Memoir of Un Ser Humano: The Life and Times de raúlrsalinas (Red Salmon Press, 2018)

Memoir of Un Ser Humano The Life and Times de raulrsalinas `

Edited by

Louis G. Mendoza

Red Salmon Press Austin, Texas 2018

Memoir of Un Ser Humano The Life and Times of raúlrsalinas Copyright © 2018 Red Salmon Press A Red Salmon Press book.

All rights reserved. Derechos reservados.

First Edition, 2018.

ISBN 978-164204206-1 Edited by Louis G. Mendoza.

Cover art by Gerardo Q. García.

Dedicatoria graphic by José Cosme.

Select photos by Alan Pogue.

Copyediting and research by Lilia Raquel Rosas.

Cover design, book design, and layout by Brent E. Beltrán.

Red Salmon Arts is a 501(c)3 grassroots cultural arts organization, with an over thirty-year history of working with the indigenous neighborhoods of Austin. RSA is dedicated to the development of emerging writers and the promotion of Chicanx/@ Latinx/@ Native American literature, providing outlets and mechanisms for cultural exchange, and sharing in the retrieval of a people’s cultural heritage with a commitment to social justice. Red Salmon Press, a program of Red Salmon Arts, is an editorial collective founded in the 1990s under the guidance of raúlrsalinas. RSP focuses on the retrieval of a people’s literary heritage and the development of emerging young writers/readers through its publications.

Some of the poems in this book have appeared in East of the Freeway, Red Salmon Press, 1995 and Un Trip through the Mind Jail y Otras Excursions, Arté Público Press, 1999.

This project is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department.

Red Salmon Arts/Red Salmon Press Casa de Resistencia Books 4926 East Cesar Chavez St. Unit C1 Austin, TX 78702 (512) 389-9881 resistenciabooks.com c/s

Dedicatoria A Tomas ` Rivera who was responsible in that other time frame of concrete psyche crushing for a prisoner behind 40 foot walls meeting Pete Fonseca: On the Road to Texas

Painting made for A Memoir of Un Ser Humano by JosĂŠ Cosme.

Memoir of Un Ser Humano

TABLE OF CONTENTS Acknowledgments ~ 7 Preface of Sorts ~ 8 Introduction: A Legacy of Conviction by Louis G. Mendoza ~ 9

I.

In`Formation

Pláticas con Pepa ~ 16 El Corrido de Marcos Rodriguez ~ 17 Autobiografía of no consequence ~ 18 Plática con Tía Nene ~ 19 Conversando con Tía Carmen ~ 20 Mi Madre ~ 21 Popo: Meeting Samuel “Posey” Hill ~ 22 The Homefront: World War II ~ 24 Un día en un Colegio ~ 25 The Formative Years ~ 26 The Impatient Years ~ 27 The Indoctrination ~ 30 Rememorings ~ 34 Poems y Cuentos of Life ~ 39 Labels ~ 40 La Embarcación ~ 41 Age 17 ~ 43 Sixth Street ~ 44 La Nencia ~ 45 A Velorio in the Barrio: Tito Gutiérrez ~ 46 Down Desolate Doper Streets ~ 48 Lefty ~ 49 Letter to Lefty ~ 50 Notas: Memorias of Sort ~ 51 Drum Trouble ~ 53 Kicking Cold Turkey ~ 56 Elusive Drums ~ 57 Notas: A conversation with raúl ~ 58

II. Transformation: Times of Incarceration and Liberation The Jail Machine ~ 62 Austin, 1959 ~ 63 Prison Journals ~ 64 Journalism: Writings from Behind the Walls Sing For Special Programs ~ 72 Requiem for a House of Sounds ~ 73 The Wall Came Tumbling Down ~ 74 Quartered Notes, October, 1964 ~ 75 4

The Life and Times de raulrsalinas ` Quartered Notes, January, 1965 ~ 77 The Drug Addict, January, 1965 ~ 79 Nueva Estrella en el Horizonte ~ 80 How Many More Atticas? ~ 82 CHAN/ DAN-GO ~ 83 Prison Kites Leavenworth: Correspondence from Charles Hoehne ~ 86 Marion: Letters to Vicki Solis ~ 96 To Lola ~ 105 Letter to Partido Raza Unida ~ 106 Marion: Correspondence with Pablo and Miriam Griego ~ 109

