Caras Special Edition: Most Influential Puerto Ricans of 2012

  1. Reblogged from Latin Culture Today:  Here are the highlights of “CARAS 2012:  Los grandes protagonistas de Puerto Rico“.   Patricia de la Torre, Editorial Director.  Jaime RIvera, Photography Director .  

    Topping the List of the Most Influential and Exciting Puerto Ricans Today are…

    Turning heads with their own eclectic spin on reggaetonCALLE 13 is the hottest band to emerge from Puerto Rico in decades, with 19 Latin Grammy Awards and 2 Grammy Awards. As hot as their sound is their political fire; these musicians are avid supporters of the Puerto Rican independence movement, both a source of controversy and a musical inspiration.

     GIANNINA BRASCHI, one of the most imaginative and funny writers to emerge from Latin America in the past 25 years, is the radical author of the new book UNITED STATES OF BANANA and the best-selling Spanglish novel YO-YO BOING!  The Associated Press calls Braschi’s writing “fearless” and her imagination “limitless”.  Whether her award-winning books are written in Spanish, Spanglish or English, Braschi is a festival favorite at headlining events such as the National Book Festival, The Modern Language Association Convention, and the PEN World Voices Festival.

    JENNIFER LOPEZ, the global performing arts sensation, is one of the most multi-talented artists and entrepeneurs today.  J Lo is an actress, dancer, film producer, philanthropist, and singer. In 2012, she was ranked at number one on business magazine Forbes‘s Celebrity 100 list, which named her the most powerful celebrity, with earnings of $52 million that year.

    ALEJANDRO GARCIA PADILLA is the new GOVERNOR OF PUERTO RICO as of January 2013.  Prior, he was a member of the 24th Senate of Puerto Rico and President of the Popular Democratic Party of Puerto Rico.

    CARLOS BELTRAN plays outfielder for the St. Louis Cardinals. Beltrán is known for being one of the best all-time statistical hitters in Major League Baseball postseason games, which has earned him nicknames such as “Señor Octubre” and “the real Mr.October” .

     

     JOSEPH ACABA, PUERTO RICAN ASTRONAUT

      
    MARC ANTHONY is a two-time Grammy and three-time Latin Grammy–award winning singer and actor who has sold more than 12 million salsa and ballad albums worldwide.

TONY RAMOS, OLYMPIC GYMNAST FROM PUERTO RICO, placed in the finals at the London Olympics in 2012. May he bring home the gold from the 2016 Olympics in Rio de Janiero. 

RICKY MARTIN currently stars as Che in the Broadway revival of the Andrew Lloyd Webber musical Evita.  In addition to being a POP SINGER AND BROADWAY ACTOR, he is a philanthropist whose foundation is dedicated to eliminating human trafficking.

MONICA PUIG, TENNIS PLAYER, won the ITF tournament in Joué-lès-Tours in 2012, which included a first round win against Alexandra Panova.  Her star is on the rise.

BENICIO DEL TORO, ACTOR and FILM PRODUCER, has won an Academy Award, a Golden Globe Award, a Screen Actors Guild Award, and a BAFTA Award.

RICHARD CARRION is not only the CEO and Chairman of BANCO POPULAR, but he also runs the Finance Committee for the International Olympics.  He is one of Puerto Rico’s most successful businessmen in addition to being a philanthropist dedicated to providing underprivileged children with education and sports opportunities.

*For more complete bios see CARAS 2012 SPECIAL EDITION: Los grandes protagonistas de Puerto Rico.
Links:

http://www.jenniferlopez.com

http://idolator.com/7369242/jennifer-lopez-grammy-dress-morning-mix

http://www.puertoricanstudies.org
http://www.prtt.org/ 
http://translucence.wordpress.com/07/19/2012

http://artid.com/members/hispanic_arts/blog/post/5265-the-association-for-puerto-rican-hispanic-http://culture-inc-annual-concert-at-museum-of-the-city-of-new-york
http://www.hispanic-culture-online.com/Hispanic-culture-blog.html
http://www.thehispanicblog.com
http://boriquablog.wordpress.com
http://profacero.wordpress.com/2012/07/27/giannina-braschi/http://repeatingislands.com/2011/12/12/new-book-giannina-braschis-united-states-of-banana/

http:/www.latinopoetryreview.blogspot.com/

http://www.frasespedia.com/frases-de-libertad-de-giannina-braschi/
http://nbclatino.com/2013/01/06/13-most-anticipated-hispanic-films-of-2013/

http://spanishcultures.blogspot.com
http://nyswiblog.blogspot.com/2012/10/giannina-braschi-this-friday-at.htmlhttp://www.bokmassan.se/nyheter/giannina-braschi-till-forum-for-poesi/

http://www.lrslatino.blogspot.com/
www.latinowriterstoday.blogspot.com/

http://www.adrianadominguez.blogspot.com/
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Modern Language Association 2013: United States of Banana

gbcaras

Saturday, January 5, 2013 in Boston

Modern Language Association Convention             

SPECIAL EVENT!  A Dramatic Reading by Giannina Braschi, UNITED STATES OF BANANA @ 7:00–8:15 p.m., 206, Hynes Center, Boston

