1 00:00:00,720 --> 00:00:03,280 Speaker 1: None of the stories in New York had me in them, 2 00:00:03,600 --> 00:00:06,120 Speaker 1: or anybody who looked like me or talk like me. 3 00:00:07,200 --> 00:00:12,560 Speaker 1: And I was confronted with stereotype and caricature and it 4 00:00:12,760 --> 00:00:13,600 Speaker 1: just felt wrong. 5 00:00:18,040 --> 00:00:21,960 Speaker 2: From futuro media and PRX, It's Latino Usa. I'm Maria 6 00:00:22,079 --> 00:00:26,319 Speaker 2: no Hosa today. Puerto Rican author dal Mayanos Figueroa takes 7 00:00:26,400 --> 00:00:29,920 Speaker 2: us on her journey from public school teacher and librarian 8 00:00:30,440 --> 00:00:38,040 Speaker 2: to novelists. After working for twenty years as a school 9 00:00:38,040 --> 00:00:41,400 Speaker 2: teacher and then as a librarian in the Bronx New York, 10 00:00:42,120 --> 00:00:45,919 Speaker 2: dal Maayanos Figueroa decided that she no longer wanted to 11 00:00:45,960 --> 00:00:53,080 Speaker 2: assign readings and sort books. She wanted to write them. Foremost, 12 00:00:53,120 --> 00:00:56,200 Speaker 2: she wanted to tell the stories that her students sought 13 00:00:56,240 --> 00:01:01,280 Speaker 2: and deserved, stories that reflected their histories and lived experiences. 14 00:01:02,800 --> 00:01:06,560 Speaker 2: Inspired by authors whose work has long been censored, including 15 00:01:06,720 --> 00:01:11,800 Speaker 2: Tony Morrison and Bid Tomas, Dalma's writing puts front and 16 00:01:11,959 --> 00:01:16,880 Speaker 2: center an often erased or silenced narrative in literature, the 17 00:01:16,959 --> 00:01:21,800 Speaker 2: experience of African women brought to and enslaved in nineteenth 18 00:01:21,840 --> 00:01:27,479 Speaker 2: century Puerto Rico. At seventy two, Dalma continues to dream 19 00:01:27,600 --> 00:01:33,160 Speaker 2: big She just released a new book, A Woman of Endurance, 20 00:01:33,680 --> 00:01:36,920 Speaker 2: and a Spanish version of it under the title Indomita, 21 00:01:37,360 --> 00:01:40,360 Speaker 2: is scheduled to be published in May, and while she 22 00:01:40,480 --> 00:01:44,959 Speaker 2: continues to write, Dalma is already thinking about her legacy. 23 00:01:46,720 --> 00:01:50,800 Speaker 2: In twenty twenty one, she established the Figedoa Sisters Fellowship 24 00:01:50,880 --> 00:01:55,120 Speaker 2: and Scholarship, named after her mother and her theas. The 25 00:01:55,240 --> 00:02:02,120 Speaker 2: fellowship helps women over fifty fulfill their long postponed rite dreams. Separately, 26 00:02:02,240 --> 00:02:05,840 Speaker 2: the scholarship supports Puerto Rican students who are interested in 27 00:02:05,920 --> 00:02:11,920 Speaker 2: creative writing and literature. Here's Dalman to tell us her story. 28 00:02:13,000 --> 00:02:17,640 Speaker 1: My name is Dalma Gianos Fighero. I'm an Afro Puerto 29 00:02:17,720 --> 00:02:24,239 Speaker 1: Rican novelist. I write about nineteenth century plantation life from 30 00:02:24,400 --> 00:02:29,240 Speaker 1: the point of view of enslaved women. My mission is 31 00:02:29,280 --> 00:02:32,880 Speaker 1: to tell the story not told, and I hope you'll 32 00:02:32,919 --> 00:02:38,480 Speaker 1: come with me. I was born in Carolina, Puerto Rico, 33 00:02:39,280 --> 00:02:44,560 Speaker 1: on September eighth, nineteen forty nine. I come from a 34 00:02:44,680 --> 00:02:48,960 Speaker 1: very large, extended family, like most Puerto Ricans. It's more 35 00:02:49,000 --> 00:02:52,839 Speaker 1: a clan than an individual unit, and that's a very 36 00:02:53,320 --> 00:02:58,640 Speaker 1: comforting and safe feeling for a child. When I was two, 37 00:02:58,800 --> 00:03:02,440 Speaker 1: my parents moved to New York City. So they heard 38 00:03:02,480 --> 00:03:05,320 Speaker 1: about the Bronx, this wonderful place. So we moved up 39 00:03:05,360 --> 00:03:08,040 Speaker 1: to the Bronx. But the city was in the middle 40 00:03:08,040 --> 00:03:12,240 Speaker 1: of a transition of many transitions, and eventually they thought 41 00:03:12,600 --> 00:03:14,680 Speaker 1: we need to buy a house. And so when I 42 00:03:14,720 --> 00:03:16,720 Speaker 1: was ten, I was sent to Puerto Rico to stay 43 00:03:16,760 --> 00:03:21,000 Speaker 1: with my grandmother, and there I found a whole other universe. 44 00:03:26,600 --> 00:03:30,919 Speaker 1: We were in rural Carolina. My grandfather had a farm. 45 00:03:31,280 --> 00:03:34,800 Speaker 1: There was sugarcane and cows. And one of the best 46 00:03:34,840 --> 00:03:38,040 Speaker 1: things that happened was that I got to listen to 47 00:03:38,960 --> 00:03:42,600 Speaker 1: the women in the neighborhood sit on their porches and 48 00:03:42,680 --> 00:03:46,640 Speaker 1: do storytelling, and they talked about everybody in town, everybody 49 00:03:46,640 --> 00:03:50,200 Speaker 1: in the family, dead, alive, everybody. Of course, as a child, 50 00:03:50,200 --> 00:03:53,400 Speaker 1: I wasn't allowed into the conversation, but the adult women 51 00:03:53,400 --> 00:03:56,520 Speaker 1: who were sitting on the porch telling stories gave me 52 00:03:56,560 --> 00:04:02,160 Speaker 1: a very healthy dose life for Afro Puerto Ricans and 53 00:04:02,600 --> 00:04:06,880 Speaker 1: a sense of our own community and culture within the 54 00:04:06,920 --> 00:04:11,680 Speaker 1: islands community. And then I came back to New York. 55 00:04:16,320 --> 00:04:19,480 Speaker 1: When I started school, I could read in Spanish, and 56 00:04:20,160 --> 00:04:23,040 Speaker 1: the teacher told my mother that she needed to stop 57 00:04:23,080 --> 00:04:27,040 Speaker 1: speaking to me in Spanish because I was getting all 58 00:04:27,080 --> 00:04:29,919 Speaker 1: confused and I wasn't learning English as quickly as she 59 00:04:30,040 --> 00:04:33,479 Speaker 1: wanted me to. And my mom said to her, I'll 60 00:04:33,520 --> 00:04:36,720 Speaker 1: tell you what you worry about teaching her English, because 61 00:04:36,720 --> 00:04:40,880 Speaker 1: that's your job. I'll worry about making sure she remembers 62 00:04:41,040 --> 00:04:44,159 Speaker 1: who she is and where she came from, because that's 63 00:04:44,240 --> 00:04:49,240 Speaker 1: my job. Most of the teachers considered me to be 64 00:04:49,320 --> 00:04:54,000 Speaker 1: an average student. My college counselor informed me that I 65 00:04:54,040 --> 00:04:57,880 Speaker 1: would make a very good secretarian, that I shouldn't aspire 66 00:04:58,000 --> 00:05:00,920 Speaker 1: to going to college. I said, I want to go 67 00:05:00,960 --> 00:05:04,240 Speaker 1: to college. She said, okay, I'll send your records to 68 00:05:04,320 --> 00:05:06,960 Speaker 1: a community college, but there's no way you're