Author: Lorena

Rediscovering Zapata: legends and truths for children

When we hear the history of our country—whatever it may be—we often think of it as something that happened to other people, in another life, something distant not just in time but in space. At times, it seems like it never happened at all. It’s normal to find it difficult to imagine how the world was before we knew it as it is today; even connecting our own present with our own past can be challenging, as much—if not everything—has changed since childhood. Hence the importance—and the human need—to leave a mark of our existence behind, to tell stories, to seek to endure. It’s a natural inclination. In many towns in Mexico, the custom of passing down history, customs, and traditions through oral storytelling persists.

In a poorly told story, we can all be “the villain,” just as when we tell our version, we’ll always be “the hero.” However, regardless of being “good” or “bad”—which is highly subjective—the truth is that history, as written in books, is portrayed from the perspective of the victors. Understanding other perspectives of an event becomes challenging when we can only ask the deceased. Asking Emiliano Zapata about the revolution would be impossible (though wonderful to hear), which is why today he has become nothing less than a symbol. The ideological legacy he left behind is so powerful that after more than 110 years, his slogan “Land and Liberty” continues to be the rallying cry for those who still rebel against a system that oppresses them.

For those who have had an interest in delving deeper into history, in digging beyond what public school books offer, they have discovered that the southern leader was more than just a man interested in power. It’s said that when he sat in the presidential chair—without seeking any kind of title—he said to Francisco Villa, seated beside him, “And this is what they fight over?” But that could well be just an urban legend. What this title offers is something much more genuine and real: it’s the story of someone who was there, a man who in his youth was a Zapatista.

“And Zapata Keeps Riding” is a short story aimed especially at children, written by Victor Hugo Sánchez Reséndiz and published by La Cartonera. The narrative is simple yet captivating from the first page due to its authenticity, themes, and passion. Sánchez Reséndiz recounts the story of his grandfather, who used to tell children who approached him how it was to fight alongside Zapata, the reasons they did it, what life was like before, and how it was after the Mexican Revolution. He also tells them about the true fate of the leader and how he didn’t die as history says but went to Arabia, because he’s coming back to fight for freedom. This is what brings beauty to the story: the intimate aspects, the moments exaggerated for the sake of the narrative, the pride with which it’s told.

Although increasingly distant, the past is something that shapes our existence. It’s necessary to be able to reconcile with the past we have as a nation, to honor our origins, and to make peace with the dark episodes that have fallen—as they do for everyone—in our country. When we can do that, we can leave the past where it belongs and look towards tomorrow. And it’s important to clarify that leaving the past behind is not about forgetting it; on the contrary, it’s about acknowledging it. In recognizing it lies the rescue of stories like this one, valuable because they are part of the everyday; because the world has not been built only by the names that appear in books but by all the people who accompanied them, like Sánchez Reséndiz‘s grandfather. This title is filled with nostalgia, tender descriptions of Morelos and its people, but especially with tradition.

Inkitt: BbyKevs

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Arts Bazar 2024: A Celebration of Creativity at CASUL

On Saturday, June 29th, La Casa Universitaria del Libro (CASUL) opened its doors once again for another edition of Arts Bazar. The event showcased an impressive array of creations, including comics, illustrated fanfics, copics, fanzines, graphic novels, and printed illustrations in serigraphy, risography, and posters with various finishes: matte, glossy, and holographic. The bazaar also featured an assortment of items like mugs, pens, pins, collectible cards, and many other products. A unique aspect of this event was that, in most cases, the artists and creators of the displayed works were also the exhibitors, providing an opportunity to ask them directly about their pieces and projects.

CASUL is located in Roma Norte, on Orizaba Street. This venue organizes events, courses, workshops, and other activities open to the public. The contrast between the colonial house with its wooden floors, high ceilings, and large windows and the modernity of Arts Bazar created a harmonious atmosphere where the old met the new. The event was spread across three rooms, two of them circular, resulting in a round exhibition where attendees had to see all the tables to enter and exit. A podium was also available for presentations of graphic novels, such as “Regueiras” by Eterno Femenino Editorial, discussions like “Perspectives and Challenges of Self-Publishing Comics in Mexico” by Virus Visal, and “Creative Process of the Project The Importance of Being Mexican” by Ric Velasco, as well as workshops and presentations of new editorial projects.

