En Pocas Palabras. Javier J. Jaspe
Washington D.C.
“The 2023 National Book Festival was held in the
nation’s capital at the Walter E. Washington Convention Center on Saturday,
August 12, from 9 a.m. to 8 p.m. Several programs were livestreamed, and video
of all talks can be viewed online shortly after the Festival’s conclusion. Mark your
calendars now for next year’s National Book Festival, scheduled for Aug. 24,
2024.”
EN: https://www.loc.gov/events/2023-national-book-festival/about-this-event/
Una lista completa de los autores que participaron en
el Festival Nacional del Libro de 2023
(FNL2023) puede verse EN: https://www.loc.gov/events/2023-national-book-festival/authors/
La serie que continuamos hoy se refiere a escritores de origen
latino que participaron en el FNL2023. Su objeto no consiste en realizar un
análisis de su obra, sino el de publicar material encontrado en Internet
relacionado con la misma y sus autores, para lo cual nos servirá de guía el
propio Website del FNL2023 en inglés: www.loc.gov/bookfest. Los
textos de Internet se transcribirán en itálicas, en español o inglés, según sea
el caso, con indicación de su fuente. Esta segunda entrega se refiere al autor
Pedro Martín. Veamos:
Pedro
Martin
Pedro
Martín was a Hallmark artist for 27 years and is the creator of the “Asteroid
Andy” cartoon shorts. His debut book is a graphic novel memoir about his
childhood in the 1970s, in which he travels with his large family to Mexico to
pick up his legendary grandfather (who may or may not have been a part of the
Mexican Revolution). Martín’s debut, “Mexikid External,” will be featured at the 2023 National
Book Festival.
EN: https://www.loc.gov/events/2023-national-book-festival/authors/item/n00004027/pedro-martin/
Conferencia/Entrevista en el FNL2023
2023 National Book
Festival: Me, My Story, My Pictures with Jarrett J. Krosoczka & Pedro
Martín
Websites del autor:
https://www.pedromartinart-design.com/
https://www.facebook.com/pedromartinart/
Reportajes/Entrevistas
“CHILDREN’S BOOKS
‘Mexikid’ and ‘Salsa Magic’ Drive Latino Kids to Their Roots
A Mexican American family heads to
Jalisco in their Winnebago and a “bruja” from Puerto Rico steps out of a cab in
Brooklyn.
By Matt de la Peña
Sept. 13, 2023
EN:
When I was a kid, my family moved from a
predominantly Mexican American border community in San Diego to a sleepy beach
town 20 miles up the coast. Surrounded by the dominant culture for the first
time, I found myself gravitating toward the “American” part of my Mexican
American identity. I dropped soccer for basketball. Started asking out of
church. Requested ham for Christmas dinners in addition to our usual tamales
and empanadas.
But my late abuela, Natividad Burgos-de la Peña, our matriarch, made sure my
sisters and I never drifted too far away from our roots. Her quiet presence was
a constant in our lives, and though she may not have fit the version of the
American Dream most books and movies peddled back in those days, she was our
North Star. Now, as an adult and a storyteller, I find myself turning toward
the “Mexican” part of my identity out of admiration for her.
Thankfully, the American Dream we see in pop
culture today is more expansive. Two middle grade debuts — the brilliant
graphic memoir MEXIKID (Dial, 320 pp., $14.99, ages 10 and up), by
Pedro Martín, based on his web comic of the same name; and the richly textured
novel SALSA MAGIC (Levine Querido, 272 pp., $18.99, ages 8 to 12),
by Letisha Marrero — explore how first-gen kids are empowered by the stories
and experiences of their forebears.
In the opening pages of “Mexikid,” Martín
riffs on his first name: “They call me Peter … but my real name is Pedro. …
Some people go full-on Mexican and keep their real names. Some of us slip and
slide between an American-style name and a Mexican one.”
The disorientation Martín sometimes feels growing up on
California’s Central Coast during the late 1970s mirrors his own household. His
parents, having immigrated to the United States from Jalisco, Mexico, to pick
strawberries, are “100 percent authentic Mexican.” His five oldest siblings,
who moved with them to the U.S. as small children, are “somewhat American.” And
the four youngest kids, including Pedro — all of whom were born in the U.S. —
are “somewhat Mexican.”