going to 69 00:05:06,960 --> 00:05:10,240 Speaker 1: get into a four year school. And I went home 70 00:05:10,360 --> 00:05:13,920 Speaker 1: and I said, Mommy, the guidance counselor says that I'm 71 00:05:13,960 --> 00:05:18,719 Speaker 1: not college material. And my mother said, that's what she says. 72 00:05:19,000 --> 00:05:24,760 Speaker 1: What we know is something different. When I went to 73 00:05:24,760 --> 00:05:27,880 Speaker 1: school during the sixties, I went to the University of 74 00:05:27,880 --> 00:05:33,760 Speaker 1: Buffalo and I was an English and Spanish major. For me, 75 00:05:33,839 --> 00:05:36,479 Speaker 1: it was a time of discovery. For the first time, 76 00:05:37,040 --> 00:05:40,520 Speaker 1: I left my community to be in a an almost 77 00:05:40,560 --> 00:05:46,799 Speaker 1: totally wide environment in upstate New York. So culturally, linguistically, 78 00:05:47,120 --> 00:05:51,440 Speaker 1: in so many ways. This was a new experience for me. 79 00:05:52,080 --> 00:05:57,080 Speaker 1: With the civil rights movement and with the student activist movement, 80 00:05:57,720 --> 00:06:02,400 Speaker 1: the colleges were beginning to change their cannon. And so 81 00:06:02,600 --> 00:06:06,159 Speaker 1: that's where I found Pierry Thomas. That's where I found 82 00:06:06,520 --> 00:06:11,040 Speaker 1: Claude Mackay, That's where I found Claude Brown. But I 83 00:06:11,120 --> 00:06:15,839 Speaker 1: knew that even though I was surrounded by story, none 84 00:06:15,920 --> 00:06:19,320 Speaker 1: of it was my story. And I didn't really know 85 00:06:19,480 --> 00:06:22,720 Speaker 1: where to go from there. But I thought, if Pitty 86 00:06:22,760 --> 00:06:26,360 Speaker 1: Thomas can write his memoir, if he can get published 87 00:06:26,400 --> 00:06:30,240 Speaker 1: and people see the value of his life, then I 88 00:06:30,279 --> 00:06:35,080 Speaker 1: can do the same thing. So after I graduated, I 89 00:06:35,120 --> 00:06:38,640 Speaker 1: came back home. It was at the era where at 90 00:06:38,720 --> 00:06:41,719 Speaker 1: least the people of color that I knew, were told, 91 00:06:42,000 --> 00:06:46,279 Speaker 1: you've been fortunate in being able to receive. Now you 92 00:06:46,400 --> 00:06:50,000 Speaker 1: need to give back. So I went into teaching. I 93 00:06:50,080 --> 00:06:53,960 Speaker 1: was a bilingual teacher for many years. My students came 94 00:06:54,040 --> 00:06:59,599 Speaker 1: from Puerto Rico, Dominican Republic, and it was interesting because 95 00:06:59,680 --> 00:07:02,320 Speaker 1: in a and I was introducing them to a new world. 96 00:07:02,800 --> 00:07:05,440 Speaker 1: But I found that there were no books that I 97 00:07:05,440 --> 00:07:08,760 Speaker 1: could give them that were relevant to their lives. That 98 00:07:08,920 --> 00:07:13,120 Speaker 1: was a battle that was long in fighting. Eventually I 99 00:07:13,200 --> 00:07:17,800 Speaker 1: found my way to Alice Walker, and to Tony Morrison, 100 00:07:18,040 --> 00:07:22,720 Speaker 1: and to Christina Gacia and Dolan Perkins, and so I 101 00:07:22,880 --> 00:07:31,200 Speaker 1: found that Biter Thomas his writing validated my sense of 102 00:07:31,600 --> 00:07:39,040 Speaker 1: there's something missing here. I became a librarian after I 103 00:07:39,080 --> 00:07:43,240 Speaker 1: was a teacher for about