Decomixado Comic & Toy Store , one of the most important comic stores due to its extensive catalog of new titles and collectible, rare, and discontinued items, was present with a wide range of comics, some even in protective acrylic cases for collectors. Sharkius brought comics and graphic novels for all ages with diverse themes such as superhero stories like the independent Mexican comic “Códices infinitos,” comic strips, LGBT+ love stories, and even the story of siblings who disappear after entering a cave from which a witch was said to have emerged 100 years earlier to terrorize the town, a tale found in “Sábado negro” by Tiras sin Sentido.

Asfalto presented a series of graphic novels and fanzines with darker themes, offering a perspective of a possible post-apocalyptic world filled with humanoid figures. In a similar post-apocalyptic vein, Joshua Hernández’s “Ecatepunk” draws inspiration from the movie “Mad Max” and punk culture to tell a story of what might happen after the near-extinction of humanity, suggesting that certain social conditions, inequalities, and violences would persist as they are inherent to humanity. Arturo Piña explores twisted human issues in several of his fanzines such as “Mente D’Mente” and “La taxidermista,” where death lurks despite seemingly harmless situations. In contrast, Gnomariana showcased the two volumes of her comic strip series “Red Flags,” depicting small moments of modern romantic relationships, while Dacachi exhibited three of his graphic novels, each featuring beautiful illustrations that you could purchase individually as a set of collectible cards.

Arts Bazar successfully gathered a diverse array of artists, demonstrating that creativity knows no bounds and manifests differently in each of us. Presenting at CASUL added an extra appeal, making it a great excuse to visit the Roma Norte neighborhood on a weekend. Undoubtedly, attending this event requires setting aside a good part of the day, as it is definitely worth exploring all the tables.

Inkitt: BbyKevs

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Emerging voices: youth and innovation at FIC UNAM 2024

When we think of cinema in Mexico, it often harkens back to the Golden Age of Cinema and more recently, to the triumvirate of Alfonso Cuarón, Guillermo del Toro, and Alejandro González Iñárritu—especially in international circles. However, it’s important to draw a distinction between Mexican cinema, cinema in Mexico, and Mexicans making films abroad—though they may seem similar, they are distinct. Despite these differences, what is clear today is the increased prominence of this art form in the country, focusing not only on national productions but also on film schools and young creators—who are numerous and undoubtedly seeking to find their identity as filmmakers and create original works.

In this context, the National Autonomous University of Mexico (UNAM) once again hosted the International Film Festival, held from June 13th to June 30th, primarily at the Centro Cultural Universitario. Established in 2011, this festival was originally conceived to promote contemporary international and Mexican cinema, now regarded as one of the most influential festivals in Mexico City and the country for art cinema. Each year, it has attracted not only more attendees and media coverage but also expanded its activities, including film screenings, lectures, discussions, performances, tributes to global cinematic figures, and various film encounters with open calls to the general public, culminating in an awards ceremony.

Additionally, a UNAM bookstand was set up at the CCU, featuring a selection of works ranging from recent releases to titles that have been part of its catalog for several years. Dominated by categories like music, theater, cinema, and literature, one of the standout titles was “Alguien camina sobre tu tumba” by Mariana Enríquez, notable not only for its colorful cover but also for its updated edition that includes new stories from cemeteries around the world visited by the author. Also featured was “El lejano Oriente de la poesía mexicana,” a compilation of Mexican poetry inspired by Eastern countries and their culture, alongside volumes of “El Ensayo,” a collection of Mexican essays seeking to emphasize their literary value, correcting the notion that this genre is often overlooked in Mexico.

Similar to the previous year, the festival collaborated with the Locarno Film Festival to host the Locarno Industry Academy Mexico. This workshop is aimed at young people from Mexico and Latin America interested in sustaining independent cinema circulation, covering aspects like distribution—both online and traditional—sales, marketing, exhibition, festival programming, and other technical aspects. High school, undergraduate, and graduate students, as well as the general public, were invited to participate in the Alfonso Reyes “Fósforo” Film Criticism Contest, where they could write essays on a selected film showcased at FIC UNAM.