Pedro’s Spanish
isn’t great. And he’s obsessed with “Star Wars,” “Happy Days” and an assortment
of TV show theme songs.
His life is upended
when his parents announce that the family will be traveling more than 2,000
miles to Jalisco to bring their abuelito back to live with them. Pedro is miffed.
There’s not enough room in the house as it is. His abuelito is
old. And he doesn’t speak English. He’s probably never even seen “Star Wars.”
The wildly entertaining trip that follows, involving a used Winnebago
and an old pickup truck with ropes for seatbelts, has a profound effect on
Pedro. Along the way, he’s duped by border patrol agents, mistakenly buys
Spanish-language comics, gets an awful haircut and helps rescue his
deceased abuelita’s remains
from a deteriorating grave. But he also gains a much deeper understanding of
his heritage and his connection to the land.
We are living in a golden age of graphic
novels and memoirs, and “Mexikid” is one of the best I’ve ever read. There are
genuine laugh-out-loud moments throughout, but there’s an equal amount of
poignancy.
One of the most powerful scenes comes late in
the book, when Pedro’s amá uses
an avocado’s “soft, beautiful” inside and “old, wrinkly” outside to answer his
question about how his abuelito can
be simultaneously happy and sad about leaving Mexico, and its pit (which will
one day yield many more avocados if planted in good soil) to make the point
that Pedro is “the legacy of Abuelito’s life.”
While in “Mexikid” Pedro and his family travel
thousands of miles to reunite with a cherished relative, in “Salsa Magic” an
estranged great-aunt, who practices Santeria, shows up unannounced.
Maya Beatriz Montenegro Calderon, the spirited 13-year-old
protagonist of “Salsa Magic,” is extremely close to her Puerto Rican family.
Apart from her civil-rights lawyer father, they all work together at the
family-owned Café Taza in rapidly gentrifying Fort Greene, Brooklyn.
Maya already has her hands full as
a student, soccer star and barista when Titi Yaya — “la bruja, the ‘witch’” —
steps out of a cab in front of the restaurant. (The hurricane in Puerto Rico
has washed away her house.) Maya’s Abuela Chacha, who has been feuding with her
sister for 20 years, may not be able to turn her away, but she forbids her
family to even say the woman’s name, let alone spending time with her.
Maya, however, is drawn to this
mysterious relative — who’s been appearing in her dreams for months — and sets
about finding a resolution to the rift. It turns out Titi Yaya is a famous curandera, or
healer, and as Maya grows closer to her she learns about her own Yoruban
heritage. Santeria isn’t something to be feared, she discovers; it’s a way for
her to connect with her African ancestors, going back more than five centuries.
After helping to end the family feud, Maya becomes Titi Yaya’s apprentice and
decides that her “aché” (life energy), and her purpose, is to be “the bridge
between the generations, the glue that holds the family together and the keeper
of traditions.”
Marrero, who is of Puerto Rican
and Black Dominican descent, does a wonderful job of weaving the spiritual into
corporeal affairs like soccer matches, clumsy flirting and sibling rivalry. But
it’s Maya who ultimately steals the show.
Early on, she shares her papi’s favorite
quote from César Chávez: “Preservation of one’s own culture does not require
contempt or disrespect for other cultures.” On these terms, both “Mexikid” and
“Salsa Magic” are triumphs.”
A version of this article appears in print
on Sept. 17, 2023,
Page 22 of the Sunday Book Review with the headline: Two
Debuts That Drive Latino Kids to Their Roots
“SLJ: Review of the Day: Mexikid by Pedro
Martín
EN: https://afuse8production.slj.com/2023/07/26/review-of-the-day-mexikid-by-pedro-martin/
“I don’t
think he’s ever done a book for kids before.” I’m standing on the floor of the
American Library Association in June of 2023. The conference is packed.