twenty years because by this 104 00:07:43,280 --> 00:07:45,600 Speaker 1: point so many kids were saying they don't like to read, 105 00:07:46,080 --> 00:07:48,480 Speaker 1: and the reason they didn't like reading was because what 106 00:07:48,520 --> 00:07:50,840 Speaker 1: they were given to read had nothing to do with 107 00:07:50,920 --> 00:07:54,160 Speaker 1: their lives. So I thought, if you become a librarian, 108 00:07:54,320 --> 00:07:57,480 Speaker 1: a the kids who come to you are kids who 109 00:07:57,520 --> 00:08:01,240 Speaker 1: are going to be open to it. And two, you'll 110 00:08:01,240 --> 00:08:03,800 Speaker 1: have money to buy the books that the kids will 111 00:08:03,800 --> 00:08:06,880 Speaker 1: be more interested in. One of the things that I 112 00:08:06,920 --> 00:08:09,600 Speaker 1: did that I loved was when it was time to 113 00:08:09,720 --> 00:08:13,080 Speaker 1: order books. When I got my budget, I asked my 114 00:08:13,720 --> 00:08:18,760 Speaker 1: student monitors to come into my office and they should 115 00:08:18,760 --> 00:08:22,200 Speaker 1: pick the books from all the catalogs. One young man said, 116 00:08:22,400 --> 00:08:25,000 Speaker 1: I don't like to read. I don't like the library. 117 00:08:25,040 --> 00:08:26,760 Speaker 1: I don't want to be here. You don't have anything 118 00:08:26,760 --> 00:08:28,960 Speaker 1: here that interests me. I said, well, how do you 119 00:08:29,040 --> 00:08:31,000 Speaker 1: know that? I said, what are you interested in? He? 120 00:08:31,040 --> 00:08:35,280 Speaker 1: Said sex. I said, good, that's number six sixteen point 121 00:08:35,320 --> 00:08:37,880 Speaker 1: seven eight in the Dewey Decimal. Come on, I have 122 00:08:37,920 --> 00:08:40,760 Speaker 1: a book called What's going On down There? I think 123 00:08:40,800 --> 00:08:44,920 Speaker 1: you'll love it. And so what I learned was when 124 00:08:44,960 --> 00:08:48,559 Speaker 1: people come in the library, you have to go to 125 00:08:48,600 --> 00:08:52,160 Speaker 1: their level. You have to see where they are and 126 00:08:52,320 --> 00:08:58,920 Speaker 1: help them find things that they love. None of the 127 00:08:58,960 --> 00:09:02,000 Speaker 1: stories in New York had me in them, or anybody 128 00:09:02,000 --> 00:09:05,880 Speaker 1: who looked like me or talk like me, and I 129 00:09:06,000 --> 00:09:11,400 Speaker 1: was confronted with stereotype and caricature and it just felt wrong. 130 00:09:12,480 --> 00:09:15,840 Speaker 1: And then the question was how am I going to 131 00:09:15,840 --> 00:09:19,400 Speaker 1: write this? I want to write my story, but how 132 00:09:20,000 --> 00:09:25,040 Speaker 1: And Tony Morrison and Isabella Ende and Christina Garcia, they 133 00:09:25,200 --> 00:09:32,840 Speaker 1: all were mentors, mavinas matriarchs in that they showed me 134 00:09:33,000 --> 00:09:38,040 Speaker 1: that there was another way of telling this story, that 135 00:09:38,600 --> 00:09:41,680 Speaker 1: you could talk about things that people didn't want to 136 00:09:41,720 --> 00:09:46,240 Speaker 1: talk about. And little by little I started finding a 137 00:09:46,280 --> 00:09:56,960 Speaker 1: way to my own voice. One of the important things 138 00:09:56,960 --> 00:10:00,720 Speaker 1: that I've learned throughout my life, from storytelling to writing, 139 