Book Review: Labyrinth Lost (Brooklyn Brujas #1) by Zoraida Córdova

 

Reviewed by Cindy L. Rodriguez and Cecilia Cackley; ARC received from Sourcebooks Fire.

Labyrinth Lost CoverDESCRIPTION FROM THE PUBLISHER:  Nothing says Happy Birthday like summoning the spirits of your dead relatives.

Alex is a bruja, the most powerful witch in a generation…and she hates magic. At her Deathday celebration, Alex performs a spell to rid herself of her power. But it backfires. Her whole family vanishes into thin air, leaving her alone with Nova, a brujo boy she can’t trust. A boy whose intentions are as dark as the strange marks on his skin.

The only way to get her family back is to travel with Nova to Los Lagos, a land in-between, as dark as Limbo and as strange as Wonderland…

OUR TWO CENTS: We’re thrilled to kick off our new blogging year with a celebration of Labyrinth Lost, an action-packed, urban, portal fantasy with a powerful, complex Latina main character. This novel tackles family, friendship, love, survival, and self-acceptance all while Alejandra Mortiz and her friends Nova and Rishi fight for their lives in a dangerous underworld.

Alex, a 16-year-old Ecuadorian-Puerto Rican, has been fighting against her magical powers for years, feeling her growing abilities are more of a burden than a blessing. She believes her magic is responsible for her father’s disappearance, and she fears more harm will come to herself and her family if she wholly embraces her magic during her Deathday ceremony. Alex, therefore, sabotages the ceremony, which causes her family to be kidnapped from their Brooklyn home to Los Lagos, where they may die at the hands of The Devourer, an evil, power-hungry bruja who’s happy to destroy anyone who gets in her way. The first few chapters really establish Alex’s character and her position in her family so that you understand and care about how conflicted and guilty she is about her family’s disappearance. The stakes could not be higher, and you want Alex to succeed.

Labyrinth 1Alex’s journey through Los Lagos feels very classic. The different communities she encounters, each with its own history and strengths and weaknesses, may remind readers of classic adventures like The Odyssey, Dante’s Inferno, and Alice in Wonderland. Every new area of Los Lagos brings a ton of action. Not every writer can create battle scenes so the reader can clearly visualize them without having to re-read. Zoraida is GREAT at this.

For those who like some romance with their action-adventure story, Labyrinth Lost delivers there as well. Alex has feelings for both Nova and Rishi throughout the narrative, making her one of the few bisexual Latinas in young adult fiction. We especially love that neither Alex’s bisexuality nor her bruja lifestyle are depicted as “issues” or morally problematic. Alex struggles to accept the responsibility and consequences of her magic and her place within her immediate family and the larger bruja community with its deep history and traditions. But, neither her cultural identities or sexual preferences are depicted as “the problems,” thank the Deos.

Labyrinth Lost, the first in a series, ends in a way that will leave you hungry for the sequel with promises of further family complications and more development of secondary characters, Nova and Rishi. We can’t wait!

TEACHING TIPS: 

  • compare/contrast inhabitants of Los Lagos with creatures from other folklore traditions and classical mythology
  • research Santeria and other traditions listed in the author note–which is amazing and a must-read
  • re-write a key scene from the point of view of Nova or Rishi
  • include this novel in a study of the supernatural, and witches specifically, in literature, along with titles such as MacBeth.

    Zoraida 3      Zoraida 2

AND NOW FOR TONS OF AWESOME BONUS STUFF, including Chapter 1, the book trailer, and a giveaway!!

FIRST, you’ve got to see this:

NOW, you’ve got to read this:

Chapter 1:

Follow our voices, sister.

Tell us the secret of your death.

—-Resurrection Canto,
Book of Cantos
The second time I saw my dead aunt Rosaria, she was dancing.

Earlier that day, my mom had warned me, pressing a long, red fingernail on the tip of my nose, “Alejandra, don’t go downstairs when the Circle arrives.”

But I was seven and asked too many questions. Every Sunday, cars piled up in our driveway, down the street, and around the corner of our old, narrow house in Sunset Park, Brooklyn. Mom’s Circle usually brought cellophane–wrapped dishes and jars of dirt and tubs of brackish water that made the Hudson River look clean. This time, they carried something more.

When my sisters started snoring, I threw off my covers and crept down the stairs. The floorboards were uneven and creaky, but I was good at not being seen. Fuzzy, yellow streetlight shone through our attic window and followed me down every flight until I reached the basement.