Librarians that haven’t been to an annual conference since before the COVID
pandemic are congregating in droves and the noise levels are significantly
high. In spite of this, I can hear my companion clearly, but I’m still having
difficulty figuring out what it is that they’re saying exactly. “What do you
mean?” I’m trying to blame the ambient sound for my confusion, but my friend
isn’t helping. They shake their head. “I mean, if they’d ever done a book for
children before they wouldn’t have tried to get away with everything this book
gets away with.” And they shrug, but it’s clear that they’re saying this with
deep respect. The shrug conveys an understanding that were we all capable of
getting away with murder, the way that Pedro Martín has with his debut middle
grade graphic novel (comic) Mexikid we would do so. I look back on this
conversation as I prepare to review this book and the inescapable conclusion I
come to is that my friend was wholly, entirely, shockingly correct. Sometimes
the best books for kids come from people that have no idea what is and is not
considered “appropriate” in this day and age. Mexikid, a graphic
novel memoir of a time when Martín’s family headed South to Pegueros to pick up
his grandfather and bring him back to the States, is a epic in every sense of
the word. It has laughs, music, snot, baby coffins, live amputations, feats of
strength, bad haircuts, and (of course) family, family, family. It may also
well be the most ambitious comic I’ve ever read, and that’s saying something.
Pedro (known as “Peter” in the States where he was born) is the
seventh in a line of nine kids. His five oldest siblings were born in Mexico,
while his and the younger children were all born in the States. With such a
huge family it seems nutty that they’d be adding anyone additional to their
household, but that’s exactly what happens when his father announces that the
whole family is going to travel down to Mexico to pick up their abuelo in
Pegueros and bring him back home to the States. Packed into a Winnebago and a
separate truck, the family drives 2,000 miles on their mission. Along the way,
Pedro hears wild stories about his grandfather. Tales of superhuman strength
and resilience that can’t possibly be true… right? Trouble is, when you’re the
grandson of a legend, sometimes it’s harder to resist your destiny than agree
to it.
Image…..
I’m an old children’s librarian by definition.
I’ve been in this business over two decades and I’ve watched, with interest,
the rise of comics for kids. Time was that the demand was there but the
creators and output simply weren’t. Now you can’t shake your fist in the
general direction of a publisher without hitting one or two comic creators
along the way. In a given year I’ll read dozens and dozens of comics and you
know what the problem is with that? Like every other genre in the world, once
something gets popular then it also gets filled with tripe. With increasing
percentages every year, more and more comics being published are dull as
dishwater. They all look the same, feel the same, and essentially are the same.
That’s what makes a book like Mexikid so amazing. This book feels nothing like
all the other comics for kids out there. It has its own style, look, and feel,
but at the same time its art style is as approachable and as welcoming as any
Raina Telgemeier/Lucy Knisely title I could name. It is, in a word, enticing.
Images….
Mind you, I’m still not entirely certain how its creator managed
to pack in as much storyline into this book as he did. Most comics (and I’m
painting with a broad brush here, but still…) keep things relatively simple.
Clean art, concise storytelling, the works. Mexikid, by contrast,
is so packed with content that you feel like you’re getting away with something
by reading it as is. At times when I feel weighted down by the number of jobs I
need to finish in a given day, all I have to do to put things in perspective is
postulate on how long it took Pedro Martín to finish this book. I’m only half
joking. Mexikid gives
you so much bang for your buck that you’re left panting. But even more
amazingly, for all that it’s filled to the brim with fun stories and characters,
it never loses sight of its central theme. Its protagonist really and truly
does go on a hero’s journey, and comes out better for it.
When you find your new favorite author/illustrator, what do you
do to learn more about them? I’m old so my first move is to check out their
website, and from there, you’ll naturally be directed onto social media. So it
was that I discovered that Pedro Martín has an Instagram account called
@Mexikidstories. I didn’t learn much more about the man himself there, but I did
discover that any kid that already likes this book will have a plethora of
additional stories that didn’t make it to the page. They’re just waiting to be
read (and just as interesting, quite frankly). But, of course, part of the
reason I sought out his website was to discover how Martín came to know how to
draw as many artistic styles as he does. One minute he’s emulating classic
“Hulk” comic book styles and the next it’s his standard clean-lined go-to
middle grade GN style. There’s also the fact that the design of this book is
choice. Each and every page is laid out with care and attention. After the
first twenty pages I was so struck with awe that it was all I could do to keep
turning the pages. Read the book over and over again and you’ll notice things like
the fact that there are moments when Martín repeats whole panels for comedic
effect (particularly near the end of the book). You’ll start to realize that
the speech balloons are never out of place. The entire title is so
sophisticated and profoundly well-executed that it puts the competition to
shame.
Image….