The core purpose of this event lies in sharing cinema—sharing it in all its facets: taking it to new places, watching it with others, discussing and debating it, and experiencing different perspectives of cinema. It’s intriguing to note that most workshops and lectures target young audiences, and the majority of attendees at screenings are also young, perhaps seeking films not readily available in mainstream cinemas or that are inaccessible due to limited distribution. However, this grand edition has heightened anticipation for next year’s celebration of the project’s 15th anniversary.

Inkitt: BbyKevs

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Discover the Charm of Coyoacán and Its 2024 International Book Fair

The Center of Coyoacán is an iconic location in Mexico City. Walking through its cobblestone streets, exploring its alleys and narrow roads, and admiring the architecture of its houses and buildings is a delight. However, it brings together a series of elements that distinguish it from other similar spaces in the city: the Parish of San Juan Bautista, Hidalgo Plaza with its fountain adorned with coyote statues, the kiosk, the restaurants, cafes, bookstores, and ice cream shops on the surrounding streets, and the cultural centers. If one needs an excuse to visit this place, the Coyoacán International Book Fair 2024 provides it.

In Hidalgo Plaza, the third edition of this fair took place. Tents were set up to accommodate 180 exhibitors (publishers, bookstores, and independent projects), as well as conferences, discussion panels, conversations, book presentations, and workshops. The diversity of workshops ranged from origami, watercolor, and drawing to bookbinding, paper masks, and papier-mâché. Other activities included storytelling, concerts, dance performances, and dramatic readings. All these activities were free and open to the public.

The State of Guanajuato was a guest at this fair, presenting its editorial project that aims to give voice to various proposals under the direction of the State Institute of Culture of Guanajuato and its publishing house Ediciones La Rana. Likewise, the Francophonie was invited. Due to political agendas in the country, this collaboration took place in January with representatives from the embassies of France, Canada, Switzerland, Belgium, and Haiti, celebrating Francophone culture and arts in Coyoacán and reading the book “The Rooster and the Serpent.” This title compiles poems introducing contemporary French poetry to Mexico, drawing an analogy between the rooster (France) and the serpent (Mexico).

Among the exhibitors, Mango Manila Editorial stood out with a simple yet effective strategy: they set up children’s tables and chairs with books at a child’s height, precisely targeting their material to them. Also, with a desire to engage children in journalism, the newspaper La Crónica coordinated an activity where children were given vests and microphones to interview the exhibitors. For attendees of all ages, they offered another attractive activity: taking photos and printing them on the front page of a newspaper.

La Cartonera found its place in the Espacio M tent, dedicated to artist books, book objects, and self-published editions. Their titles are as varied as their authors, focusing primarily on poetry, novels, short stories, and some translations, uniquely bound in cardboard with hand-painted covers, giving each copy exclusive identity and value. In the same tent, Pedro de Jesús led an ex libris stamping activity, sharing his work from Cuernavaca at the fair.

The week assigned for visiting this fair may seem short, considering all the activities, but it promises to be an annual event. We hope it continues to bring many more activities, talks, concerts, readings, workshops, and, most importantly, books to the public.

Inkitt: BbyKevs
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Movimiento Zapatista

“Aprendizajes del movimiento zapatista: de la insurgencia armada a la autonomía popular” – Lia Pinheiro Barbosa y Peter Michael Rosset

Considering Mexico as a tourist destination is always a good decision. It has beautiful beaches, cenotes, forests, towns, ancient civilization ruins, exquisite cuisine, and people who always welcome tourists warmly. On the other hand, living in Mexico City is an experience I would highly recommend. There is a mix of folklore, color, and tradition alongside the modernity of global technological advancements. In this city, there are many cultural and artistic offerings, numerous tourist attractions, and access to education. However, these two views are a bias that has been generated, perhaps because we tend to see the glass as half full. But the reality for those living on the outskirts of the city and those living in the provinces — not so far from the main tourist centers — is very different.

