THE DETROIT POETS: CULTURAL PRIDE AND SOCIAL CONDITION BY Dr. Reynaldo Ruiz Eastern Michigan University   Working Paper #4 July, 1990   Abstract: In this working paper Dr. Ruiz analyzes previously published selections of poetry written by Chicano and Puerto Rican poets from Detroit in the 1980's. The two major themes expressed and analyzed in this selection reflect two central concerns of the Latino community of this city. The first theme is that of retaining pride in their cultural heritage in spite of the pressures exerted by the dominant, hegemonic culture and society. The second theme deals with the social conditions and problems endured by Detroit's predominantly working class Latinos in their struggle for existence. The author is grateful to the poets and Casa de Unida for their kind permission to reproduce the poems included herein. About the Author: Dr. Ruiz is an associate professor of Spanish Literature in the Department of Foreign Languages at Wayne State University. A native of New Mexico, Dr. Ruiz has degrees from Kent State University, the University of Michigan and his Ph.D. from the University of New Mexico. He has recently published his first novel, Encuentro con Estanislao Eckermann.   THE DETROIT POETS: Cultural Pride and the Social Condition People of different regions are, at times, as different as the regions themselves. Although there may be many factors that bring this group of people together, there are differences that separate them. If the diversity in topography has shaped and molded the psyche of the nuevomexicano, and if the urban setting with its implacable noise and relentless social pressures have contributed to the Chicano and Latino psyche in Los Angeles, San Diego, San Antonio, and New York, the same set of assumptions could very well be applied to the Latinos in Detroit. The purpose of this article is not to prove that the Detroit poetry is different, and of better quality, but merely to bring to light and offer some observations regarding the nature of the creative spirit of the Chicano poets in Detroit. This short article will attempt to present the dynamic spirit of the people, the different hues of the Latino, the dissonant voices and tones, and the poetic expression of the Detroit barrio. It will also include pieces of poetry that exemplify this new Latino spirit. This paper is based on the poetry presented in Volume I and II of LA ONDA LATINA EN POESIA-DETROIT, published in 1985 and 1987 respectively. [1] I have limited my comments to these two books for two primary reasons: 1) these books have been compiled as the result of a concerted effort to bring to light the rich literary tradition of the barrio Latino in Detroit; 2) these volumes contain a representative sampling of the poetry which is most convenient for a study of this type. It is within this framework that I would like to pursue my analysis. Given the unique historical situation of the barrio Latino in Detroit, it is only reasonable to present a brief historical view of the Latino influence in Detroit. In 1980 poets were not born in a vacuum and neither did they spring up overnight. The Latino influence in Detroit goes back many years and its contribution to the barrio has given spirit, strength, perseverance, and sustenance to the people. Historically, it has been the less fortunate or as we say in Spanish "el desdichado"-- the little guy, the underdog, the "marginado", the unwanted, the autoworker, the migrant worker, the steelworker, and the dishwasher-- who has laid the ground work for the Detroit poets of the 80's. It is this same environment that will catapult the Detroit poets to greater successes in the 90's. Regardless of the success of the 80's and the ones to come, the common denominator remains the little guy or "marginado" who continues to impact and invigorate the barrio, an environment that is multifaceted, dynamic and yet with a lot of contradictions. It is through the use of poetry that one can reach the collective unconsciousness of the people. By looking at the "intrahistoria" the poets have been able to provide images that will enable the reader and listener to understand the essence and genuine spirit of the people. [2] The northward wave of Mexican (Latino) migration, in general, began with the industrial expansion in the Midwest in the 1880's and 90's. It was the railroads that opened up this northern area to the migration waves coming in from Mexico during the turn of the century. By the 1900's, small groups of Mexicans began to penetrate the Detroit area. Most of these people worked in the fields, and later on in the factories. With the economic success of the region "enganchistas" came into play, and consequently, by the 1920's there were about 15,000 Mexicans in the Detroit area. [3] By the 1930's, there was a sizeable "colonia" of Mexicans in Detroit, and a small minority of these had some economic success working in the factories. Although the city of Detroit was enjoying much economic prosperity after World War II, the Mexican "colonia" was experiencing difficult times due to many factors that were impacting on its growth. Relocation efforts by the Public Welfare Office and the Immigration Services repeatedly harmed the growth and harmony in the Latino Community. Discrimination by city and state officials, as well as by the larger community, was rampant. Roads and highways destroyed a large part of the barrio and the Latino community in Detroit began to disappear. However, the spirit of the people and pride in their Mexican tradition and culture gave them strength to continue with their lives. Some kept their language and most practiced their ethnicity. The 1960's brought new ideas into the struggle. Throughout the country there was an awareness of the Latino presence. The political tactics used by other minority groups contributed to the "lucha" in Detroit. People started to organize and several social and political organizations came into existence. State, federal, and city programs were implemented only after efforts by the community leaders changed the disposition of city and state political organizations. The 1970's were similar to the efforts of the 60's. A few federal programs were in place; social organizations like LASED, New Detroit Inc., Community Health and Social Services, Latinos en Marcha, the Coalition of Chicanos and Boricuas, La Raza Unida, and other social groups had an impact on the political machinery. These organizations maintained unity and kept the Latino spirit in the community alive. In spite of these efforts, the Latino community continued to be dealt serious blows. The freeways--Fisher Highway and the Lodge Freeway--split the Latino community and further disintegration of the barrio continued. The economic success of some families contributed to the break down of the community. People moved out and became assimilated into other communities. Many forgot the traditions of their rich heritage. Although the Latino community in Detroit historically had never had a closeness as a community there has always been a core of people who have continued to live in the area and who have managed to keep their traditions, customs, and language intact. It is this small group of Latino citizens who have fostered a sense of the Latino community and a sense of pride in the Latino culture and language, and furthermore, have influenced the writings of the Detroit poets. [4] It is within this historical framework that the Detroit Poets of the 80's were born. I do not mean to suggest that there was no creative work going on prior to the 80's. Even a cursory look will reveal that there were some poets and other artists that contributed their talents and artistic expressions prior to this time. However, documenting and bringing these artistic manifestation to light remains to be done. It is fertile ground that has to be studied and documented. Now, how about the Detroit poetry? What is it like? Is it any different from Chicano or Latino poetry written in Texas, California, Arizona, New Mexico, Chicago, Miami or New York? To answer these questions is quite difficult and beyond the scope of this article. It is our intent to present some common and salient characteristics of the Detroit poetry of the 80's. I have chosen to include the two major themes that appear in both volumes of poetry. One of these themes deals with the notion of cultural identity and cultural pride. In the Detroit area there are two major groups of Latinos--the Mexican American and the Puerto Rican. Although there are quite a few Centro Americanos, and other Latinos from other countries, their poetic voice has not been heard to any great extent. Cultural identity is presented in many tones and forms. The cry of the Native American is silent and clear. Their interpretation of history and the treatment of their people at the hands of the White European settlers is well documented in a soft but firm rhythmic sound that accentuates the warmth of the Native American. In contrast, the reader will sense the materialistic and egocentric White man taking advantage of a situation. Marcelle Douglas writes:   The Villanelle of Conquest   Though they were met with outstretched hand Their hate and ferocity inspired by greed and fear They came to take away our land   Piece by piece they wrested the land That they had traveled far and near Though they were met with outstretched hand   They had no guile to match the man Searching for a new frontier They came to take away our land   There was no peace within the clan Deprived we were of all that was dear Though they were met with outstretched hand To reservations and anonymity they did ban Thus to our death and silent tear They came to take away our land   They have weakened; it is time to plan The future now for us is clear Though they were met with outstretched hand They came to take away our land   The influence of the Indian or the Mestizo comes up in a more tenuous form. "Bedhopper Blinded" by Jacqueline Sanchez presents the Mestizo and the effects that White society has had on him. The coming together of the two races is presented in a positive light. Its acceptance and pride are part of the message. However, the poet's plea to the warriors and to the Chicanos to exert their place and role in society appears to go unheard.   