00:10:00,920 --> 00:10:04,280 Speaker 1: to being a teacher and being a librarian, is you 140 00:10:04,360 --> 00:10:08,160 Speaker 1: have to learn to listen. And so when I went 141 00:10:08,280 --> 00:10:10,439 Speaker 1: to Puerto Rico and I was listening to these women 142 00:10:10,480 --> 00:10:14,240 Speaker 1: tell stories. The first thing I did was just sit 143 00:10:14,679 --> 00:10:18,920 Speaker 1: and listen to what they were saying. And there I 144 00:10:19,040 --> 00:10:23,480 Speaker 1: learned how to build a world with words, how to 145 00:10:23,520 --> 00:10:28,080 Speaker 1: stitch together an environment, how to populate that world with 146 00:10:28,480 --> 00:10:33,520 Speaker 1: characters who were real, compelling. And also listening helped me 147 00:10:34,200 --> 00:10:37,160 Speaker 1: build tension. How do you tell a story to keep 148 00:10:37,160 --> 00:10:40,080 Speaker 1: people on the edge of your seat, and how much 149 00:10:40,120 --> 00:10:44,520 Speaker 1: to hold back and how much to reveal? And then finally, 150 00:10:44,960 --> 00:10:48,240 Speaker 1: what is the story not told? And in our case, 151 00:10:49,320 --> 00:10:56,160 Speaker 1: most of our stories have not been told. Often I 152 00:10:56,200 --> 00:10:58,680 Speaker 1: get up at four or five in the morning with 153 00:10:58,840 --> 00:11:01,880 Speaker 1: a character in mind, and I hear that character say, 154 00:11:02,480 --> 00:11:04,320 Speaker 1: you got to get up and write me my story. 155 00:11:04,640 --> 00:11:10,320 Speaker 1: So in my meditation, I have discussions with ancestors with 156 00:11:10,440 --> 00:11:14,280 Speaker 1: my characters. I called on characters and said, I will 157 00:11:14,320 --> 00:11:18,440 Speaker 1: write you your story, but you must protect me. You 158 00:11:18,520 --> 00:11:21,719 Speaker 1: must take care of my heart so that I can 159 00:11:21,760 --> 00:11:24,880 Speaker 1: write you your story. When I was writing A Woman 160 00:11:24,920 --> 00:11:29,079 Speaker 1: of Endurance, there are some scenes that are emotionally difficult 161 00:11:29,320 --> 00:11:33,120 Speaker 1: to read. You cannot write a neo slave narrative and 162 00:11:33,160 --> 00:11:37,719 Speaker 1: not show the violence and brutality of that situation. I 163 00:11:37,760 --> 00:11:41,080 Speaker 1: wrote this scene where a woman is being tortured, and 164 00:11:41,720 --> 00:11:45,960 Speaker 1: the scene comes from something that actually happened. A friend 165 00:11:46,000 --> 00:11:50,880 Speaker 1: of mine, her great grandfather, told her about how this 166 00:11:51,200 --> 00:11:54,960 Speaker 1: enslaved woman was punished. But I sat for hours and 167 00:11:55,040 --> 00:11:57,720 Speaker 1: I wrote that whole scene, and when I finished, I 168 00:11:57,800 --> 00:12:01,199 Speaker 1: thought it did a good chab And then I got 169 00:12:01,320 --> 00:12:05,400 Speaker 1: up and I started throwing up, and I continued throwing 170 00:12:05,480 --> 00:12:08,920 Speaker 1: up for three days. I was hospitalized because I got dehydrated. 