A soft hum made its way through the thin walls. I remember thinking I should listen to my mom’s warning and go back upstairs. But our house had been restless all week, and Lula, Rose, and I were shoved into the attic, out of the way while the grown–ups prepared the funeral. I wanted out. I wanted to see.

The night was moonless and cold one week after the Witch’s New Year, when Aunt Rosaria died of a sickness that made her skin yellow like hundred–year–old paper and her nails turn black as coal. We tried to make her beautiful again. My sisters and I spent all day weaving good luck charms from peonies, corn husks, and string—-one loop over, under, two loops over, under. Not even the morticians, the Magos de Muerte, could fix her once–lovely face.

Aunt Rosaria was dead. I was there when we mourned her. I was there when we buried her. Then, I watched my father and two others shoulder a dirty cloth bundle into the house, and I knew I couldn’t stay in bed, no matter what my mother said.

So I opened the basement door.

Red light bathed the steep stairs. I leaned my head toward the light, toward the beating sound of drums and sharp plucks of fat, nylon guitar strings.

A soft mew followed by whiskers against my arm made my heart jump to the back of my rib cage. I bit my tongue to stop the scream. It was just my cat, Miluna. She stared at me with her white, glowing eyes and hissed a warning, as if telling me to turn back. But Aunt Rosaria was my godmother, my family, my friend. And I wanted to see her again.

“Sh!” I brushed the cat’s head back.

Miluna nudged my leg, then ran away as the singing started.

I took my first step down, into the warm, red light. Raspy voices called out to our gods, the Deos, asking for blessings beyond the veil of our worlds. Their melody pulled me step by step until I was crouched at the bottom of the landing.

They were dancing.

Brujas and brujos were dressed in mourning white, their faces painted in the aspects of the dead, white clay and black coal to trace the bones. They danced in two circles—-the outer ring going clockwise, the inner counterclockwise—hands clasped tight, voices vibrating to the pulsing drums.

And in the middle was Aunt Rosaria.

Her body jerked upward. Her black hair pooled in the air like she was suspended in water. There was still dirt on her skin. The white skirt we buried her in billowed around her slender legs. Black smoke slithered out of her open mouth. It weaved in and out of the circle—-one loop over, under, two loops over, under. It tugged Aunt Rosaria higher and higher, matching the rhythm of the canto.

Then, the black smoke perked up and changed its target. It could smell me. I tried to backpedal, but the tiles were slick, and I slid toward the circle. My head smacked the tiles. Pain splintered my skull, and a broken scream lodged in my throat.

The music stopped. Heavy, tired breaths filled the silence of the pulsing red dark. The enchantment was broken. Aunt Rosaria’s reanimated corpse turned to me. Her body purged black smoke, lowering her back to the ground. Her ankles cracked where the bone was brittle, but still she took a step. Her dead eyes gaped at me. Her wrinkled mouth growled my name: Alejandra.

She took another step. Her ankle turned and broke at the joint, sending her flying forward. She landed on top of me. The rot of her skin filled my nose, and grave dirt fell into my eyes.

Tongues clucked against crooked teeth. The voices of the circle hissed, “What’s the girl doing out of bed?”

There was the scent of extinguished candles and melting wax. Decay and perfume oil smothered me until they pulled the body away.

My mother jerked me up by the ear, pulling me up two flights of stairs until I was back in my bed, the scream stuck in my throat like a stone.

Never,” she said. “You hear me, Alejandra? Never break a Circle.”

I lay still. So still that after a while, she brushed my hair, thinking I had fallen asleep.

I wasn’t. How could I ever sleep again? Blood and rot and smoke and whispers filled my head.

“One day you’ll learn,” she whispered.

Then she went back down the street–lit stairs, down into the warm red light and to Aunt Rosaria’s body. My mother clapped her hands, drums beat, strings plucked, and she said, “Again.”

AND NOW, you’ve got to get this:

To find Labyrinth Lost, check your local public library, your local bookstore, or IndieBound. Also, check out GoodreadsAmazon, and Barnes & Noble. You can also…..

CLICK HERE FOR A RAFFLECOPTER GIVEAWAY

317988_632439229822_92623787_nABOUT THE AUTHOR: Zoraida Córdova was born in Ecuador and raised in Queens, New York. She is the author of The Vicious Deep trilogy, the On the Verge series, and Labyrinth Lost. She loves black coffee, snark, and still believes in magic.