Bedhoppers Blinded   Mexinjun you speak with forked tongue your cup runneth over with contradictions crazy?   You lap-up luxury as time passes rapidly whilest artistic creativeness waits on the sidelines crazy?   bedhoppers numb warriors grandfathers turn their backs and elders stand mute crazy?   the winged eagle headed your way, returned deed undone crazy?   blinded by external ungutted lies the warrior has disappeared the warrior has disappeared crazy!     Another variant of the Latino pride and identity can be heard in a more forceful manner. It suggests the use of the term "Chicanismo" as opposed to the use of the term Mexican American. Jose Leyva Garza's poem "Soy Tex Mex" exemplifies a conscious desire to announce to society that there is nothing wrong with being Tex Mex or Chicano. Furthermore, the poet addresses the Latino and reminds him/her of the migrant experience--that many have lived and endured here, and which should not be forgotten.   Soy Tex Mex   thoughts that drink the cathedral-like prayer chatter of brown skinned people massed before the endless walking row after row   earth wave upon earth wave of short hoe stooping cutting collecting carrying and sweating watching the owners pause to wipe red taco sauce from their hands pausing to call for more work more bodies more taco sauce bodies from Texas Mexico Ohio Illinois Indiana and Michigan making the yearly slave trips to summer water wonderland vacation places Traverse City Ludington Hart Shelby Mears Monroe   te acuerdas de las piscas ese? those bone tiring hot july days suspended in cherry trees carrying water climbing ladders and dreaming of better days dreaming of your relatives dreaming of the mother country   te acuerdas de tu gente compadre?     Now let us consider how a Puerto Rican addresses the question of cultural identity. This poem is by Anibal Bourdon and although it follows a traditional rhyme scheme, the message is unequivocal. Bourdon not only mentions his knowledge and understanding of his country's contributions, but also underscores his cultural pride.   Mi Puerto Rico   No sé nada de cultura, ni de ciencias, ni de artes Pero de mi Puerto Rico Digo, que sí sé bastante.   Sé de los grandes poetas, De grandes compositores Como fue Don Rafael Igual que Don Pedro Flores   El Señor Albizu Campos Tambien Luis Muñoz Marín   Yo se de el Grito de Lares Cuando se formó el motín.     Se de las grandes leyendas, Que tiene mi Puerto Rico Parece no tener nada Pero es sabroso, bonito.   Si....yo les puedo cantar, Y ahora, se lo contaré Que a Puerto Rico Señores Jamas yo lo negaré.   Y cuando sale la luna, Las noches se ven mas bellas Y las estrellas, brillantes Siempre están al lado de ella.     A very interesting variant is one that presents the assimilated Latinos who are consciously aware of their monolingualism but whose cultural baggage continues to influence them in subtle ways. The use of Spanish, in this next poem by Delfin Munoz, indicates the true spirit of the Latino's unconscientious expression of cultural pride.   The Shade of Steam Heat   We travel from day to night Yet the shadows all surround us We ask for the ham We ask for the cheese but mondongo is on our breath We ask for disco We ask for the rock but listen to Willie y Celia The shadows continue from day to night We walk quite proudly then shout quite loudly, "Que pasa, mamita?" We dress quite prissily but dance one only to a salsa in the wind And it is the shadows     of the night and day the shade of steam heat that are the good part the very best part   The second most prevalent theme is one that deals with the social conditions in which the Latino finds him/herself. These conditions appear in different degrees and are expressed in different modes. Some present, for example, the exasperation of families regarding crime, drugs, and other social ills in the barrio. The following poem by Ana Cardona, which has no title, concretizes the sad state of affairs regarding the disintegration of the family and community. The lack of a title in the poem suggests the coldness and distance that permeates a society that has been influenced by the indifference of the White social structure.   