III. Transition: The Seattle Years, 1972–1980 Coming of Age ~ 112 Hidden Jungles ~ 113 Seattle, 1972 ~ 115 Responding to a Call ~ 116 The Demise of the Pachuco ~ 119 The Struggle Continues ~ 120 Letter to Ruben Estrella #84324-132 ~ 122 Biografía of Sorts ~ 126 The Seattle Years: Thoughts, Fragments, etc. ~ 129 Letter to Ellie Hubbard, Shields Publishing Co. ~ 132 Letter to Roberto Maestas ~ 133 Venceremos: Nicaragua, 1975 ~ 135 U.$.A.: Te Devuelo tus Besos ~ 128 Carta a María Caudillo ~ 140 Mis memorias sobre el movimento indigena y mi participación ~ 141 Notes on a Visit to the Bay Area ~ 142 Notes on Santa Fe ~ 143 Tripping with Tin Tan ~ 144 Tree of Life Vision ~ 145

IV. East of the Freeway: Back Home East of the Freeway ~ 148 Tin-Tan/Pocho Ché Colectiva ~ 150 League of United Chicano Artists ~ 151 On the Lake ~ 153 Seeking Solidarity in the Big Apple ~ 154 Trip to Sacra Chicano Youth Conference ~ 155 The Recent Beating of Lauren Marie McCarty ~ 156 Confidencias de un Counselor Caprichudo ~ 157 El Día de Los Muertos ~ 158 Arriving in Austin ~ 159 Jus’ Some Ansers to Kwestions U Axed Me ~ 160 5

Memoir of Un Ser Humano January 8, 1990 ~ 163 Notes on St. Jude: A Cycle of Prayer Poems ~ 164 Chaveteando Sobre el Descuento de un Compa: Jose Montalvo, 1994 ~ 165 The Return of Con Safos, 1995 ~ 166 Saturday April 4, 1998 – 7am ~ 167 My First Day at SXSW, 1998?: (WOW!) ~ 168 Incomplete Letter to Leonard Peltier ~ 169 Letter to Alvaro Luna Hernandez ~ 170 and still our work continues ~ 174 STAY AWAY FROM THIS WHITEHOUSE, BLACK MAN ~ 175

V. A Sheaf of Erotica THOUGHTS WHILE OPENING A BOTTLE OF BLUE NONE WINE ~ 178 Untitled ~ 179 First Visit to the Font ~ 181 These Poems Were Lovers Once ~ 182 My Lady An’ Me ~ 184

VI. Afterwords “Musings of a Mentee and Red Salmon Warrior” by Abel Salas ~ 186 “You are torn pieces of my flesh” by René Valdez ~ 191 “On Resistencia, Liberacíon y tapón” by Lilia Raquel Rosas ~ 193 “Carta a raúl,” by Alan Gómez ~ 198 “Who is this man?” by Lawrence Salinas ~ 202 “The city’s lanes have changed, but the “heart & soul” remain” by Lawrence Salinas ~ 204 “Addendum, February 18, 2008”by Lawrence Salinas ~ 207 “Eulogy for my father” by Lawrence Salinas ~ 209

APPENDICES APPENDIX A: Salinas’ essays as a college student at the University of Washington Small Groups ~ 214 Prisons and the Press: An Overview ~ 217 APPENDIX B: Article from the Southern Illinoisian: “Prisoners Active in Airing Gripes: Two of Four in Marion Suit” by Sandra Holter ~ 225 APPENDIX C: Court Decisions by James L. Foreman, United States District Judge ~ 228 APPENDIX D: Works by raúlrsalinas compiled by Lilia Raquel Rosas ~ 237

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The Life and Times de raulrsalinas `

Acknowledgments Many people deserve thanks for helping make this book possible. Among these are René Valdez and Lilia Rosas for keeping raúl’s spirit and praxis alive in their commitment to keeping the doors of Resistancia Bookstore/Casa de Red Salmon Press open. This is a true act of love, sacrifice, and commitment. Lilia deserves special recognition for her work in proofing and correcting the Spanish language text of the manuscript, for her diligence in searching the archives of Red Salmon Arts for photos to include in the book, and for publishing the book under the Red Salmon Press label. For raúl’s children, Lawrence and Eleanor Salinas, for allowing us to share raúl’s work with a larger public. For all contributors to the Afterword: Abel Salas, René Valdez, Lilia Rosas, and Alan Gómez, and to the multitude of friends/compas de raúl who could have been asked for their insights on this beautifully complex human being. Brent E. Beltrán deserves special thanks for his meticulous design and formatting of the book, and his endless patience through the proofreading process. At Arizona State University Chelsie Schelsinger was a tremendous help as a research assistant and assistant editor in preparing the manuscript. The book’s beautiful cover art was crafted by Gerry Q. Garcia.

I wish to thank my partner Angélica and our beautiful son Camilo for their patience, support, and love while I worked on this project. He passed on before they entered my life, but I know that they, too, would have been big fans of raúl!