Hailed “The Wasteland of the 21st Century” by The Evergreen Review, Giannina Braschi’s revolutionary new work United States of Banana  is the subject of a dramatic performance and a scholarly panel at the Modern Language Association’s annual convention.   Braschi is the author of the postmodern poetry classic Empire of Dreams and the bestselling Spanglish novel Yo-Yo Boing! These titles form a mixed-genre trilogy on the subject of the American immigrant.  A 7pm performance by the author in the John B. Hynes Veterans Memorial Center, follows a scholarly panel earlier in the day by Arnaldo Cruz-Malavé, Maritza Stanchich, and Cristina Garrigós entitled Giannina Braschi’s United States of Banana: Revolutionary in Subject and Form” (12:00 noon–1:15 p.m., Back Bay C, Sheraton Hotel).  Tess O’Dwyer, who translated Empire of Dreams and Yo-Yo Boing! from Spanish into English, serves as moderator.

Giannina Braschi’s United States of Banana: Revolutionary in Subject and Form”, A Scholarly Panel @ 12:00 noon–1:15 p.m., Back Bay C, Sheraton Hotel

 

ABSTRACTS:

 

“Under the Skirt of Liberty:  Giannina Braschi Rewrites Empire” by Arnaldo Cruz-Malavé (Fordham University)

Description:

For the last two decades discourses on empire have been the province of postcolonial diasporic critics.  Writing from the vantage point of exile or diaspora, postcolonial critics, such as Said, Spivak, Bhabha, and Glissant, have meditated on questions of power and resistance in the relationship between former colonies and their metropolitan imperial centers in the current postcolonial world.  More recently Hardt and Negri have extended this meditation to the contemporary global economic system.  In her latest book, United States of Banana, New York Puerto Rican writer Giannina Braschi joins this meditation on agency and resistance but not from the vantage point of postcolonial exile but from that of colonial diasporas, such as the New York Puerto Rican community.  Using 911 and the current economic crisis as a catalyst for her critique, Braschi extends her previous dialogue with high modernism in her Empire of Dreams, to discourses on postcoloniality and globalization.  In my paper I will draw out the lines of this critique of postcoloniality and globalization from the vantage point of colonial diasporic subjectivity in the center of high modernism and postmodernism:  New York.

Biographical Note:

Arnaldo Cruz-Malavé is Professor of Spanish and Comparative Literature and Chair of the Department of Modern Languages and Literatures at Fordham University in New York.  His most recent book is Queer Latino Testimonio, Keith Haring, and Juanito Xtravaganza: Hard Tails (Palgrave 2007), a book about the relationship between high art and Latino popular culture in the gentrifying New York of the 1980s.  He is also author of a study on the intersections of nationalism and sexuality in the prose fiction of the Cuban author, José Lezama Lima, El primitivo implorante, and coeditor, with Martin Manalansan, of Queer Globalization: Citizenship and the Afterlife of Colonialism (New York UP 2002).  He has published widely on Hispanic Caribbean and U.S. Latino literatures and cultures.  His essays have appeared in anthologies such as Entiendes? Queer Readings/Hispanic Writings (Duke 1995), Sex and Sexuality in Latin America (NYU 1997), and Queer Representations (NYU 1997), and in journals such as Revista Iberoamericana, differences, Revista de Crítica Cultural, Cuban Studies, and Centro: The Journal of the Center for Puerto Rican Studies

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“Whose English is it Anyway? Giannina Braschi Levels the Bilingual Playing Field” by Maritza Stanchich (University of Puerto Rico, Río Piedras)