Author Website: http://www.zoraidacordova.com/

Labyrinth Lost Website: http://books.sourcebooks.com/labyrinth-lost/

Facebook: https://www.facebook.com/CordovaBooks

Twitter:  @zlikeinzorro

Instagram: https://www.instagram.com/wanderwheel/

Author Tumblr: http://wanderlands.tumblr.com/

Labyrinth Lost Tumblr: http://labyrinthlostbooks.tumblr.com/

YouTube: https://www.youtube.com/user/ZoraidaLand

Labyrinth Lost Coloring Page: http://www.sourcebooks.com/images/LabyrinthLost-ColoringPage.pdf

Q&A with Author Diana López about NOTHING UP MY SLEEVE

 

By Marianne Snow Campbell

Today we’re very pleased to host a dialogue with Diana López in honor of her newest middle grades novel, Nothing Up My Sleeve, which released on April 19.  This book follows three friends – Dominic, Loop, and Z – as they discover the exciting world of stage magic one summer. It’s equal parts humor, character study, and magic lessons – a fun and fascinating read. After finishing Nothing Up My Sleeve (click here for our book review), I was definitely curious about Diana’s creative process, so I’m very grateful that she was able to answer these questions for me. Enjoy!

I love the backdrop of stage magic in Nothing Up My Sleeve.  What inspired you to explore this topic?

My husband, Gene, inspired me. I wouldn’t know the first thing about magic if it weren’t for him. He’s an aficionado with a great collection of magic books, props, and videos. Over the years, I’ve been a tagalong at magic lectures and conventions, including the TAOM convention that I write about. Magicians are so creative, and if you think about a magic performance, you’ll realize that it’s just another form of storytelling. How could I resist? I had to write this book! And I had so much fun finding magic tricks that resonated with the characters’ personal lives. This is what stories do—give us tools for coping and for celebrating life.

Another important source of inspiration comes from my nephews who turn absolutely everything into a competition. Think about it. Competitions are wonderful for writers because they have a built-in sense of conflict—you’re “fighting” against others but you’re also fighting against yourself as you work to problem-solve or overcome insecurities. In a sense, a competition is a form of story, too.

Also, could you describe your process in creating this book?

I carry a little notebook around and jot down bits of dialogue or names of interesting things. I sometimes take pictures, too. Anything that feels like a good detail for a story. The magic shop, Conjuring Cats, is completely inspired by JCR Magic in San Antonio, for example.

Eventually, I realized that I wanted to write about three boys at a magic competition. But who were they? What kind of magic did they do? What else were they dealing with? To find out, I had to do a lot of exploratory writing, stuff that never gets into the final novel. It’s my way of searching for voices. And with three boys, I needed three voices that were distinct.

Once I had the voice and general sense of where the book was going, I started drafting. I’m not an outliner. I prefer to write, rewrite, rewrite, and rewrite. Stuff gets moved around, deleted, added, and the story eventually works itself out. I know it’s not the most efficient way to write, but for me, it’s the most enjoyable.

What made you decide to use three narratives? How did you go about developing Dominic, Loop and Z?

My previous books follow one character, so using three narratives was a new experience for me. From the beginning, however, it felt like the best approach for this novel. I love competitions—sports, board games, reality shows like Survivor or Amazing Race. It’s fun to root for someone, but often, I find myself rooting for more than one person. Something similar happened when writing this book. I found myself rooting for all three boys, so I wanted to give each of them time on the stage.

Using three perspectives also gave me a chance to explore how different people learn a new skill and perform in front of audiences. I love the unique set of abilities and insecurities that accompany each character. One of my favorite experiences with this book was taking a classic sleight, like the French drop, and seeing how the boys used their personalities to create different versions of this one move.

As for developing the characters, Dominic, Loop, and Z are very loosely based on three of my nephews. I love to eavesdrop on their conversations, and I’ve had plenty of chances to witness how they fight and how they show affection. Writers harvest ideas and voices from their environment, and that’s exactly what I did. I even called my nephews when I was looking for creative insults like “Fungus Foot, Toilet Clogger, Slobber Boy, and Stink Bomb.” Yup, they get total credit for that.

What do you want readers to carry away from Nothing Up My Sleeve and your other middle-grades books, Confetti Girl, Ask My Mood Ring How I Feel, and Choke?

I want them to enjoy the books. Just have fun. It breaks my heart to hear young people (or anyone) complain that books are boring. If I can make people laugh or nod because they recognize a bit of themselves in the story, then I have done my job.

