer of marijuana.
Gritos: Referring to the long, deep Mexican soul yells.
Güacha: Pay attention; watch out.
Güantes: Gloves; slang for throwing blows.
Güerita: A little blonde or light-skinned gir
l.
Hablen en español, ya saben aye no entiendo inglés: Speak in Spanish, you know I don’t understand English.
Hijo: A term of exclamation. Short for “the son of …
Híjole: A term of exclamation.
Hipócrita: Hypocrite.
Huapango: A popular folk music of Mexico.
Huevos estrellados: A serving of eggs, sunny-side up.
Huevos rancheros: Ranch-style eggs, over a tortilla with rice and beans.
Jaina: A girlfriend.
Jale: A job, also refers to doing “work” for the barrio.
Jambas: Robberies; stealing.
Jaspia: Hunger.
Jura: The police.
La carga: Heroin.
La Casa: “The house;” the community center serving the Sangra barrio.
La Colonia: The colony. Also the name of the main Chicano barrio in Watts.
La Gerahty Loma: Major barrio in the hills of East L.A., situated on county territory.
La gota gorda: “The fat drop.”
La Llorona: The weeping woman, a widespread legend among the Mexican people in the United States and Mexico.
La marqueta: Spanglish for “the market.”
Lambe/Lambiche: A kiss-ass, literally “licker.”
La pinta: Prison.
La Vida Loco/Mi Vida Loca: The Crazy Life/My Crazy Life, symbolizing the barrio/pinto gang experience.
La Torcida: Jail, prison time.
Las Lomas: The Hills; a barrio east of Los Angeles on county territory.
La Raza: The Mexican people. In the late 1960s and early 1970s, the name of a leading Chicano movimiento magazine.
La Santísima Madré de Dios: The Holy Mother of God.
Lo chingaré: I’ll fuck him up.
Loco(s)/loca(s): The crazies. Another term for barrio youth.
Locura: Craziness; referring to a state of being, not so much a state of mind, among barrio gangs.
Los Cuatro del Barrio: The Barrio Four.
Maldad: Meanness.
Masa Harina: A popular brand of flour sold in heavy cloth sacks and used to make tortillas.
Más Firmota: A total fox.
Marrano: A pig. To be filthy.
Mechista: A member of MEChA (Movimiento Estudiantil Chicano de Aztlán), a Chicano student activist organization.
¿Me quieres?: Do you like me?
Mescal: Mexican spirits produced from the maguey cactus plant. Liquor known for the worm at the bottom of the bottle.
M’ija/m’ijo: Shortened and affectionate version of mi hija(o)—my daughter/my son.
Movimiento: The Movement; the Chicano Movement.
Mujer: Woman.
Nadie se mueve: Nobody move.
Nayarit: A northern state of Mexico. Many immigrants to Los Angeles originated in the north of Mexico.
Norteños(as): Music of northern Mexico, also known as conjunto music.
Orale: Hello. Hey. Okay.
Pachuco: Mexican youth of the 1930s and 1940s who developed their own style and language in the barrios of America; linked to the urban youth style of major Mexican cities.
Párenle: Stop.
Pedo: A fart; term used for anything that’s a waste of time.
Pégale: Hit him.
Pendejo(a): A stupid person.
Pensamientos: Thoughts; ideas.
Pinche: Damned.
Pinto: An ex-con.
Placa: One’s barrio name.
Pleito: A fight.
Poblana: A traditional dress from Puebla, Mexico.
Pobreza: Poverty.
Por el amor de Dios: For the love of God.
Prendida(o): Slang for “lit up” or eager.
Prieto: Dark one.
Puto/puta: A male whore/a prostitute.
Puta madre: Mother whore.
¡Qué cábula!: What a kick! Cábula also means to mock, jest or joke.
¡Que desmadre!: What a holy mess!
¿Qué está pasando?: What’s happening?
¿Qué hubo?: What’s up? (sometimes written as Q-vo).
¡Qué jodida(o)!: What a fucked-up situation.
¡Qué Maravilla!: What a marvel!
¿Qué pasa, hombre?: What’s happening, man?
¿Qué pasó aquí: What happened here?
¿Qué pues?: What’s up?
Querido(a): My dear one.
Qué Rifa: We rule.
¿Qué se yo?: What do I know?
¿Qué traes tú What’s up with you?
¡Que viva La Raza!: Long live the Mexican people.
¡Que viva South San Gabriel!: Long live South San Gabriel!