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Memoir of Un Ser Humano

Preface of Sorts 12/08/81, 6:00 a.m.

Sitting here in my secluded south Austin cottage, with the leaking roof and busted commode, I contemplate in early morning hours, a possible return trip to Cuba (my third since 1975), it occurs to me that there is still much unsaid, so much left to say.

Back home (my 1st in 15 years), there is a burning need to jot down (by way of explaining to mi pueblo just where it is I’ve been and what is is I’ve learned), record for posterity the experiences that have shaped and molded my life; the people that have made me the person of today.

Some will no doubt find this acontecimiento del vivir of no special consequence.

For others, a bit of truth, a contradiction here or there. For some, a lesson to be learned, for others something to condemn or reject.

For me, it is merely the poetic/political of a road well travelled; a humble, creative and retrospective recording to share with the world.

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The Life and Times de raulrsalinas `

A Legacy of Conviction Louis G. Mendoza

Salinas, Jennifer (Wilson) Eckert, and Memoir of Un Ser Humano editor Louis G. Mendoza, 1995. Courtesy of Red Salmon Arts.

Encuentros I first encountered raúl’s words in Tomás Vallejos’ Introduction to Mexican American Literature class at the University of Houston-Downtown in the Spring of 1985. This was the first class I had ever taken in which I read writing by people of Mexican descent in the U.S. It was work that inspired me, filled me with pride, and taught me that we had our own way of looking at and being in the world and expressing ourselves. My early encounter with Chicana/o literature expanded my sense of belonging and helped me see that literature could be a haven for hopes, anger, sadness, aspirations, dreams, and a wide world of possibilities.

I recall reading raúl’s poetry and his strange yet familiar use of codeswitching and caló and thinking: This is street poetry. It’s Tex-Mex! It sounds like slang from my barrio. Little did I know that just a few short years later, after moving to Austin to pursue a graduate degree in English with an emphasis in Ethnic and Third World Literatures, that in my capacity as a volunteer at La Peña non-profit 9

Memoir of Un Ser Humano arts I would be sent by entrepreneur, resident advocate and all-around, wellintentioned intervener, Cynthia Pérez, to pick up some poems from him to include in that month’s newsletter.

I walked into the spacious second floor offices of the League of United Chicano Artists’ (LUChA) housed in the Quintanilla House on 6th street in Austin’s East Side and was promptly dissed by this small man with braids and a deep, bold and modulated voice. Without even bothering to look at me, he said “Wacha’ want?

Did Cynthia send you? So you’re looking for a poem, huh? Well, you might have to come back because I’m kinda busy now.” I hesitated to approach him and he said gruffly, “Come closer, I ain’t gonna bite you. So you’re a student huh?”

I left that day both intimidated and intrigued. I told him that I wanted to check out his store and I let him know that I was willing to volunteer. I’d recently heard about his “La poesia esta en la calle” series in East Austin bars and let him know that I would be attending the next one. A couple of weeks later, I found him at the bookstore and he was much friendlier. After checking the space out, a sparsely furnished storefront on East 6th St. with one bookshelf and three or four tables with books laid out, I told him I could make him bookshelves. He was impressed when I showed up to work that weekend willing to get to work.

Thus began a friendship and collaboration that was to last for almost twenty years. We traveled to places far and wide, collaborated on numerous projects (his and mine), philosophized, argued, laughed, partied, challenged each other, and struggled together. I worked closely with raúl to get Un Trip Through the Mind Jail y Otras Excursions re-published by Arte Publico Press. We collaborated on sifting through his rough drafts of East of the Freeway and Indio Trails: A Xicano Odyssey thru Indian Country, painstakingly deliberating on the order of poems, which ones to keep, and which final versions of poems to retain or eliminate. After a long, unsuccessful campaign of trying to get one of the University of Texas libraries to host raúl’s archives on a par with other great American authors, with the crucial assistance of Ben Olguín, we assured raul’s posterity by convincing the Stanford Libraries to house them. Their first acquisition included more than 50 boxes of materials comprised of letters, mansucripts, poems and prose, news clippings, newspaper, photos, artwork and so much more.

My Weapon is My Pen was a result of our sorting through his now archived works at Stanford. It was a major undertaking that made raúl proud because the era of his life that it covered had been consigned to dusty boxes in his bookstore, then sorted and organized for shipment to his archives at Stanford. What we learned from that book was that while raúl had made his name to the outside world as a prison poet, he was also a prolific journalist, letter writer, advocate/writ writer and agitator in prison. Poetry was only one element of a much more diverse portfolio of writings he undertook to connect to the outer world as organizer, activist, teacher, complicated, and ever-evolving human being.