Description

Giannina Braschi’s highly anticipated new novel The United States of Banana (2011), in line of flight from her groundbreaking quasi-novel Yo-Yo Boing! (1998), marks a paradigmatic shift in the millennial poetics of witness of Whitman and Martí’s New York with a high/low transcanonical, inter and transAmerican postmodern performance that levels the playing field to bring parity to the charged terrain of English/Spanish bilingualism. In Banana, Braschi proposes simultaneously post modern and protest poetics in dizzying global/local contexts, as U.S. global hegemony declines post 9/11, as the United States has fast become the second largest Spanish speaking country in the world, and as its colony Puerto Rico faces a historic crisis only deepened under local annexationist leadership. In both works, Braschi’s vanguard bilingual performance breaks with previous theorizations of the functions of interlingualism in diasporic Puerto Rican and Chicano theory (Juan Bruce-Novoa 1990; Juan Flores and George Yúdice 1990; Frances Aparicio 1988, 1997), as well as with Puerto Rico’s insular cultural nationalist linguistic discourses. In doing so, Braschi challenges a transimperial history of global power relations between English and Spanish (Mignolo 2000) with literary language that exceeds canonical traditions. Braschi also brings to the fore a vein of avant-garde literature of the Puerto Rican diaspora, along with the distinct projects of Urayoán Noel, Lawrence La Fountain-Stokes, and the late Edgardo Vega Yunqué, as well as what I elsewhere call Post-Nuyorican literature, along with poets who uniquely venture into broadly comparative and international terrains, including Victor Hernández Cruz, whose most recent work explores Arabic and African linguistic influences in Spain, and Martín Espada, whose work straddles pan-Latino, trans-American literary traditions, engaging Latin American history as well as a global poetics of dissent.

Biographical Note

Maritza Stanchich, PhD, is an Academic Senator and Associate Professor of English for the College of Humanities at University of Puerto Rico, Río Piedras, where she teaches Caribbean, U.S., and U.S. Latina/o Literatures. Her scholarship on literature of the Puerto Rican diaspora and William Faulkner has appeared in Sargasso and Mississippi Quarterly, respectively. She has also published in Prospero’s Isles: The Presence of the Caribbean in the American Imaginary (2004), Writing Of(f) the Hyphen: New Critical Perspectives on the Literature of the Puerto Rican Diaspora (2008), and Hispanic Caribbean Literature of Migration: Narratives of Displacement (2010). She previously worked as an award-winning journalist in New York, Washington DC, and San Juan. Her recent columns for The Huffington Post and The New York Times have helped bring international attention to the crisis in Puerto Rico. She has also worked for academic unionization at University of California and with the Puerto Rican Association of University Professors (APPU).

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“Breaking the Borders: Giannina Braschi’s United States of Banana” by Cristina Garrigós, Universidad de León, Spain

Description

Giannina Braschi’s last novel, United States of Banana, combines characters from her previous works, such as Mariquita Samper, Giannina, and even the Statue of Liberty, that appear now interacting with Calderon’s Segismundo, Shakespeare’s Hamlet and Nietzsche’s Zarathustra. This makes it possible to read Braschi’s oeuvre as a whole and to observe in her writing a tendency towards continuity instead of rupture that is carried out in different levels. In a literary level, besides the intertextual inner and outer references, the book conveys a fragmentary discourse, through an aesthetic that defies the boundaries of the poetic, the dramatic, and the non-fiction essay. In this sense, it would fit into what Don De Lillo calls a “counter-narrative” (“In the Ruins of the Future”). Apocalyptic and deeply philosophical, Braschi’s text offers a reflection on the role of the human being, specifically, the latino writer in a global context where political, economical, social and linguistic boundaries are also questioned and erased, as epitomized by the relationship of Puerto Rico with the United States, and the destruction of the World Trade Center.  In this sense, my paper will analyze the fluidity of borders in her text in the different aspects mentioned above.

Biographical Note

Cristina Garrigós is Associate Professor at the University of Leon in Spain. She has a Ph.D. in English from the University of Seville (1999) with a dissertation on the intertextuality in the work of John Barth, and an M.A. in Comparative Literature from the University of North Carolina at Chapel Hill. She has taught at Universidad Autonoma de Madrid, Universidad de Leon, and Texas A&M International University. Her research interests include Postmodernism, Feminism, Literary and Film Theory, Bilingualism, and Borders. She wrote the book Un autor en busca de cuatro personajes: Ulises, Sherezade, Don Quijote y Huckleberry Finn en la obra de John Barth (University of Leon, Spain, 2000), and served as editor of La mujer quijote (Charlotte Lennox’s The Female Quixote, Spanish Edition, 2004) and El 11 de Septiembre y la tradición disidente en Estados Unidos (University of Valencia, 2011). She published the interview entitled “Chicken with the Head Off: Una conversación con Giannina Braschi” (Voices of America/Voces de America. Alonso Gallo, Laura, Ed.  Cádiz: Aduana Vieja, 2004), as well as the article “Bilingues, biculturales y Postmodernas: Rosario Ferré y Giannina Braschi”  (Insula. 667-668 Las Otras Orillas del Español: Las Literaturas Hispánicas de los Estados Unidos, 2002).