This movement began on the night of January 1, 1994, when the Zapatista Army of National Liberation (EZLN) staged an armed uprising in San Cristóbal de las Casas, presenting the First Declaration of the Lacandon Jungle: eleven demands—work, land, shelter, food, health, education, independence, freedom, democracy, justice, and peace. In essence, what they were demanding was as simple as it was fundamental: rights. These rights, which by the mere fact of being Mexicans, were already guaranteed by the laws established in the Constitution of 1917, but over the decades, they had been deprived of them or directly denied them. Who denied them these rights? Who marginalized the indigenous communities? The government could easily be partly responsible for this by not having the means to ensure the full exercise of their rights by providing roads and schools with adequate teaching materials, and establishing workplaces with fair working hours and wages, which in turn would allow them to access housing with water, sewage, and electricity services, as well as food and clothing. However, in this complex situation, there remains another actor to be named: the rest of society.

The modern society that adopted the customs of the conquerors lives in cities, speaks Spanish, and embraced a system that proposed neoliberalism as an economic model—a system that indirectly led to the EZLN movement. Although it is a society with many shortcomings and issues to resolve, it is not comparable to the precarious situation of most indigenous people in Mexico. While we are all Mexicans, the opportunities and contexts are not the same: indigenous communities have often been isolated and discriminated against for maintaining their customs and traditions, leading to them being seen as “the others.” This has created a separation that has only widened the cultural, economic, and political gap, culminating in the indigenous-peasant movement. This movement has had its flaws, like any autonomy, but it has maintained a legitimate struggle in the social aspect and has, in turn, inspired more similar manifestations.

The Latin American Council of Social Sciences offers readers a collection of books that aim to document the main movements, uprisings, and conflicts in Latin America and the Caribbean in the 21st century. Among them is this title, where the authors explain how, three decades after its inception, Zapatismo offers the most comprehensive, explicit, and radical version of indigenous-peasant autonomy known in the contemporary world. Thus, it becomes an essential read for understanding the current context of the countries in Central and South America.

Inkitt: BbyKevs
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Kermés “Editing the Everyday”

On the rooftop of the UNAM Museum, the fourth edition of the kermesse “Editing the Everyday” took place today, Saturday, April 13th. Although it may sound unusual, it is precisely that: a kermesse. At the entrance of the museum, a stand was set up where people could get prints stamped on their skin like tattoos, serving as an invitation to go up to the kermesse, which was held on the rooftop. Upon entering the rooftop, attendees were greeted with hibiscus water and basket tacos. The event dynamics were explained, and “churru-pesos” bills were distributed, which could be exchanged for activities at the stands or items for sale, essentially serving as a welcome. The organizers of this event are 10 self-managed editorial collectives seeking to showcase their work as fanzine creators, while also creating a space to welcome both those familiar and unfamiliar with their work.

In Mexico, there are times of the year when, to commemorate special dates such as Independence Day and Mother’s Day, schools organize events called “kermesses.” These events are about socializing with classmates through games, activities, and sharing food. They were even more enjoyable when students were allowed to wear everyday clothes instead of uniforms, adding an extra appeal. Thus, the kermesse was the most “punk” moment of the year. For these fanzine creators, who know that the origin of the fanzine is rooted in punk culture, they have revived these two concepts to create “Editing the Everyday.”

The fact that it is a kermesse is not a coincidence; it is an idea developed by La Zinería and Editorial Mitote. They invite colleagues from the field whom they have met along their journey in editing and publishing. This journey has mainly been through bazaars and certain cultural events where, during social interactions, they noted that there are no spaces exclusively for them and their work as fanzine editors and independent publishers. So, not finding a place in book fairs or venues that open their doors to them, these collectives organize themselves and seek their own places for meetings and exhibitions.

The artistic offerings ranged from fanzines to prints, illustrations, posters, newspaper figures, paintings, and items covered in epoxy resin. Additionally, there were talks, workshops, and readings in a room below where the kermesse took place. I came across titles such as “Cómo romper el corazón de un elefante” by Brian O’Brien, which narrates how elephants are kidnapped and separated from their herd to be trained and sold to zoos or circuses. Larissa Alcántara presented “¿A qué velocidad viaja el pasado que siempre nos alcanza?” where she discusses drug use during adolescence, packaging the fanzine in a plastic bag along with colorful stickers, small candies, and bead bracelets that resemble pills, thus creating an analogy to how drugs are packaged and presented. Baruck Racine created a photographic fanzine that tells the story of his life in the USA during his childhood, his life in Mexico, and how the border separating the two countries is not just physical. Additionally, the UNAM Fanzinoteca lent material for exhibition, which is part of their catalog that can be consulted at any time in their archival center.