Following the publication of My Weapon is My Pen in 2006, raúl and I developed a plan to compile his scattered and fragmented autobiographical writings. With his permission I transcribed and retyped these fragments and, more importantly, I converted many of them from the third person to the first person. He made clear to me that he found it easier to write about himself in the third person because much of the material felt too close, too raw, and he was highly self-conscious about 10

The Life and Times de raulrsalinas ` writing in the first person. Today this approach is called creative non-fiction; he saw it as a useful strategy for distancing himself because it made him feel less vulnerable.

When I first saw these efforts by raúl to document his life, I felt strongly that this was a story that needed to be shared. As with so much of his work, raúl’s story is not only his individual story, but that of his community. While I never imagined one book could ever completely capture the arc of raúl’s entire life, I believed these fragments offered special insight into parts of his life’s journey that few know about. As I completed this transcription, we discussed a strategy for flushing it out and connecting the fragments. While I encouraged him to sit down and complete individual pieces and the collection as a whole, after some time passed I realized that sitting down and writing his story out in some linear fashion simply wasn’t going to happen. That kind of intense and solitary endeavor focused solely on himself just wasn’t a commitment he could make. He was too engaged in the daily business of life, running Resistencia and Save Our Youth, speaking, teaching, sponsoring events, and conducting writing workshops, among other things, to sit down and reflect on his life in a sustained way. While I think a part of him knew how important a project this was, I believe another part of him thought it didn’t rise to the level of importance of interrupting all the other urgent work that needed to get done.

Once we agreed that we needed an alternate plan, we decided a way around this was for us to have a series of one-on-one platicas in which he would recall, ruminate, reflect on his life as a way to complete this project. On October 22, 2000 we spent an afternoon talking through the various stages of his life. Unfortunately, the devastating illness he was soon to face and the geographical distance we lived apart, and the challenges of setting aside the time we would need to do justice to this project, all conspired to thwart the full realization of this plan. I’ve included this sketch of raul’s life based on that conversation at the end of Part I of the book.

I believe it provides insight into periods of his life that he didn’t write about in detail.

Because I had the chance to organize two sets of raúl’s archives, I knew there were numerous incomplete and unpublished projects of both poetry and prose.

When we were preparing to ship a second set of raúl’s archives to Stanford shortly after his death, Ben Olguín and I took a Sunday afternoon to wean through them and spent numerous hours at a Kinko’s copy shop in Austin duplicating manuscripts and fragments of writing. These copies would complement the many other pieces of writing that raúl and I had identified as the foundation for this book. This book is a compilation of raúl’s numeorus efforts to tell his story—sometimes stilted, fragmented, incomplete—and at other times remarkably developed and sustained.

But this collection also includes more than that—unpublished letters from before and after his years in prison, jailyard journalism, published and unpublished poems that complement his prose, essays from his time as a student, press releases from his time with the League of United Chicano Artisists (LUChA) in Austin, and excerpts from Notas de Resistencia, among others. I include these because they add value to anyone who wants to understand his many voices, the range and nuance of his writings and his work. And yet, all this constitutes only a portion of his unpublished work.

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Memoir of Un Ser Humano Memoir of un Ser Humano was one of the many titles raúl gave his “autobiographical” writings, and the one he favored for this project. The collection captures snapshots of raúl few know about. The few poems included here provide condensed and powerful emotional insight into his life, in ways that his incomplete and fragmented prose is often unable to do. Raúl was a prolific writer. His poetry, whether read in silence or, if you were fortunate enough to hear him read it in his deeply sonorous and lyrical voice, was powerful, moving, and captivating. And for this reason, it’s also clear poetry was his forte, for his words were potent, explosive, evocative, and inspiring. Listening to raúl was never only listening to his poetry. He lectured, he ranted, he sang, he prosyletized, he taught, he provoked one to respond. In doing so he generated more than good feelings and memories, he often provoked people to act.

The parts of the book that are direct recollections of his life comprise only about a third of this volume. But as I noted in the Introduction to The Jail Machine, looking at the many genres of raul’s writing collected over time tell us a story—of what interested him, what he was invested in, what he cared about. And yet, there is so much more!

To know raúl was to know only a part of him. To know raúl was stimulating, humbling, and at times, frustrating. He was inquisitive, curious, funny, witty, energetic, inspirational and always relentless in his politics and critique at every level. I traveled many, many roads with him in many parts of the country. While he was visiting Providence, after he gave readings at Brown and at a local elementary school, we drove up to Lowell, Massachusetts to visit Jack Kerouac’s grave. We left behind a roach and a half bottle of wine. We traveled from Austin to the Bay Area in what was then his new truck in 2003. Along the way, we detoured to places throughout the Southwest to meet friends of his. His connections every where we went never ceased to amaze me.

