Month: April 2024

“Monstrua” – Brenda Lozano y Gabriela Jauregui (coordinadoras)


When discussing literature throughout history, names arise within any of the existing currents. We can easily recognize all the Greeks in the creation of classical drama, Edgar Allan Poe establishing guidelines for the structure of contemporary short stories in Romanticism, Oscar Wilde inaugurating his own aestheticism movement… And the examples could go on. It would be elementary to say that literature has been exclusively a terrain of men; however, that would not be true.

Women have actively participated in the creation of literature in all its genres. However, we must refer to the facts; their path was different. To be taken seriously, published, and recognized as writers was a struggle that women had to endure, just like in any other area of society – outside of the roles of mothers and caretakers of the home. In reality, it was only relatively recently that women entered the world of literature with all their strength. Even at this point, we encounter more obstacles, as Virginia Woolf aptly put it: “A woman must have money and a room of her own if she is to write fiction.”


Women generally live in societies where the most extraordinary success they can aspire to is finding a good husband and dedicating themselves to their families and homes. Perhaps, in recent times, it may also be possible to aspire to a job, as long as it does not take too much time away from “neglecting” the family. It might seem that this way of life is a stereotype, but it is a reality. Issues such as deciding to pursue their careers, seeking independence, writing… become acts of rebellion. They become things outside of the every day, something strange and even alien. Like monsters.


The monster created by Mary Shelley in Frankenstein reaches a revelation at some point: to lose fear and acquire power through it. That is what happens in this book. The anthology “Monstrua” talks about how the authors lose their fear of themselves and social repercussions and write. The coordinators choose “monstrua” instead of “monstruo” because, echoing Rosario Castellanos, even making that distinction is important: it’s something feminine. It’s women showing themselves, speaking out, writing.

This anthology offers texts created by young women from different parts of Mexico, from various contexts, communities, and languages, working in different genres such as poetry, short stories, essays, and even radio scripts. In addition, some authors present their texts in their native languages and provide translations into Spanish. Some of the texts are accompanied by photographs that not only accompany but also contribute to the atmosphere created by the text, enriching it and making it more intimate. Thus, readers encounter a proposal full of diversity, experimentation, and originality.


The work carried out by Brenda Lozano and Gabriela Jauregui as coordinators is not only dedicated and beautiful but also necessary. It is crucial for young women to see that what they have to say matters and that some means and people will seek ways to help them make their voices heard. These types of publications are what make a difference in the literary world because they present significant material, even collected from the most remote places in the country, demonstrating that there is still much more to discover.

Inkitt: BbyKevs
Wattpad: @SugoiKevs
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The world of zines

Readers can encounter all kinds and varieties of reading. Books, magazines, blogs, and digital platforms are the most common and accessible formats. However, one format usually thrives in the underground world of reading: the zine.

Just because it’s “under” doesn’t mean that the fanzine is something that is suddenly emerging; in fact, its origins can be traced back to the late 19th century with the emergence of fiction self-publications. Over the years, the zine has taken on diverse shades, leaning more towards the artistic or science fiction in the 1930s, resembling the comic book format. At some point in the 1960s, zines turned towards politics and protest, even touching on taboo and counterculture topics.

Towards the 1990s, with access to computers and the internet, zines also transitioned to electronic media, giving rise to the term “ezine” or “e-zine.” This leap was made to attract more readers while simultaneously reducing distribution costs. Initially, they were distributed as PDF documents, later transitioning to a web format and becoming non-printable electronic magazines. This moment in the life of the zine is more of a branching point, as zines continue to be produced both physically and digitally today.

The fanzine is not exclusive to nor does it exclude any particular topic. We start with the premise that its term is a combination of the words “fan” (enthusiast) and “magazine,” which opens the door to anyone with an interest in a particular subject and writing to create a fanzine. From its beginnings, they were publications made by fans around a particular theme (such as music, sports, literature, film, comics). The fact that fans make them and do not have sponsorships or budgets pushes creators to produce them homemade. Although it might seem like a disadvantage, it actually offers its creators total freedom of expression without economic or any other type of ties to third-party interests.