The main idea of these collectives, besides showcasing their work, is to create spaces and build communities. They find it essential to break the stigmatization of what art should be and for whom it is intended. This particular vision arises because the creators have found that in their communities of origin, which they refer to as “the periphery”—Xochimilco, Ecatepec, Cuautla, Tláhuac, Morelos, Tlalnepantla—there is little openness to the graphic and artistic expression they produce. Few spaces have taken the risk in previous editions of this kermesse to open their doors and even fewer to finance them. Therefore, by joining efforts among collectives, they prepared an open invitation to the general public, creating an event where children are also welcome, offering young ones the opportunity to engage with this world and show them that there are people who make a living by “drawing pictures.”

@yolitzin_amantolli

@larissadeltiempo

@___existo___

Inkitt: BbyKevs
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Fiesta del Libro y la Rosa 2024

From Friday, April 21st to Sunday, April 23rd, and across 3 venues, the Book and Rose Festival 2024 was presented in Mexico City. More than 220 publishers were convened, and over 7 discussion forums, book presentations, and talks were set up, in addition to offering workshops, concerts, and theater performances, all completely free and open to the public. It was impossible to cover everything among the numerous stands and activities, and the fact that it was divided among the University Cultural Center, the Tlatelolco University Cultural Center, and the Chopo Museum. However, like sweet things, it’s worth sampling a bit of everything to savor it truly.


In the University Cultural Center plaza, a tent covering 83 of the more than 145 available stands was set up; the others were arranged in front of the Juan Ruíz de Alarcón theater and the Sor Juana Inés de la Cruz forum and along the path to the theater area parking lot. It’s worth mentioning that Teatro UNAM also participated in this event by setting up the Carro de Comedias at the back of the fair, offering performances open to the public. Among the book stands, there were also 7 discussion tents, 2 workshop tents, and a UNAM Radio booth with a speaker pointing outward for visitors to listen to the program being broadcast inside, which included interviews with guest authors.


UNAM dedicated spaces to some of its faculties and entities, such as the UNAM Film Library, which presented its research texts as well as DVDs of national and international films; similarly, Ciencia UNAM had a stand dedicated to its publications in the form of popular science magazines. Several faculties were represented, including the Faculty of Art and Design, which showcased its catalog of design books, and the Faculty of Philosophy and Letters, represented by its Philology College and Philosophy College. Among many others, the largest and most striking stand was that of UNAM Books, which included titles such as “Monstrua: Antología de 10 escritoras mexicanas” , which, despite being released a couple of years ago, remains relevant and attractive due to its narrative proposal. Following the same trend of giving voice to women, “Mujeres insurgentes de los años 70: Género y lucha armada” was also among the booksellers, remaining an essential research piece worthy of consideration for understanding our history.

While among the participating publishers was “Leetra” specializing in children’s books and featuring engaging materials for children to interact with, this was the boldest move made at the University Cultural Center. Meanwhile, the other two festival venues took a different approach, more open to independent and alternative content proposals.

At Museo del Chopo, stands were full of fanzines, illustrations, artwork, and second-hand books, offering a wide range for those seeking more than conventional books. Similarly, the museum provided a space for book presentations, with speakers and attendees at the same floor level and a very short distance apart, thus providing a sense of intimacy.

The perfect balance between these two venues was Centro Cultural Tlatelolco, which provided the Juárez hall for over 50 publishers to present a variety of conventional books, children’s books, fanzines, illustrations, comics, second-hand books, and art books. The proposals were diverse, offering titles for all tastes and ages, combining the “conventional” and the “alternative,” taking the best of both worlds. Nonetheless, regardless of the venue one chose to visit, all spaces were an excellent option to explore, just like they are throughout the year, as among the museum’s permanent exhibitions, temporary exhibitions, theater billboards, and workshops, the Book and Rose Festival is just a taste of UNAM’s entire cultural offering.

Inkitt: BbyKevs
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“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
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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
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“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.

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