Structure of the book Memoir of un Ser Humano is divided into five sections. Section I, In-Formation, contains the bulk of what might be called typical autobiographical materials.

These include brief profiles of family elders based on memories and conversations shared with him, and his most extensive prose efforts to write about his family, his youth, and people who populated his life. In here, we learn about his relationships, his coming of age experiences and cultural influences. Those familiar with raúl’s poetry collections, especially A Trip through the Mind Jail y otras Excusions and East of the Freeway, understand that many of his poems were autobiographical snapshots about his youth, his strong sense of place, people in his life, and formative experiences that helped shape his identity and worlview. We find in this collection, stories that provide us broader and deeper narratives about his formation, his motivations and desires.

The material comprising Section II, Transformation, complements raúl’s known prison writings. They come from the materials that we could not include in The Jail Machine. Here are poems, essays on jazz, profiles of fellow prisoners, and correspondence with people in the free world. Throughout the book, I’ve included poems that either complement or are referred to in the narrative. Some of these have been published in other collections, but I’ve also included a few choice 12

The Life and Times de raulrsalinas ` unpublisheed poems as appropriate.

Section III, Transition focuses on his hiatus, his exile, from Texas immediately following his release from Marion in 1972. These were important times of transition and growth for raúl, as he adapted to life in the free world as a very different person than the one who entered Leavenworth; his stints in Leavenworth and Marion utterly and profoundly changed not just his worldview but his entire way of being in the world. It is in Seattle that he evolves further to become an activist, to truly grapple and grasp what it means to be Xicanindio, to become an authentic internationalist.

Section IV, East of the Freeway, picks up on his return to Texas following the expiration of his parole in 1983. Here he continues his activism, joins a local Chicano arts organization, starts Resistencia Bookstore/Casa De Red Salmon Press, and begins making a niche through as a political and counter-cultural force.

Section V is a short sheaf of erotica written by raúl. Raúl was proud of this work but also anxious about how it might be received. He was genuinely concerned that it would be received as sexist, as objectifying women, but he was also adamant that this was not his intent. As someone who was avid libertine when it came to sexual mores, attitudes, and practices, raúl was a fan of erotic fiction and the bawdy poetry of Charles Bukowski.

The final section of the book includes a series of homages written to raúl by individuals who were important friends and collaborators. Each in their own way, recall his importance to them. Raúl’s son, Lawrence Salinas provides us with three pieces that reveal his conflicted, complex, and ever evolving relationship with his father. Finally there are three appendices that include essays raúl wrote as a student at the University of Washington, one article about his court case in Marion, and a court decision on a case in which raúl was a plaintiff.

Final Thoughts I would be remiss not to thank Kamala Platt for suggesting the title for this introduction as a fitting one for a book on raúl’s life. I respect the many ways it resonates as approporiate for speaking about raúl. He has indeed left a legacy, one that is not easily quantified, though there are numerous books, cds, anthologies that include his work. Raúl’s legacy is not just a literary one—but one about the needed commitment to social justice, to doing away with a corrupt and unjust criminal justice system and our country’s addiction to mass incarceration. Raúl knew, better than most, that the pipeline from the schoolhouse to the jailhouse need not be. He knew that too often young people fail to see their potential and fail to be seen at all by their teachers. He knew that writing was a powerful form of self-affirmation and self-love—and that writing could chart a path to discovery and empowerment. I recall numerous times raúl was brought to tears by the spontaneous verbal and written expressions of people of all ages during writing workshops, in brief exchanges after he gave a reading or a workshop, when people found words to express their anger, their love, their sorrow, and their aspirations.

It was this knowledge of the power of language that fueled his commitment to keeping Resistencia Bookstore open. Modeled after Resistencia Books in Centro de la Raza’s in Seattle, the bookstore was never a profit-making venture, never an income generator or economic success. Raúl was not a businessman by any 13

Memoir of Un Ser Humano stretch of the imagination. Resistencia was a concept and a vehicle to engage the leftist imaginary. It was a place of conversation, engagement, and yes, a place of resistance for those who sought to organize for justice and against stultifying and suffocating social institutions. I recall how happy raúl was when he began receiving social security checks in his early 60s. He divided his check between supporting the bookstore and contributing to his home.