For readers who like to dig a little deeper, I’ve posted some discussion guides on my website. You can find them on the “classroom” page http://www.dianalopezbooks.com/classroom.php . Find a friend and have a book chat. Published books don’t belong to the authors anymore. They belong to the readers.

    

As an author and creative writing professor, you clearly know a thing or two about writing. What kind of advice would you like to give to aspiring young writers out there – especially writers who want to publish books that celebrate diverse experiences and perspectives?

Aspiring writers are probably tired of hearing this, but it bears repeating because it’s so true. The best way to improve your writing is to read, read, read. And if you’re interested in celebrating diverse perspectives, then buy those titles. Do a little research to discover writers from your community, and then support them. We need to let publishers know that there’s a real interest in these books.

The second bit of advice is to pay attention to the world around you. Just read the signs, watch the people at parks or malls, browse the aisles at grocery stores. Examine familiar places as if seeing them for the first time. The diversity is built-in, and these are the details you want to capture in your books.

Since you published your first book, have you seen a change in the quality/quantity of diverse books published?

Yes, there’s an enthusiastic call for diverse books right now. I’m thinking of the We Need Diverse Books Campaign, and I’m seeing more diversity in our award-winners. This makes me very happy.

But, we still have a long way to go. I grew up in a working class, Mexican American family, a group that is still underrepresented. Here is a population statistic from “A Demographic Portrait of Mexican-Origin Hispanics in the United States” by Ana Gonzalez-Barrera and Mark Hugo Lopez: “Mexicans are by far the largest Hispanic-origin population in the U.S., accounting for nearly two-thirds (64%) of the U.S. Hispanic population in 2012.” Two-thirds of the Hispanic population in this country! I haven’t done the research, but I’m curious. If you took all the books published by Latinos in this country, what percentage will be by Mexican Americans?

So, moving in the right direction? Yes. But are we there yet? No. That’s why it’s an exciting time to be a writer and an advocate for diverse books.

Do you have any new book projects in the works?  Can you share anything about these projects?

Right now, I’m working hard to spread the news about NOTHING UP MY SLEEVE. I like to write short stories, too, so I’m using the time between book projects to finish and polish some shorter pieces I’ve been working on.

I was so excited to find out about CentroVictoria!  Tell us about your work there.

Photo credit: Todd Yates

Photo credit: Todd Yates

CentroVictoria is supported by the University of Houston-Victoria, where I work. Its founding director is Dagoberto Gilb, author of BEFORE THE END, AFTER THE BEGINNING. Our goal is to promote Mexican American literature and art. Right now, we’re doing this in two ways. One is the publication of an annual magazine called HUIZACHE. It’s a beautiful magazine, and I highly recommend it for people interested in Latino literature. Please visit our website http://huizachemag.org/ to learn more. The second way we promote the literature is to help educators. Dagoberto and his son, Ricardo Gilb, edited a textbook that was just released by Bedford St. Martin’s. It’s called MEXICAN AMERICAN LITERATURE: A PORTABLE ANTHOLOGY, a great resource for those who want a taste of important works and a sense of how the literature has changed. Dagoberto and Ricardo did a phenomenal job. For my part, I wrote an instructor’s manual full of discussion questions. It’s available as a downloadable pdf file.

To learn more about me, my books, and my work with CentroVictoria, please visit my website at www.dianalopezbooks.com

 

 

MarianneMarianne Snow Campbell is a doctoral student at The University of Georgia, where she researches nonfiction children’s books about Latin@ and Latin American topics and teaches an undergraduate course on children’s literature. Before graduate school, she taught pre-K and Kindergarten in Texas, her home state. She misses teaching, loves critters, and can also be found on Twitter and Facebook.

Book Review: Nothing Up My Sleeve by Diana López

 

Reviewed by Marianne Snow Campbell

DESCRIPTION FROM THE PUBLISHER: Sixth graders Dominic, Loop, and Z stumble upon a new magic shop in town and can’t wait to spend their summer mastering cool tricks to gain access to the Vault, a key holders-only back room bound to hold all kinds of secrets. And once they get in, they set their sights even higher: a huge competition at the end of the summer. They work on their card tricks, sleights, and vanishing acts, trying to come up with the most awesome routines possible….Problem is, the trip is expensive, and it’s money that each guy’s family just doesn’t have.

To make things worse, the shop-owners’ daughter, Ariel (who just so happens to be last year’s competition winner), will do anything to make sure the boys don’t come out on top. Even pit them against one another. Will they make it to the competition? And if so, at what cost?