And it’s gross. I mean that as the highest
compliment. Sometimes folks think I don’t have an appreciation for disgusting
books for kids, but that’s simply not true. I don’t have an appreciation for poorly done disgusting
books for kids. But you hand me a book that’s smart and funny then all the
diarrhea, snot, dangling hooves, and peeing doll jokes in the world won’t get
past me unnoticed. Fact of the matter is, I love scatological humor when the person
making it is skilled. And friend, Mexikid may contain some of the MOST fantastic
gross stuff on a page for kids that I’ve seen in years and years.
In spite of everything, Pulitzer prize wins and academic awards,
and even the occasional Newbery, comics for kids are considered ancillary.
Secondary. Less important than novels. Some folks understand that it’s not a
competition. A book with words and pictures can be as stirring and important as
a book that’s just words-alone. Still, I think it’s important to note
that Mexikid is
more than just snot+Pop Rocks and crazed deer. Told in the first person, this
is a memoir in the purest sense. Martín has taken a section from his childhood
and not simply imbued it with story and purpose but also a hefty dose of personal
growth. The ending is incredibly satisfying both because all adventures have
reached their close and also because young Pedro has managed to do something he
never quite realized he wanted all along: he’s earned the respect of his
superhero grandfather. Soaked in a reality that few can master on the page as
well, Mexikid may
be one of the best comics I’ve ever read for this age range. Consider it an
amazing example of how to retell the story of your youth in the most epic (yet
shockingly accurate) way possible. As my friend at the ALA Conference said,
Martín may not have known how much additional work he was doing here, but I’m
so glad no one spilled the beans. One of the most enjoyable books you’ll
encounter out there. A true modern day classic….”
‘Mexikid’ offers an
illustrated view into a coming-of-age road trip story
Author Pedro Martín hopes to
connect with all audiences who can remember being stuck on a classic family
road trip.
EN: https://www.texasstandard.org/stories/mexikid-graphic-novel-pedro-martin-comics-mexican-american-seventies/, by Cristin Carrera (Texas Standard)
“Many coming-of-age stories are
timeless tales shared through literary memoirs. But author Pedro Martín took
a road less traveled in a sense, when he decided to tell the story of a
childhood cross-country trip through Mexico in a cramped motorhome.
He’s written and
illustrated this tale in the new book “Mexikid: A Graphic Memoir.”
Some critics are already calling it an instant classic.
Martín spoke with the Texas
Standard on how his experience growing up in a Mexican-American household in
the 1970s shaped him and how he chose to portray this story through comic
panels. Listen to the interview above or read the transcript below.
This transcript has been edited
lightly for clarity:
Texas Standard: You had a big family, it sounds like.
Pedro Martín: Oh, my gosh. The biggest.
How many in all? I mean, when
your family went on this cross-country trip, how many packed into that
motorhome?
Well, there were 11
of us altogether, but we split the group – part of us in the motorhome, the
Winnebago chieftain, and then some of us in the pickup truck.
Well, now I have to ask before
we get into details of this story, but why did you decide to tell this story
this way through, you know, a graphic novel?
Well, I had been
kind of playing around with these stories for 27 years when I was working at
Hallmark. I used to be a greeting card artist, and we had these 3×5 cards that
were kind of like the intellectual currency of the company. Like they were just
everywhere.
Every good idea
started on a 3×5. Like even that the catch phrase, “when you care enough to
send the very best.” That was written on a 3×5 card and thrown in someone’s
desk. So they were just everywhere.
I was kind of just
bored and I would just write these little stories from my childhood – one card,
one panel kind of stories. And then I would tie them up in a rubber band and
throw them in the lunchbox – I had an old Batman lunchbox.
And when I left
Hallmark 27 years later and I was unpacking, I found that box and I’m like,
“Oh, maybe now’s the time to kind of revisit this and try to put them together
into some kind of shareable way.”
Well, tell us a little bit
about how it starts. Your grandfather’s in Mexico. Your parents decided to go
get him and bring him back to the U.S. to live with you all. And so you plus
your parents, eight other brothers and sisters crammed into an old Winnebago
and a pickup truck. I mean, this must have been so much. What an adventure for
a kid.
I think I was 13 –
12 or 13. It was like the year after Star Wars came out, I think it was the
time.
And tell us a little bit more
about when you all set out. Did you know your grandfather that you were heading
to pick up?