Every single contributor to the Afterword struggled to articulate their relationship to raúl. This is true for me as well. He was a centrifugal force that attracted people from near and far. He could be a difficult, brash, and unyielding person who came on too strong for many people. When he was well, his level of energy was well beyond his years and wore out people many years younger than him. Raúl’s sphere of influence is hard to measure, but it is not mere hyperbole to say he continues to live on through fans, friends, followers, and fellow warriors.

He was our mentor, friend, guide, inspiration, provocateur, devil’s advocate, and above, all, as others have noted, he was someone who struggled to transform, to become better, to adopt and understand new ways of thinking and being in the world. He was imperfect, but so are we, and in this way he showed us how important the struggle to be free, to be human, was essential.

At raúl’s funeral, Alan and I stood together taking one last look at him before the casket was closed. Alan discreetly tucked a joint and lighter into his shirt pocket and said, “Here’s one for the road, Tapón.” Since his death, raúl has been joined by many of his friends. I imagine that free from the corrupt, narrow and restrictive laws of man, raúl and his buddies continue realizing their true selves.

This book is only one of the many gifts he’s left for us to keep on keepin’ on.

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The Life and Times de raulrsalinas `

APPENDIX D Works by raulrsalinas `

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Works by raulrsalinas ` Compiled by Lilia Raquel Rosas BOOKS Salinas, Raúl R. [raúlrsalinas]. Viaje/Trip. Introduced by Glauco Cambon. Hellcoal Pamphlet Series, vol. 3, no. 5. Providence: Hellcoal Press, 1973. ______. Un Trip through the Mind Jail y Otras Excursions: Poems by raúlrsalinas.

Drawings by José Montoya. 1st ed. The Tenth Anniversary Series. San Francisco: Editorial Pocho-Ché, 1980. ______. East of the Freeway: Reflections de Mi Pueblo: Poems. Austin: Red Salmon Press, 1995. ______. Un Trip through the Mind Jail y Otras Excursions: Poems. Reprint. Houston: Arte Público Press, 1999. ______. raúlrsalinas and the Jail Machine: My Weapon Is My Pen: Selected Writings.

Edited by Louis G. Mendoza. Austin: University of Texas Press, 2006. ______. Indio Trails: A Xicano Odyssey through Indian Country. San Antonio: Wings Press, 2007.

COMPACT DISCS Salinas, Raúl R. [raúlrsalinas]. Los Many Mundos of raúlrsalinas: Un Poetic Jazz Viaje con Friends. Calaca Press/Red Salmon Press. 2000, compact disc. ______. Beyond the BEATen Path. Red Salmon Press. 2002, compact disc.

Ho, Fred. Red Arc: A Call for Liberation con Salsa y Cool. Words and vocal performance by raúlrsalinas. Wings Press. 2005, compact disc.

ANTHOLOGIZED POETRY Salinas, Raúl R. [raúlrsalinas]. “A Trip through the Mind Jail.” In Aztlan: An Anthology of Mexican American Literature, compiled and edited by Luis Valdez and Stan Steiner. New York: Knopf, 1972. ______. “A Trip through the Mind Jail.” Literatura Chicana: Texto y Contexto/Chicano Literature: Text and Context, edited by Antonia Castañeda-Shular, Tomás Ybarra-Frausto, and Joseph Sommers. Englewood Cliffs, N.J.: Prentice-Hall, 1972. ______. “Los caudillos” and “A Trip through the Mind Jail.” We Are Chicanos: An Anthology of Mexican-American Literature, edited by Philip D. Ortego y Gasca. New York: Washington Square Press, 1973. ______. “Journey II.” In Voices of Aztlan: Chicano Literature of Today, edited by Dorothy E. Harth and Lewis M. Baldwin. New York: New American Library, 1974. ______. Selected poems by Salinas. In Time to Greez!: Incantations of the Third World. Edited by Janice Mirikitani and Roberto Vargas. San Francisco: Glide Publishing Company, 1974. ______. “sinfonía serrana,” Homenaje a la Pachuca,” and “el tecato.” Tejidos: A bilingual Journal for the stimulation of Chicano creativity and Criticism. Otoño 1975, Vol. II, No. 7. ______. “sinfonía serrana.” In Chicano Voices: Multi-Ethnic Literature, edited by Carlota Cárdenas de Dwyer. Boston: Houghton Mifflin, 1975.