Creativity is the limit when it comes to creating a fanzine. They can be made solely with texts or combined with images, made solely with images, clippings, or collages, combining papers, giving them any shape. Distribution can typically be through prints, photocopies, and digital PDF documents. The themes can be as varied as their creators, who are often specialists in the topic they present, without needing to be recognized as professionals, valuing their work more than their prestige. Thus, the true essence of the fanzine is being artisanal.

Currently, “prozines” are productions made with professional means, unlike zines. They incorporate all the initial concepts of zines: freedom of expression and creative freedom; however, they are self-published by creators who intend to make a living from their creative work. With this aim, their prints are of higher quality. They have style correctors and professional reviewers to improve their work. Personally, I find that the prozine is not necessarily in competition with the fanzine, as their objectives are different, and the existence of one does not diminish or complicate the other.

Fanzines emerged primarily as a need for their creators to have a voice in an environment where it was difficult to be heard, especially if one held opinions different from those of the time (whether political, moral, or of any other kind). The format, form, and content are as diverse and extensive as their creators, offering a wide range of productions. They were and are necessary if, as a writer, photographer, or graphic artist, one seeks to showcase their work or responds to that human impulse to express oneself, speak, and be heard.

https://www.historiasparaarmar.org/contar/proyectos/15-un-fanzine-sobre-tu-historia

https://www.domestika.org/es/blog/2955-que-es-un-fanzine

https://www.monmagan.com/fanzines/

Inkitt: BbyKevs
Wattpad: @SugoiKevs
TikTok: @bbykevs

“Antología” – Lambert Schlechter

“The Cartonera, an independent, artistic, and artisanal publisher, publishes books with covers made from cardboard collected from the streets of Cuernavaca, Morelos in Mexico. Each of our copies is a unique experience because, in addition to good literature, each of the covers is painted by an artist in our collective workshops,” is the headline on La Cartonera’s website. This publisher is a concept in itself: it is independent, receives no support from any institution, works in an artisanal and non-profit manner. It is, in short, an artistic endeavor that emerges against the current in a context where books seem to be increasingly scarce precious gems, but no less valuable for it.

This publisher also has a deep interest in bringing unconventional titles, such as “Contagio Cartonero: Creation in the Time of Pandemic.” In this book, an organizing committee from Mexico, Colombia, Peru, and Venezuela gathered photographs, illustrations, and texts from over 40 participants ranging from preschoolers to adults. From Argentina, Colombia, Bogotá, Mexico, and Venezuela, artistic proposals such as illustrations, drawings, poems, and stories were gathered to respond to the growing need for unity and survival in the face of the pandemic and thus combat the uncertainty and fear of the moment.

Among these titles, one captivated me for its colors and format. Still, above all, I for its content because upon browsing it, I found that La Cartonera was the first publisher to translate this Luxembourgish author into Spanish in Mexico. Additionally, this edition is bilingual Spanish-French, confronting the texts head-on, allowing for more authenticity and depth by knowing the translated original words. It is a print run of only 150 copies, presenting an anthology of poems and letters by Lambert Schlechter, who is a philosopher and writer of poetry, novels, and essays who has been dedicated to his work as a writer since the early 1980s, and who was also named a Knight of Arts and Letters in 2001.

Although these poems and letters are extracted from other titles by the author, the selection made by the publisher is so good that all the poems seem intertwined and offer a consistent reading. However, I find another detail in these poems: the writer writes about the fact of being a writer. Not many do that; sometimes, the authors try to distance themselves from their works as if they were only concerned about what people or critics will say about their work. I appreciate it when authors are honest with themselves and their writing; it feels authentic. So, in a nutshell, I find Lambert Schlechter, as a poet, tremendously authentic and honest. The letters interspersed with the poems only reinforce this, adding, in any case, more complexity and richness to the poetry.

The themes that Schlechter touches on in his literary works are diverse, which makes a lot of sense when we consider that it has been over 35 years of career; however, universal topics can be found, such as the perception of the passage of time, desire, the complexity of life and death, nature, eroticism, and everyday life. Personally, I find it fascinating when poets talk about what they know and what surrounds them; it allows us not only to understand more about their lives but also to know their perspective on it, to distinguish their opinions, perceptions, conflicts… And realize that even though we may come from different backgrounds, social strata, generations, and genders, intrinsic things unite us as human beings.

Inkitt: BbyKevs
Wattpad: @SugoiKevs
TikTok: @bbykevs