Mucha Muchacha, Too Much Girl: Poems

The word “vos/z,” spoken in Salvadoran Spanish, means “you” and also means “voice.” If the word ends in “s” it means “you”; ending in “z” it means “voice.” Leticia  Hernández-Linares’s poetry comes in somewhere between the S and Z, and it is, like bread, like music, for everyone. The way Leticia shares her stories speaks to the hybridity of the cultural and literary histories she hails from.
Leticia’s poemsongs are her personal flor y canto. Mexican and Central American indigenous ancestors combined the concepts“in xochitl, in cuicatl” (in flower, in song) to define poetry—the poetic oral tradition they used to teach, engage, and philosophize. Leticia’s writing excavates the faces of women in her family, silences in her community, and shapes their stories into a poetry that sings, and other times dances on the page. “I am cut from Santa Ana, El Salvador mujer steel, y qué orgullo,”says Leticia.

• The People of Paper
• By Night in Chile
• Dahlia Season: stories & a novella (Future Tense)
• Chronicle of a Death Foretold
• The Latin Deli: Telling the Lives of Barrio Women
• Looking Out, Looking In: Anthology of Latino Poetry (Hispanic Civil Rights) (Hispanic Civil Rights (Paperback))
• Klail City / Klail City y Sus Alrededores (English and Spanish Edition)
• The King and Queen of Comezón (Chicana and Chicano Visions of the Américas Series)
• Anna in the Tropics (TCG Edition)
• Dreaming in Cuban