young boy of 14, son of man i know through generous happy sharing shoots himself, is shot, by nickel-plated handgun   i am touched by the loss of a boy i know only in death   a community is brought close through this death-for-no-good-reason.   i loose[sic] myself in thought of the mothers, fathers, children, lovers,   feeling, losing, having stolen from them the presence, the being, the life of their baby, their baby, their love, their other, their self the sobs and cries and   pain the hollow loss the mother's empty stare, carried, walked down the aisle past her now dead baby son     y padre, aguantando, apretando, gritando su dolor en forma de nina de 4 anos nina, imagen de nuestro amor.   amen.   Victoria Gonzalez states that our social predicament is due to the many years of enslavement and exploitation. She is convinced that the Latino's being and essence is and has been a product of the materialistic paws of capitalism.   Y me pongo a pensar que las cosas que recuerdo de cuando era chiquitita no vienen de ser Latina sino de ser pobre.   In other words, how much of my culture is a direct result of being exploited?   Y pienso en tortillas recien-hechas calientitas y sopa de frijoles con queso frito.   Recuerdo tambien el patio de mi casa y el palo de mango el de aguacate y las quinceañears serenatas pinatas posadas purisimas   Y en nuestro idioma el Espanol herencia de los conquistadores verdura frescura.   Y me doy cuenta que no fuimos hechos para vivir en ghetos favelas o reservaciones.     In her poem "And This the 20th Century", Rosa Maria Muñoz synthesizes in a clever manner the hypocrisy and insensitivity of our leaders, politicians, government, and society. It appears to be very light in nature and it seems that she is laughing at the deplorable conditions, but the totality of the poem reveals just the opposite. She is very serious. Her sarcasm and cutting criticism reaches us in a very poignant manner.   AND THIS THE 20th CENTURY   And this the 20th century where they can rape you with a fictional smile where all the talks on streets of crack and crime are as natural as cornflakes, hot dogs, and hamburgers and buns, where all the prostitutes on Michigan Avenue are unemployed because they failed to give a piece of flesh to the I.R.S. where people freeze to death in line for a food basket and satisfy their hunger for a while yet still we have a peace of mind for there are no talks on nuclear wars and this the 20th century my friend where everybody rapes you with a fictional smile.   Another of Rosa Maria Muñoz' poems utilizes an unusual approach. The structure of the poem is based on the "Our Father" and its content integrates contemporary problems that have affected the Latino community in a negative manner. The poem reads like a prayer and the reader and listener are left with a succinct image of a world that is at the hands of some potentially dangerous individuals. Its sharp criticism is enhanced by the poet's plea to God to intervene and keep humanity from going through a nuclear war.   Padre Nuestro, que estás en algun lugar del Universo Santificados sean aquellos que no tienen de comer     Líbranos del tirano, imperialista y opresor Perdónanos nuestras deudas y haz que el imperialista perdone a sus embrollones, y a todos sus deudores.   No nos dejes caer en la garras del opresor, mas líbranos de todo mal como la guerra nuclear.     In conclusion, an attempt has been made to share with the reader the creative and artistic world of the Detroit poets. It is evident that this short article does not offer a balanced view of the poetic expression of our Latino poets. This is not because of our lack of interest or concern, but because of the constraints that have been placed on works of this nature. We have presented the two major themes that appear in the two volumes of poetry--cultural pride and social conditions. Today, the barrio Latino in Detroit is alive and well. The Latino people continue to influence society while they reinforce their way of life by actively practicing their cultural and traditional customs. Poetry is one of those traditional mechanisms through which the community has always expressed itself. It is a vibrant and artistic medium through which the reader and listener can begin to understand and appreciate the idiosyncrasies, aspirations, values, and voice of the people.   Notes: 1._________________, LA ONDA LATINA EN POESIA, Volume I,II.: Detroit, Michigan. Casa de Unidad. 1985, and 1987. 2. Rico, Francisco. HISTORIA Y CRITICA DE LA LITERATURA ESPANOLA. Editorial Critica Grijalba, Barcelona, 1980. pp.225. 3. Valdes, Dennis N. EL PUEBLO MEXICANO EN DETROIT Y MICHIGAN: A Social History. Detroit, Michigan. College of Education, Wayne State University. 1982. pp.9. 4. Ibid., pp.17.