In Rane Arroyo's poetry we hear echoes of Whitman, Lorca, Neruda. But more important, we hear Arroyo's own song of self rendered with a lyricism that belies its astonishing and redolent honesty. The Buried Sea: New and Selected Poems is a powerful addition to the American literary landscape. --Connie May Fowler.
Drama. LGBT Studies. Latino/Latina Studies. DANCING AT FUNERALS: SELECTED PLAYS invites readers to a world of violence, passion, and comedy. Rane creates characters and plots that caputre the hard work that is required to understand tenderness.
ThereÕs no denying it, media culture has ushered in a new era of visibility for gays in America. Yet somehow the gay Latino doesnÕt fit into this sound-bite identity and usually isnÕt included in national media images. Rane Arroyo offers a corrective. Known primarily as a poet and playwright representing the gay Latino community, Arroyo has also been publishing prose throughout his career and now gathers into this book a storm of writing that has been gaining strength, drop by drop, for more than ten years. How to Name a Hurricane collects short stories and other fictions depicting Latino drag queens and leather men, religious sinners and happy atheists, working class heroes and cyberspace vaquerosÑa parade of characters that invites readers to consider whether one is more authentic a gay Latino than another. Whereas actual hurricanes are given names, the gays given voice in this collection must name themselvesÑand these narratives in turn reveal something of the "I" of Hurricane Rane. Whether portraying a family gathering as Brideshead Revisited with a mambo soundtrack, recounting the relationship of transvestite Louie/Lois and her bisexual Superman, or bemoaning "feeling as unsexy as an old bean burrito in a 7-11 microwave," Arroyo tracks the heartbeat of his characters through a shimmering palette of styles. Here are monologues, a story in verse, and other experimental forms appropriate to experimental livesÑall affirming the basic human rights to dignity, equality, love, and even silliness. When the AIDS epidemic first hit, many Latino families destroyed any remembrances of their gay and bisexual sons that might betray their pasts to la familia or el pueblo. ArroyoÕs writings return the ghosts of those sons to the families, bars, dance clubs, and neighborhoods where they belong. By penetrating to the IÕs of narrative hurricanes, these stories honor the survivors of our ongoing cultural storms.
In Rane Arroyo's poetry we hear echoes of Whitman, Lorca, Neruda. But more important, we hear Arroyo's own song of self rendered with a lyricism that belies its astonishing and redolent honesty. The Buried Sea: New and Selected Poems is a powerful addition to the American literary landscape. --Connie May Fowler.
A first-generation Latino born in Chicago, Rane Arroyo is a leading poeta puertorrique–o and playwright whose readership transcends his ethnicity. In Home Movies of Narcissus, his fourth collection of poetry, he writes more deliberately and with greater assurance of his search for identityÑboth cultural/racial and gender/sexualÑand his discovery of it within family and community. Using sophisticated language to inspect life from barrio childhood to cosmopolitan manhood, Arroyo explores themes of gay strength and alienation, linked to his experiences as both a Puerto Rican and an intellectual. Through a variety of approaches, he examines a major recurrent Latino paradox: the need to write about Latino issues while being criticized for being too self-centered. Sometimes reserved, sometimes passionate, Arroyo writes with humor and a remarkable quickness of association, moving with a grace that makes seamless use of speech ranging from the formal to the vernacular. Taking in love and sexuality, world literature and history, and the exile's heritage of a shifting geography of identity, he invokes remarkable imagery with language that is economical, fresh, and mischievous. Some of Arroyo's poems take an autobiographical approach and show how poets have both the luxury and necessity of speaking for those in their lives. Others create personas that take in the American experience from a variety of viewpointsÑincluding gays, who are often marginalized by the larger Latino community. "The Ponce de Le—n Poems" pit the poet against a ghost who seeks to direct his writing, while a final section, "The Black Moon Poems," deals with the many sleepless nights that Arroyo has spent struggling with questions over the worth of his art and whether he has betrayed those he loves by writing-or not writing-about them. "In his home movies," he writes, "Narcissus is both the seen and the seer." As Arroyo's insightful words demonstrate, the writer must come to value his own image but not fall in love with it, for it will change, age, and, if he is fortunate, finally grow wise. As readers will discover in Home Movies of Narcissus, Rane Arroyo has seen past the mirror and charted a new territory of self-discovery.