http://americanpoetrytoday.wordpress.com/2012/12/23/under-the-skirt-of-liberty-mla-presents-giannina-braschi-in-boston-january-5-2013/

Related TV news videos: Interviews with the author. 

http://www.youtube.com/watch?v=eJ58UuLwsJs

http://www.wapa.tv/noticias/especiales/orgullo-boricua–giannina-braschi_20111205213641.html

 

Yo-Yo Boing! (a scene from the bilingual edition)

 Bilingual edition–The era of the generalist is coming back. The specialist is dated.  The nose specialist, does he consider your eyes, your mouth, your aura, your personality, before he breaks your nose and turns you into another chiguagua.  No, he goes cross-eyed staring at your nose.  Jack of all trades–the specialist diminishes the value of knowing it all, or at least, trying to grasp it all, and adds–Master of none.  Un especialista, just for discerning the details, is not un sabio.  El sabio puede ser un necio.  Mira lo que decía Alcibíades de Sócrates, borracho, en las tabernas, bebiendo vino, con los dientes podridos.  Mistaken for a beggar.  How can a wise man look so base?  Las apariencias engañan.

–No engañan, my darling, confunden. If I say–here, pretzels, here, porn films, here, sexy bodies–then, they will flock to me–looking for cheap thrills, thinking I am another Madonna, but in the middle of my show, I’ll play a trick on them, as they have been playing tricks on me.  Saying it’s great, when it tastes like shit.  I’ll do the opposite.  I’ll dress like a slutty punk, but I’ll give them the real thing, and I don’t mean coke.  I’ll give them poetry.

–What kind of poetry do you write?

–What do you mean?

–I write sonnets, and you?

–I can’t fit life into rhyme scheme.  It would be a straight jacket.  Rhythm is free.  How can I accept rhythms of ancient ages when I’m feeling my own rhythm.  The velocity of cars–the engines of our time–concords, faxes, guns and subways.  The way we talk and the way we commute.  Do we have time to write novels.  What is immortal in a novel is not the form which is long dead, but the context.  And the same with poetry–what is said–that remains, the way we say things, changes.

–Which means, you write blank verse like Neruda.

–No verse.

–Like Rimbaud–or BaudelaireLittle Prose Poems?

Arthur Rimbaud at the age of seventeen by Étie...

Image via Wikipedia

–I do not write little poems.  I write big books.  Which is not to imply that I like everything in them. 

–Then why do you publish them?

–Because it’s not a matter of liking.  Because to tell you the truth, many times, I don’t like myself.  What am I going to do?  Kill myself because I don’t like myself.  No, I exist.  Those poems I do not like function in the whole work.  And they work well.  So, it’s not a matter of liking.  I don’t like my nose, but it exists and it works well.

–You could also get a nose job.

–Why, I can breathe.

–Do you write every day?

–I don’t have something to say everyday.

–I always find something to say.  I have the feeling we are very different poets.  I’m sure Suzana told you that I won a poetry contest at the Poetry Society of America.  It had an environmental theme.  What do you write about?

–I don’t have themes.  I have flavors like Bazooka.  My favorite is the pink one.  I love to suck all the sugar out of the pink one.

–Flavors don’t last, especially Bazooka.  Poetry has a mission and I take my role very seriously.

–So do I.  I want poetry to be a fashion show–to have  a taste of frivolity–savoir faire–a taste of time at its peak–Kenzo, Gigli and Gautier.  I’m more excited by Bergdorf’s windows than the contemporary poetry I’ve read.

–Who have you read?

–I don’t read any of them.

–It shows. You must realize you’re limiting your audience by writing in both languages.  To know a language is to know a culture.  You neither respect one nor the other.

–If I respected languages like you do, I wouldn’t write at all.  El muro de Berlín fue derribado.  Why can’t I do the same.  Desde la torre de Babel, las lenguas han sido siempre una forma de divorciarnos del resto de la humanidad.  Poetry must find ways of breaking distance.  I’m not reducing my audience.  On the contrary, I’m going to have a bigger audience with the common markets–in Europe–in America.  And besides, all languages are dialects that are made to break new grounds.  I feel like Dante, Petrarca and Boccaccio, and I even feel like Garcilaso forging a new language.   

Saludo al nuevo siglo, el siglo del nuevo lenguaje de América, y le digo adiós a la retórica separatista y a los atavismos.

Saluda  al  sol,  araña,

no  seas  rencorosa.  

Un beso,

Giannina Braschi