I met him years
before. Like we had taken trips, you know, back and forth many times when I was
a kid – really, really young – and I hadn’t met him just briefly, just not even
a conversation with him. Just like, “that’s your grandfather over there.” So I
really didn’t know him very well.
And then when this
was kind of announced, there was a little bit more attention around it. Because
I wasn’t paying attention, I really didn’t know what this trip was for. But
when you’re, you know, a Mexican family – any big family – you just go when
you’re told to go because there’s no individual right at this point. You know,
you just go. And so all I really knew about it was like, “oh, we’re going to go
visit him or get him or something.”
So it wasn’t until
like as the trip goes on that it reveals itself that like, “Oh, no, he’s coming
back with us and he’s going to live with us and he’s got stuff that he needs to
complete before he can come back to live with us and we’re going to help him.”
It’s just very vague for a kid.
And so, yeah, the
book kind of plays that out where you start picking up clues like I did, you
know, as the story went along.
MEXIKID by Pedro Martín | Animated Book Trailer
EN: https://www.youtube.com/watch?v=JSERDJOQvQI
Penguin Middle School
You
know, it’s interesting because there’s a lot of seventies here – even the color
palette feels a little seventies. But there is a sort of throwback vibe that
sort of recalls some of the comic strips of that era. Was that conscious on
your part?
Yeah. You know, as a kid and I would hear stories
and I was a big comic book fan and a big hero worship guy. Whenever I would
hear a story, I would kind of put it in the context of how my brain conceived
story, which was a comic books at the time.
And so when young Pedro was hearing stories about
his grandfather, he starts to contextualize them as comic book adventures. And
so I kind of like said, “Well, I’m going to do that. I’m going to have to go
ahead and draw it up like a comic book in these specific sections.” And so I
kind of challenged myself because really there’s not a lot of opportunity to
draw fight scenes at Hallmark cards, you know. So I had to kind of teach myself
a little bit more comic book parlance and try to figure out how to tell these
little bits of my imagined stories about my grandfather in this kind of comic
book way.
So yeah, so there’s bits of that in there and
there’s bits of history kind of thrown in there too, that are drawn in
different ways. So I kind of felt like that was really the only way I could
tell the story – was by visually, you know, changing the vibe whenever a new
kind of story happened.
What was it like reeling in the
years there? Because, I mean, growing up Mexican-American in the seventies. How
did how was that? What do you think sort of stood out to you as you thought
about that period and what life was like then?
You know, because I have a perspective now living in
the Midwest – I live in Kansas City – I didn’t realize how different things
were in California – Mexican-American kids growing up that way. So once I got
here, I kind of had a fresh perspective on how different and unique and
wonderful that life is in kind of being a first generation kid, but also being
one of the younger kids in the family who wasn’t even born in Mexico.
So I have older brothers and sisters who were born
in Mexico and us younger kids were born in the U.S. and we kind of separate
ourselves by saying like, “these were the hospital babies” and “they’re the
barn babies,” because they were probably born in a barn. But so there was all
these different layers of Mexicanity to the family.
Even within our family, we were kind of finding
ourselves separated by those ideas. But all in all, it was just a big jumble of
fun and cultural diversity. Because we’re such a big family in ages, you know,
the older kids had a different… they were they were the Beatles and we were disco.
And it was just like this whole microcosm of differences happening all at once.
You know, I’m thinking that
there are going to be a lot of Texans who, if they haven’t discovered it yet,
this is really going to resonate with their own experiences. But you don’t have
to be Mexican-American to feel that. I mean, I think it appeals to a lot of
folks. I wonder, when you were writing it, how were you thinking about the
audience and representation in particular?
Well, first of all, I mean, I really was telling a
story about my family, but as I was kind of going through it, my editor was
asking me questions that I had just already subconsciously figured it out for
myself.
But just that whole idea, because the first question
she asked me, she goes, “Oh, do you want to be addressed as Pedro or Peter?”
Because I’d gone by both. And I was like, “Oh, this is a really great question
because a lot of kids, especially first generation kids, have to figure out
what name they’re going to go by and what what side of the border they’re going
to represent and and how much American are they going to be and how much
Mexican are they going to be.” And it becomes like this kind of grand thing.
And I think everybody being Mexican-American or
anything else kind of comes across that question at some point. Like “how do
you identify?” How much of one thing do you need to be? And so without me
knowing that that’s what I was doing as I was writing the story, it started to
become a question I had for myself as I wrote the story. Like, what am I? What
am I representing? Who am I?