ThereÕs no denying it, media culture has ushered in a new era of visibility for gays in America. Yet somehow the gay Latino doesnÕt fit into this sound-bite identity and usually isnÕt included in national media images. Rane Arroyo offers a corrective. Known primarily as a poet and playwright representing the gay Latino community, Arroyo has also been publishing prose throughout his career and now gathers into this book a storm of writing that has been gaining strength, drop by drop, for more than ten years. How to Name a Hurricane collects short stories and other fictions depicting Latino drag queens and leather men, religious sinners and happy atheists, working class heroes and cyberspace vaquerosÑa parade of characters that invites readers to consider whether one is more authentic a gay Latino than another. Whereas actual hurricanes are given names, the gays given voice in this collection must name themselvesÑand these narratives in turn reveal something of the "I" of Hurricane Rane. Whether portraying a family gathering as Brideshead Revisited with a mambo soundtrack, recounting the relationship of transvestite Louie/Lois and her bisexual Superman, or bemoaning "feeling as unsexy as an old bean burrito in a 7-11 microwave," Arroyo tracks the heartbeat of his characters through a shimmering palette of styles. Here are monologues, a story in verse, and other experimental forms appropriate to experimental livesÑall affirming the basic human rights to dignity, equality, love, and even silliness. When the AIDS epidemic first hit, many Latino families destroyed any remembrances of their gay and bisexual sons that might betray their pasts to la familia or el pueblo. ArroyoÕs writings return the ghosts of those sons to the families, bars, dance clubs, and neighborhoods where they belong. By penetrating to the IÕs of narrative hurricanes, these stories honor the survivors of our ongoing cultural storms.
A first-generation Latino born in Chicago, Rane Arroyo is a leading poeta puertorrique–o and playwright whose readership transcends his ethnicity. In Home Movies of Narcissus, his fourth collection of poetry, he writes more deliberately and with greater assurance of his search for identityÑboth cultural/racial and gender/sexualÑand his discovery of it within family and community. Using sophisticated language to inspect life from barrio childhood to cosmopolitan manhood, Arroyo explores themes of gay strength and alienation, linked to his experiences as both a Puerto Rican and an intellectual. Through a variety of approaches, he examines a major recurrent Latino paradox: the need to write about Latino issues while being criticized for being too self-centered. Sometimes reserved, sometimes passionate, Arroyo writes with humor and a remarkable quickness of association, moving with a grace that makes seamless use of speech ranging from the formal to the vernacular. Taking in love and sexuality, world literature and history, and the exile's heritage of a shifting geography of identity, he invokes remarkable imagery with language that is economical, fresh, and mischievous. Some of Arroyo's poems take an autobiographical approach and show how poets have both the luxury and necessity of speaking for those in their lives. Others create personas that take in the American experience from a variety of viewpointsÑincluding gays, who are often marginalized by the larger Latino community. "The Ponce de Le—n Poems" pit the poet against a ghost who seeks to direct his writing, while a final section, "The Black Moon Poems," deals with the many sleepless nights that Arroyo has spent struggling with questions over the worth of his art and whether he has betrayed those he loves by writing-or not writing-about them. "In his home movies," he writes, "Narcissus is both the seen and the seer." As Arroyo's insightful words demonstrate, the writer must come to value his own image but not fall in love with it, for it will change, age, and, if he is fortunate, finally grow wise. As readers will discover in Home Movies of Narcissus, Rane Arroyo has seen past the mirror and charted a new territory of self-discovery.
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