• InterventionsAn Interview with David Campos and Maceo Montoya
• Frederick Luis Aldama

Early twentieth-century maverick creator, Guillaume Apollinaire, famously declared, "l'esprit nouveau et les poetes." With extraordinary collaborations between visual crafters and wordsmiths—Picasso and Max Jacob (Saint Matorel [1911]), Ginsburg and Francesco Clemente (The White Shroud [1986]), Norma Cantú and Marta Sánchez (Transcendental Train Yard [2015]), for instance—I emphatically declare: the vitality of the poetic-arts is Latinx hybrid modal co-creations. David Campos and Maceo Montoya are powerful testament to this fact. In American Quasar (2021), they co-create to intervene, agitate, and make new our perception, thought, and feeling concerning Latinx experiences and lives. Together, they explode prejudices and assumptions about what it means to be Latinx in the US.

Maceo and David are, of course, extraordinary creators in their own right. Maceo is an award-winning author of numerous books of fiction, including recently You Must Fight Them (2015) and his graphic nonfiction, Chicano Movement for Beginners (2016). He is an internationally recognized artist (painting, drawing, and print), an associate professor at UC Davis, and member of the community-based arts organization, Taller Arte del Nuevo Amanecer (TANA). David Campos won the 2014 Andrés Montoya Poetry Prize for Furious Dusk and his poetry appears in numerous reviews, including American Poetry Review, Boxcar Poetry Review, and Miramar. He teaches at Fresno City College.

I had the great pleasure and honor of learning from Maceo and David and the journeys that brought them to the creating of hybrid modal poetic-acts that open our minds to issues of trauma, violence, and the Latinx self.

You both have had carved different paths to become the creator-makers you are today. Might you share a snapshot of your respective journeys?

I can start. I was raised in a Chicano activist and artist family. I was surrounded by the idea that art could change the world. While there were moments when I resisted taking this path—for years I was certain I was going to be a lawyer—I always found ways of seeking out art-related activities. Throughout school, I did illustrations for student publications. In college, I used travel fellowships to create a body of artwork. I double-majored in History and Ethnicity, Race, and Migration, and while I loved what I was studying, I found the assignments dry. I was always thinking about how I could take what I was learning and express it in a different way. I'd sometimes ask professors if I could turn in a drawing instead of a reading response. In fact, for my senior history thesis I created a series of charcoal drawings to accompany the essay. I wrote about the debate over revolutionary art in Mexico, focusing in particular on David Alfaro Siqueiros, one of the great muralists, and Rufino Tamayo, who firmly believed in art for art's sake. The two men hated each other. In their sixties, they got into a fistfight, which I used as my entry into their different perspectives on the role of art. I was fascinated by Siqueiros's equal commitment to his art and to political struggle, which he saw as inseparable. It was also in my senior year that I painted a mural on campus. At the end of each day I didn't want to go home. I just wanted to keep painting. I couldn't sleep at night—I was so excited to get out there and start painting again. I knew that what I was feeling was rare, and that I had to follow that feeling. It was then that I started to see myself as an artist.

David?

My journey's very different. I went to a magnet school. I thought pursuing business was the way to succeed: to earn a living and grow a family. But I was bored, so I acted up. I was kicked out. So, I went to Fresno High where I was exposed to competitive speech and debate; I needed extra credits because I'd messed up so much. The teacher was amazing, encouraging...

• 干预大卫·坎波斯和蒙托亚Maceo的访谈
• 弗雷德里克·路易斯·阿尔达玛

二十世纪初的特立独行创作者纪尧姆·阿波利奈尔（Guillaume Apollinaire）著名地宣称：“新诗人和诗人”。通过视觉制作者和词匠的非凡合作，例如毕加索和麦克斯·雅各布（Saint Matorel [1911]），金斯堡和弗朗切斯科·克莱门特（The White Shroud [1986]），诺玛·坎图和玛尔塔·桑切斯（先验火车场[2015]）。 -我着重声明：诗歌艺术的生命力是拉丁混合模式共同创造。David Campos和Maceo Montoya就是这一事实的有力证明。在《美洲Quasar》（2021年）中，他们共同创作来进行干预，鼓动和创造新的事物。我们对Latinx经历和生活的看法，思想和感觉。他们在一起激起了人们对在美国拉丁裔意味着什么的偏见和假设。

当然，Maceo和David本身就是非凡的创造者。Maceo是许多小说书籍的获奖作者，包括最近的《You Must Fight Them》（2015年）和他的图画非小说类作品《Chicano Movement for Beginners》（2016年）。他是国际知名的画家（绘画，素描和版画），是加州大学戴维斯分校的副教授，也是社区艺术组织Taller Arte del Nuevo Amanecer（TANA）的成员。大卫·坎波斯（David Campos）因《愤怒的黄昏》赢得了2014年安德烈斯·蒙托亚（AndrésMontoya）诗歌奖，他的诗歌出现在众多评论中，包括《美国诗歌评论》，《 Boxcar诗歌评论》和《美丽华》。他在弗雷斯诺市立大学任教。

我非常高兴和荣幸地向Maceo和David学习，并经历了使他们走向混合情态诗意创作的历程，这些作品使我们对创伤，暴力和拉丁裔自我的问题敞开了胸怀。

你们俩已经走了不同的道路，成为了今天的创造者。您可以分享各自旅程的快照吗？

我可以开始了。我在Chicano激进主义者和艺术家家庭中长大。我认为艺术可以改变世界。虽然有时候我拒绝走这条路，但多年以来，我确信自己将成为一名律师，但我总是找到寻找与艺术有关的活动的方法。在整个学校，我都为学生出版物制作插图。在大学里，我使用旅行研究金来创作艺术品。我主修历史与种族，种族和移民专业，而我热爱所学的内容时，发现作业很枯燥。我一直在思考如何接受所​​学内容并以不同的方式表达出来。有时我会问教授，我是否可以上画而不是看书。实际上，对于我的高级历史论文，我随笔作了一系列木炭绘画。我写了关于墨西哥革命艺术的辩论，特别是其中一位伟大的壁画家戴维·阿尔法罗·西奎罗斯（David Alfaro Siqueiros）和为艺术而坚信艺术的鲁菲诺·塔马约（Rufino Tamayo）。两人互相憎恨。在他们六十年代的时候，他们发生了一场战斗，我以此作为进入他们对艺术角色的不同看法的入口。Siqueiros对他的艺术和政治斗争的同等投入使我着迷，他认为这是密不可分的。也是在我大四的时候，我在校园里画了一幅壁画。每天结束时，我都不想回家。我只是想继续绘画。晚上我无法入睡，我很高兴能离开那里重新开始绘画。我知道自己的感受是罕见的，而且我必须遵循这种感觉。从那时起，我开始将自己视为艺术家。

大卫？

我的旅程非常不同。我去了磁铁学校。我以为追求事业是成功的途径：谋生和发展家庭。但是我很无聊，所以我表现出来了。我被踢出去了。因此，我去了弗雷斯诺高中，在那里我接受了激烈的演讲和辩论。我需要额外的学分，因为我搞砸了很多。老师很棒，令人鼓舞...