¿Quién se murìó?: Who died?
Quieres algo conmigo, pues aquí estoy: You want something with me, well here I am.
Quinceñera: A coming-out celebration for a 15-year-old girl.
Ranchera: The music and style of the “ranch,” equivalent to country music in the United States.
Ranfla: A cherried-out lowrider car.
Refín: Food.
Regeneracíon: Rebirth. Name of an early 1900s magazine published by the Flores-Magon brothers, two leading Mexican revolutionaries. Later it was “regenerated” during the Chicano Movement by activists linked to the growing public arts movement in East L.A.
Rifa: The best of all.
Río Grande (Río Bravo): A river which partly serves as the borderline between the United States and Mexico.
Ruca(s): Barrio woman, literally means “old lady.”
Ruquitas de aquellas: Fine, foxy women.
Salsa: Latino Caribbean-based rhythms popular in major American cities.
Sangra: The barrio surrounding the San Gabriel Mission church.
Señor(a): Mister, missis.
Sonora: A northern state of Mexico.
Sinaloa: A northern state of Mexico.
Simón: Caló term for “yes.”
Soldados: Soldiers, those linked to La Eme, known as soldados azules, blue soldiers. Members of La Familia prison gang were linked to the color red.
Sombrero: Hat. Popularly used to describe the wide brim Mexican hats used by mariachi bands.
Suerte: Good luck.
Tarahumara: A native tribe of Mexico, whose ancestral home is the mountain range in southern Chihuahua. They are among several tribes known to have never succumbed to the Spanish. They continue in the old traditions and today are extremely impoverished in Mexico.
Teatro: Street theater in the tradition of the Teatro Campesino of the United Farm Workers Union movement.
Tecato: Heroin addict.
Telnovelas: Spanish soap operas.
Tijuanera(o): Somebody from the border city of Tijuana, Mexico. A derogatory term for newly arrived immigrants.
Tina: A vessel to hold liquids.
Totacho: Our talk, slang. Aso refers to the English language.
Trago: A drink.
Trapo: A rag.
Trenzas: Braids.
Trucha: Caló term meaning to watch out, be alert.
Un camarada de aquellas: A real down dude.
Un chingo: A whole lot.
Vatito: Little dude.
Vato Loco: A crazy dude. This is what certain barrio members with intense street reputations were called.
Vatos: Dudes or guys.
Vecindad: A complex of linked homes around a common courtyard, widespread in parts of Mexico and the Southwest.
Veracruz: A state in Mexico on the Caribbean coast. Known for its African-based population and influence. Home of the standard rock song, “La Bamba.”
Veteranos: Veterans of barrio street warfare. The African American gang equivalent is “Original Gangster.” Among Mexicans, some of these veterans go back two or more generations.
¡Ya!: Now!
¡Ya basta!: That’s enough! Popular slogan during the Chicano Movement.
Ya estuvo: That’s it. It’s finished, done with.
Yesca: Slang for marijuana.
¿Y qué?: What of it? Usually follows one’s barrio designation;
a challenge.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this ebook onscreen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of the publisher.
Some of the material in this book has appeared as poetry and prose in Poems Across the Pavement (1989, Tía Chucha Press, Chicago), The Concrete River (1991, Curbstone Press, Willimantic, Conn.), and in the following publications (often in versions different than contained here): Puerto del Sol, Cambio, TriQuarterly, The Chicago Review, 201: Homenaje a La Ciudad de Los Angeles (anthology by the LA Latino Writers Association), Left Curve, Milestones, Obras, ChismeArte, El Grito, and When I Was a Child (anthology published by the Children’s Literature Association). Parts of the preface and the epilogue originally appeared in Los Angeles Times, Centro de Estudios Puertorriqueños Bulletin, and The National Catholic Reporter. The author wishes to thank the Illinois Arts Council for their support with an Artists Fellowship Award. The epigram in Chapter 8 comes from “Tin Tan Tan,” a story in Woman Hollering Creek, copyright © 1991 by Sandra Cisneros. Published in the United States by Vintage Books, a division of Random House, Inc. Originally published in hardcover by Random House, Inc., New York, in 1991. Reprinted by permission of Susan Bergholz Literary Services, New York.
copyright © 1993, 2005 by Luis J. Rodríguez
www.luisjRodriguez.com
cover design by Michel Vrana
978-1-4532-5908-5
This edition published in 2012 by Open Road Integrated Media