Diana López, author of Confetti Girl and Ask My Mood Ring How I Feel, offers a story that’s just the right mix of heart, high jinks, and a bit of magic.

MY TWO CENTS: There’s a reason that magic trick kits sell so well at toy stores. Lots of kids love the thrill of stage magic – practicing illusions until they’re just right, creating mystery with visual puzzles, and tricking others with sleights of hand. Performing magic can help build kids’ confidence and give them a sense of agency when they might otherwise feel powerless. That’s certainly the case for Dominic, Loop, and Z, three friends who venture into the world of illusion at Conjuring Cats, the new magic store in Victoria, Texas. Each of the boys is facing a quandary that makes him feel powerless. Dominic’s parents are divorced and refuse to speak to each other, which frustrates him to no end. Meanwhile, Loop just found out that his father is actually his stepfather, and Z, the youngest child in a large family, always feels invisible. Their new magical hobby, however, leads to a summer of discovery that none of the friends expect.

One of the most valuable lessons I took away from Nothing Up My Sleeve is that hobbies are important. Once Dominic, Loop, and Z get involved in magic, they blossom. Sure, they encounter struggles along the way – jealousy, in-fighting, money troubles, family drama – but these difficulties only cause the boys to grow cognitively, socially, and emotionally. The teacher in me loves how practicing magic stimulates their critical thinking skills as they write patter (“what a magician says while performing a trick,” p. 134) for their routines and synthesize new tricks by putting their own personal spins on classic illusions. Really smart stuff! As the friends puzzle through magic, you can see how clever each boy is in his own way. This is the beauty of hobbies – kids expressing their intelligence and creativity through fun, personally meaningful activities.

OK, enough with the nerdy teacher musings. Another quality that I love about Diana López’s books is their attention to character development, and Nothing Up My Sleeve doesn’t disappoint. With magic as the backdrop, she conjures three well-rounded, realistic characters who face struggles and earn triumphs just like any real kid might. López creates a strong balance between the boys’ magical endeavors and their personal and home lives that gives this book the perfect blend of excitement and real world relevance.

Furthermore, I have to stress how much it means to me that López sets this book (and her other books) in South Texas. Catching references to places I know – Victoria, Refugio, Corpus Christi, and Houston – made me smile. Like me, a lot of young readers appreciate it when stories are set near their homes. A familiar setting can create a comfortable feeling, which, in turn, can make a book even more personally meaningful and engaging. With so many books, movies, and TV shows set in well known locales like New York and Los Angeles, it’s refreshing to find home in the pages of a book. Thank you, Ms. López for an enjoyable, relatable read!

TEACHING TIPS: As I read through Nothing Up My Sleeve, I couldn’t help thinking what a wonderful summer reading book it would be. Dominic, Loop, and Z’s adventures take place during the summer, and I can easily imagine kids soaking up this book on languid afternoons in June, July, and August. If you teach upper elementary or middle grades, consider putting it on your summer reading list.

Nothing Up My Sleeve is also an excellent book for classroom use. López fills her writing with various literary elements, which makes the book a solid model for student writing. Two particular elements that she focuses on in this book are metaphor – drawing comparisons between magic tricks and problems the boys face – and alternate perspectives. Each chapter assumes a different point, making the story richer and more complex. Unpacking these literary devices with students and encouraging them to incorporate the devices into their own pieces can really help them hone their creative writing skills.

Photo credit: Todd Yates

Photo credit: Todd Yates

ABOUT THE AUTHOR: A former middle school teacher, Diana López has written several books for children, young adults, and adults, including Confetti Girl, Ask My Mood Ring How I Feel, Choke, and Sofia’s Saints. Her writing has also been featured in the anthologies Hecho en Tejas and You Don’t Have a Clue: Latino Mystery Stories for Teens. In 2004, she received a writing fellowship from the Texas Commission for the Arts and the Alfredo Cisneros del Moral Foundation, and Emporia State University honored Confetti Girl with the William Allen White Award in 2012. She teaches literature and creative writing at the University of Houston—Victoria and serves as managing director for Centro Victoria, an organization that celebrates Mexican-American literature and culture. To learn more about her work, you can visit her website or check out her Twitter.

 

 

MarianneMarianne Snow Campbell is a doctoral student at The University of Georgia, where she researches nonfiction children’s books about Latin@ and Latin American topics and teaches an undergraduate course on children’s literature. Before graduate school, she taught pre-K and Kindergarten in Texas, her home state. She misses teaching, loves critters, and can also be found on Twitter and Facebook.