171 00:12:09,320 --> 00:12:14,160 Speaker 1: And I think about the fact that writers have to 172 00:12:14,200 --> 00:12:17,400 Speaker 1: go there. If it's going to sound real, if it's 173 00:12:17,440 --> 00:12:21,040 Speaker 1: going to have the ring of truth to it, then 174 00:12:21,080 --> 00:12:24,120 Speaker 1: you have to put yourself in that position and think 175 00:12:24,120 --> 00:12:30,480 Speaker 1: about how that person felt at the time. This is 176 00:12:30,520 --> 00:12:36,280 Speaker 1: from the opening chapter of A Woman of Endurance. We 177 00:12:36,360 --> 00:12:45,160 Speaker 1: are in Acienda Paraiso bignon Es, Puerto Rico, eighteen forty nine. Paula, 178 00:12:45,920 --> 00:12:49,960 Speaker 1: the woman once called Quira, waits until she cannot wait 179 00:12:50,000 --> 00:12:54,720 Speaker 1: any longer. Her eyes rake the clearing. The other women 180 00:12:54,880 --> 00:12:59,120 Speaker 1: in the cabin snore, lying motionless. After a sixteen hour 181 00:12:59,240 --> 00:13:04,440 Speaker 1: day the heat and sun, the overseer of asian Na Paraiso, 182 00:13:05,080 --> 00:13:07,920 Speaker 1: a man of habit, has put his whips away for 183 00:13:07,960 --> 00:13:11,520 Speaker 1: the night and sleeps off his latest raid on the 184 00:13:11,520 --> 00:13:18,199 Speaker 1: women's quarters. La Familia, well said and comfortable, is lulled 185 00:13:18,200 --> 00:13:22,200 Speaker 1: to sleep by the song of the cookies. The smell 186 00:13:22,360 --> 00:13:27,239 Speaker 1: of the patron's last cigar has long ago dissipated. Snores 187 00:13:27,880 --> 00:13:33,280 Speaker 1: float out of open windows all over the plantation. Lanterns 188 00:13:33,320 --> 00:13:38,400 Speaker 1: sit cold. Paula looks around the bade, her eyes search 189 00:13:38,440 --> 00:13:44,880 Speaker 1: out every shadow, every movement. In the backyard, chickens sit silently, 190 00:13:45,480 --> 00:13:50,800 Speaker 1: safe in their coops. The knight has settled into its rhythm. 191 00:13:51,200 --> 00:13:54,880 Speaker 1: This time she will make it all the way. This 192 00:13:55,000 --> 00:14:06,160 Speaker 1: time she will not be back. And when I first 193 00:14:06,160 --> 00:14:08,600 Speaker 1: started in two thousand and nine, I think they didn't 194 00:14:08,640 --> 00:14:11,320 Speaker 1: know what to do with me. I remember with my 195 00:14:11,400 --> 00:14:14,440 Speaker 1: first book, the question came up, where do we put it? 196 00:14:15,240 --> 00:14:17,520 Speaker 1: Do we put it under African American? Do we put 197 00:14:17,559 --> 00:14:20,520 Speaker 1: it under Latino studies? And I said, well, I can't 198 00:14:20,560 --> 00:14:23,880 Speaker 1: separate being black from being Puerto Rican, And they said, 199 00:14:23,880 --> 00:14:25,680 Speaker 1: well where do we put it? Then I said, how 200 00:14:25,720 --> 00:14:30,280 Speaker 1: about literature? And they said, well, nobody will find it. 201 00:14:31,280 --> 00:14:35,600 Speaker 1: And I said, oh, so that's and some folks think 202 00:14:36,120 --> 00:14:41,960 Speaker 1: that we don't write literature. And now, especially after the 203 00:14:42,000 --> 00:14:45,240 Speaker 1: Black Lives Matter and the other protests that went on, 204 00:14:45,840 --> 00:14:48,560 Speaker 1: we're finally getting to the point where people are beginning 205 00:14:48,600 --> 00:14:51,480 Speaker 1: to acknowledge that not all Latinos are the same, and 206 00:14:51,560 --> 00:14:55,120 Speaker 1: that there are many different experiences, and many different countries 207 00:14:55,680 --> 00:14:59,200 Speaker 1: and many different cultures that are under the umbrella of 208 00:14:59,680 --> 00:15:06,360 Speaker 1: Latin need that. I feel like, if you have a 209 00:15:06,400 --> 00:15:11,200 Speaker 1: wound and you don't heal it, you don't tend to it. 210 00:15:11,480 --> 00:15:15,360 Speaker 1: If you deny that the wound is there, it will 211 00:15:15,360 --> 00:15:19,240 Speaker 1: only fester. So I'm hoping that with my work it 212 00:15:19,280 --> 00:15:23,080 Speaker 1: will allow people to have a conversation without getting defensive, 213 00:15:23,720 --> 00:15:28,840 Speaker 1: without getting evasive. I know that I've lived most of 214 00:15:28,840 --> 00:15:32,360 Speaker 1: my life already, and I really do believe the proverb 215 00:15:32,440 --> 00:15:36,640 Speaker 1: that says every time a senior dies, you lose a library. 216 00:15:37,560 --> 00:15:41,160 Speaker 1: So I really feel like it's my responsibility at this 217 00:15:41,400 --> 00:15:45,640 Speaker 1: stage in my life to pass on stories that will 218 00:15:45,680 --> 00:15:51,760 Speaker 1: help younger generations see where they come from, because they 219 00:15:51,760 --> 00:15:54,600 Speaker 1: need a foundation. You can't go anywhere without a foundation. 220 00:16:19,360 --> 00:16:22,640 Speaker 2: This episode was produced by our fellow Andrew Vignalis, with 221 00:16:22,680 --> 00:16:25,760 Speaker 2: help from Julia Rocha. It was edited by Andrea Lopez 222 00:16:25,760 --> 00:16:29,040 Speaker 2: Crusado and mixed by j. J. Carubin and Rosanna Cavan. 223 00:16:29,440 --> 00:16:34,280 Speaker 2: The Latino USA team includes Marta Martinez Daisy Contreds, Mike Sargent, 224 00:16:34,400 --> 00:16:39,720 Speaker 2: Julia Ta Martinelli, Victoria Estrada, patrisa ulvarand Alejandras Alasado and 225 00:16:39,920 --> 00:16:43,880 Speaker 2: Rinaldo Leanos Junior, with help from Raul Prees. Our editorial 226 00:16:43,920 --> 00:16:47,200 Speaker 2: director is Julio Ricardo Barella. Our director of Engineering is 227 00:16:47,200 --> 00:16:51,000 Speaker 2: Stephanie LAbau. Our senior engineer is Julia Caruso. Our associate 228 00:16:51,040 --> 00:16:55,240 Speaker 2: engineer is gabriel A Bias. Our digital editor is Luis Luna. 229 00:16:55,400 --> 00:16:59,400 Speaker 2: Our fellows are Elisa Ena and Monica Morales. Our theme 230 00:16:59,440 --> 00:17:02,360 Speaker 2: music was composed by Zenia Rubinos. I'm your host and 231 00:17:02,400 --> 00:17:05,399 Speaker 2: executive producer Maria no Josa. Join us again on our 232 00:17:05,440 --> 00:17:09,720 Speaker 2: next episode. In the meantime, remember not de vays. See 233 00:17:09,720 --> 00:17:11,200 Speaker 2: you in the next episode III. 234 00:17:14,359 --> 00:17:18,880 Speaker 3: Latino USA is made possible in part by New York 235 00:17:18,960 --> 00:17:23,560 Speaker 3: Women's Foundation. The New York Women's Foundation, funding women leaders 236 00:17:23,600 --> 00:17:27,679 Speaker 3: that build solutions in their communities and celebrating thirty years 237 00:17:27,720 --> 00:17:33,560 Speaker 3: of radical generosity, the wind Coat Foundation and the HEISINGG. 238 00:17:33,560 --> 00:17:40,760 Speaker 3: Simons Foundation unlocking knowledge, opportunity and possibilities. More at hsfoundation 239 00:17:41,000 --> 00:17:41,520 Speaker 3: dot org. 240 00:17:45,720 --> 00:17:46,960 Speaker 1: It's wonderful? 241 00:17:47,200 --> 00:17:50,719 Speaker 2: Okay? What off key? Okay?