So through the story, I kind of figure it out myself
in real life, in real time. So by the end, by the time I got to the end of the
writing process, I’m like, “Oh, I’m enough.” You know, I’m both and I’m enough.
I don’t have to be more. I could just be always enjoying both sides as much as
I possibly can kind of thing.
So I think for other people who read the book,
especially kids, I hope they find that kind of message floating around in
there.
Well, I love what you just said
because, you know, you think about how a lot of people think about graphic
novels as sort of a genre that appeals to kids and teens. But just hearing how
you kind of went on your own journey in putting the book together and it’s been
a while since you were a teenager. This seems to be a growing category. In
fact, I think I’ve heard the argument that the traditional memoir is such a
Westernized idea in a sense. Are we seeing more of this approach to
storytelling, do you think?
I think so and I hope so.
As much as I like, you know, fiction and biography,
I like the memoir thing because it kind of is a super engaging way to
experience a story because you’re getting a visceral kind of telling from a
very personal point of view. And these things happened, you know, to this
person.
So you can kind of feel for that person and engage
more with that person than thinking like, “oh, it’s just Superman and he’s
having a bad day.” You know, this is like a kid who just like you is going
through these things. And then later on when you watch a movie that’s a memoir
or a biography and you want to find out more about that person, you can
actually go find, you know, “how did Pedro die?”
Well, I’m not dead, but you know it becomes super
personal and you have a really nice connection with the author and their life.
And hopefully it builds a deeper story.
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You know, I hate to ask
questions that authors are often asked because it’s so easy to prepare an
answer, but I don’t think you’ve probably got a prepared answer for this. What
would you like your readers to leave this book thinking about, or have you even
given that thought?
I would like to think, or I would like to hope, that
people understand a little bit more about Mexican-American firsthand or maybe
even more first generation kids and how big families everywhere are very, very
similar. We all go through the same kind of thing.
And I think that idea that you’re maybe four and
you’re getting in the van and you’re going somewhere, you’re going to have very
similar problems to what I had as a kid however many years ago going to Mexico.
There’s just universal specifics that are just everywhere and that hopefully
brings people together a little bit more and saying like, “we’re not all
different.”
Pedro, have your parents seen
this book? I wonder how their memories square with yours?
Yes, they’ve seen it. And actually, I let my dad
look at it a couple of months ago and he kind of opened it up and he’s like,
“yeah, this is going to take about a month to read.” And then he put it down to
the side.
And then later on we were sitting outside and he was
singing a song. He’s just singing the song off the top of his head. And he
said, “You know, this was your grandfather’s favorite song – “Prieta Linda.”
And I said, “Oh, yeah, I know that. It’s in the book.” He’s like, “Which book?”
“Like the book I just wrote, Dad, come on.” And so I went, grabbed it, and I
showed it to him. And then he became fully engaged.
And then he had more stories to add on to the story.
And to this day, the stories do not stop coming. Like he calls me every few
days, you know, to give me another story. But now that it’s a book, he’s
telling me how much this story is worth.
So he called and he said, “I got a story for you.” I
said, “Oh, great.” He’s like, “No, this is a good one. This is like a $10,000
story” And he’s like, Oh, hold on a second. Your mom’s calling me. I got to go.
I’ll call you back.” And this happened, like, for a wee solid. Like, where’s
this $10,000 story pop? And he’s like, “What are you talking about? What,
$10,000?” I was like, “Oh, my God. Two days ago, you had a $10,000 story, dad.”
It sounds like you’ve got some
material here. Are you thinking volume two?
Oh, definitely. I’m deep into writing number two. So
my family, we’re sharecroppers. Well, we were a sharecropper family, so there’s
a lot of material there in our days on the farm picking strawberries. So we’ll
get back to it.
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Podcasts
The Shelf Care Interview: Pedro Martín (Podcast)
Booklist's Shelf Care By Sarah
Hunter
EN: https://podcasts.apple.com/us/podcast/booklists-shelf-care/id1450422897?i=1000624531965
59. Mexikid Pedro Martín Wonder World Book Cafe' (Podcast)
EN: https://podcasts.apple.com/us/podcast/wonder-world-book-cafe/id1607696687?i=1000627295957
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