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The Life and Times de raulrsalinas ` ______. “Pueblo Querido.” In Aloud: Voices from the Nuyorican Poets Café, edited by Miguel Algarín and Bob Holman. New York: H. Holt, 1994. ______. “Los caudillos.” (1970). In Literatura Chicana, 1965-1995: An Anthology in Spanish, English, and Caló, edited by Manuel de Jesús Hernández-Gutiérrez and David William Foster. New York: Garland Pub., 1997. ______. “Poema del Nuevo León,” and “A Walk through the Campo Santo.” In El Coro: A Chorus of Latino and Latina Poetry, edited by Martín Espada. Amherst: University of Massachusetts Press, 1997. ______. “A Walk through the Campo Santo.” In El Coro: A Chorus of Latino and Latina Poetry, edited by Martín Espada. Amherst: University of Massachusetts Press, 1997. ______. “Short Rap with Che,” “About Invasion and Conquest,” “On the Police Murder of Jonathan Rodney.” In Seeds of Struggle Songs of Hope: Poetry of Emerging Youth y Sus Maestros del Movimiento. Edited by raúlrsalinas and Jennifer Shen.

Seattle: El Centro de la Raza, 1997. ______. “El corrido de Américo Paredes.” In Reflexiones 1999: New Directions in Mexican American Studies, edited by Richard R. Flores. CMAS Books. Austin: Center for Mexican American Studies, University of Texas at Austin, 2000. ______. “Conversation at a Greyhound Bus Depot,” “Ofrenda Pa’ Marsha,” and “Combat Vision (4th Chant).” In Cipactli: Raza Studies Journal of Creative Writing, Spring/Primavera. San Francisco: Raza Studies Department, 2001. ______. Selected poems from Salinas published in Pacific Review. San Diego: San Diego State University Press, 2003. ______. “Bass in Yo Face” and “En la Mosquitia” Published in La Calaca Review: Un Bilingual Journal of Pensamiento & Palabra. Edited by Manuel J. Vélez. San Diego: Calaca Press, 2003. ______. “A Trip through the Mind Jail,” and “A Walk through the Campo Santo.”

In Hecho En Tejas: An Anthology of Texas-Mexican Literature, edited by Dagoberto Gilb. Albuquerque: University of New Mexico Press; San Marcos: Southwestern Writers Collection, Texas State University, 2006. ______. “A Trip through the Mind Jail.” In Hecho En Tejas: An Anthology of TexasMexican Literature, edited by Dagoberto Gilb. Albuquerque: University of New Mexico Press; San Marcos: Southwestern Writers Collection, Texas State University, 2006. ______. “Loud and Proud.” In Telling Tongues: A Latin@ Anthology on Language Experience, edited by Louis G. Mendoza and Toni Marie Nelson Herrera.

National City: Calaca Press; Austin: Red Salmon Press, 2007. ______. “Peltier I/Peltier II.” In Behind Bars: Latino/as and Prison in the United States, edited by Suzanne Oboler, 213-222. New York: Palgrave Macmillan, 2009.

AUDIO AND VIDEO RECORDINGS Salinas, Raúl R. [raúlrsalinas]. “Raúl R. Salinas Reads from His Works, 1973.”

Performance in 1973 Festival de Flor y Canto, University of Southern California. 1973; Los Angeles: University of Southern California: Public Broadcasting; University of Southern California: El Centro Chicano, 1974. http://digitallibrary.usc.edu/cdm/ref/collection/p15799coll79/id/189 ______. “Raúl Salinas Poetry Recital.” Poetry Recital at Texas Union, University of Texas at Austin, 29 April 1980; University of Texas at Austin, 1980, 239

Memoir of Un Ser Humano audiocassette. ______. raúlrsalinas featured in Austin Poets Audio Anthology Project, Intimacies.

Perfection Productions, 1988, audiocassette. ______. “We Hafta Shaft NAFTA.” and “Amorindio.” Raza Spoken Here 2, tracks 1 and 2. Calaca Press, 2000, compact disc. ______. “Video Poem by Raul R. Salinas, Austin, TX.” Performance in Voices from Texas, directed by Ray Santisteban, 2003; 2012 on Vimeo. https://vimeo. com/32993786 Montoya, José and Salinas, Raúl R. [raúlrsalinas]. “coretown/the death of jonothan rodney—death dirges.” Taco Shop Poets, Intersections, track 4. Chorizo Tonguefire Press. 2003, compact disc. ______. “like before the war.” Taco Shop Poets, Intersections, track 7. Chorizo Tonguefire Press. 2003, compact disc.

Salinas, Raúl R. [raúlrsalinas]. Selected poems by Salinas published in The Freedom Song: 5th Annual Voices for the Voiceless. Amherst: Dark Souls Press, 2003, compact disc. ______. raúlrsalinas featured in “Taco shop poets.” Episode 5. Galán, Héctor, prod.

Visiones: Latino Art and Culture; San Antonio: Distributed by National Association of Latino Arts and Culture, 2004. 2 Videodiscs (DVD), 27 min. each, 162 min. total. ______. raúlrsalinas featured in Santisteban, Ray, dir. Voices from Texas; New York: Distributed by Cinema Guild, 2006. Videodisc (DVD), 56 min. ______. raúlrsalinas featured in Festival del Sexto Sol: SF State Gallery Lounge #2.

Freedom Archives, 2007, compact disc. ______. “Riffs I.” Performance in Austin Community College; Austin: ACC Arts and Humanities, 2011 on YouTube. https://youtu.be/vMV7LYM4CoE ______. “Riffs II” Performance in Austin Community College; Austin: ACC Arts and Humanities, 2011 on YouTube. https://youtu.be/ZXVxoFBwIUE ______. “Umbrellas after the rain” Performance in Austin Community College; Austin: ACC Arts and Humanities, 2011 on YouTube. https://youtu.be/QjMd5solozs ______. “Bass in Your Face.” Performance in The Road to Austin, directed by Gary Fortin. 2014; Austin: Distributed by Formax Group, 2015. Videodisc (DVD)/ Blu-ray Disc, 75 min.

AS EDITOR Salinas, Raúl R. [raúlrsalinas] and Jennifer Shen, eds. Seeds of Struggle, Songs of Hope: Poetry of Emerging Youth y Sus Maestros del Movimiento. Seattle: El Centro de la Raza, 1997.

Salinas, Raúl R. [raúlrsalinas]. Nile & Other Poems by Acosta, Teresa Palomo. Austin: Red Salmon Press, 1999.

INTERVIEWS “Resisting Mindfuck: An Interview with Raúl Salinas.” Sunfighter. Seattle, WA. 1974.

Mendoza, Louis G. “Interview with Raul Salinas.” February 1993. Videography by Cristina Ybarra.

“Chicano poet Raúl Salinas [videorecording].” Introduction by Ben Olguín, interview by Ben Olguín and Louis Mendoza, 6 May 1994. Stanford, Calif.: Jack Genero, 240

The Life and Times de raulrsalinas ` 1994. 3 videocassettes (VHS), 115 min.

Gómez, Alan Eladio. “I Was Armed With My Dignity Intact.” Texas Observer, 22 September 2006, https://www.texasobserver.org/2307-i-was-armed-with-mydignity-intact/ Rubin, Rachel. “‘We Don’t Have Much Time’: An Interview with Raúl Salinas.” In Radicalism in the South since Reconstruction, edited by Chris Green, Rachel Rubin, and James Edward Smethurst, 227-237. New York: Palgrave Macmillan, 2007.

Gómez, Alan Eladio. “‘Troubadour of Justice’: An Interview with raúlrsalinas.” In Behind Bars: Latino/as and Prison in the United States, edited by Suzanne Oboler, 213-222. New York: Palgrave Macmillan, 2009.

“Work of the Spirit: Conversation with an Austin Project Elder.” Conversation between raúlrsalinas, facilitated by René Valdez and Omi Osun Joni L. Jones. In Experiments in a Jazz Aesthetic: Art, Activism, Academia, and the Austin Project, edited by Omi Osun Joni L. Jones, Lisa L Moore, and Sharon Bridgforth, 343-349. Austin: University of Texas Press, 2010.

ARCHIVAL AND MANUSCRIPT COLLECTIONS Raúl Salinas Papers, 1957-2008, M0774, Dept. of Special Collections, Stanford University Libraries, Stanford, California Raúl Salinas, Printed Ephemera, AF - Biography File, Austin History Center, Austin, Texas

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RaĂşl, 1980. Photo by Alan Pogue.

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Raúl speaking at a demonstration in 1981. Photo by Alan Pogue.

Raúl reading, 1981. Photo by Alan Pogue.

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Raúl, 1985. Courtesy of Red Salmon Arts.

René Valdez, Camille DePrang, Johnston High School members of SOY (Save Our Youth), Raúl and author Sharon Bridgforth, Resistencia Bookstore, Austin, 2006. Courtesy of Red Salmon Arts.

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Raúl speaking at the dedication of artist José Cosme’s mural of Raúl.

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Raúl at Earthling Studios in El Cajon, California for Calaca Press’ Raza Spoken Here 2 recording session, 2000. This session lead to the recording of the CD Los Many Mundos of raúlrsalinas. Photo by Brent E. Beltrán.

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Raúl with artists Gerry and Cardee García, 2006. Courtesy of Gerardo Q. García.

Salinas in 2006. Courtesy of Red Salmon Arts.

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RaĂşl attending the Resistencia Bookstore garden. Photo by Alan Pogue.

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RaĂşl having a laugh. Photo by Alan Pogue.

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