Delighted to announce that my translation of the short story by Agustín Cadena, “The Apaches of Kiev,” appears in the very fine U.S. literary journal, Tupelo Quarterly. It’s a story at once dark and deliciously wry. It caught my attention because, well, everything Cadena writes catches my attention– he is one of my favorite writers in Mexico, or anywhere– and he happens to be living in Hungary, so the Eastern Europe angle is no surprise. In all, Cadena’s is a unique and powerful voice in contemporary fiction, and I hope you’ll have a read.
THE APACHES OF KIEV BY AGUSTIN CADENA (Originally published in Spanish on Agustín Cadena’s blog, El vino y la hiel) Translated by C.M. Mayo
The story about the body they found in the Botanic Garden came out in the newspapers and on television. The Kiev police identified it immediately: Dmitri Belov, reporter and political analyst known for his scathing criticism of President Poroshenko’s administration. Presumably it was a suicide, but until they could confirm this verdict, the police had been ordered to put all resources to work.
Among the underemployed— peddlers and prostitutes— who roamed the Botanical Garden, very few were aware of this. So how was anyone else to find out? They didn’t have televisions and they didn’t spend their money on newspapers. Understandably, those who knew about the body avoided that area. They knew there would have been a commotion, and especially if the body belonged to someone important. The police would go around searching for possible witnesses to interrogate, and by the way, shake them down on other charges. It wouldn’t do any good to explain to the police what they already knew: that every week all of these underemployed people paid a bribe to be left in peace.
Ignorant of everything, three men of approximately 40 years of age, exotic-looking, dressed like Apaches in a Western movie, appeared after 11 in the morning. They were Ernesto Ortega, Gonzalo Acevedo and Milton Guzmán: Mexican, Salvadorean and Venezuelan, respectively. The three of them dressed identically: a headdress of white feathers that went from their heads down to their waists, jacket and trousers of coffee-colored leather with fringe on the sleeves and the back, moccasins, and ritual battle makeup. They carried assorted musical instruments and they took turns playing Andean music: “El cóndor pasa,” “Pájaro Chogüi,” “Moliendo café,” etc. They knew the music did not go with the costumes nor the costumes with their ethnicities, but this strange combination was what worked for them commercially. Americaphilia was at its height in Kiev, and passersby were happy to give money to these “North American Indians” who played the music “of their people.” Perhaps the happy notes of “La flor de la canela” led the Ukrainians to imagine the beauty of life in teepees, among the buffalo, wild horses, mountain lions, and bald-headed eagles. The fact is, in addition to playing and signing, the “Apaches” also sold their CDs of this same music, displayed on a cloth spread on the ground. [… CONTINUE READING]
P.S. My amiga the poet and writer Patricia Dubrava also translates Cadena. Check out some of her excellent translations at Mexico City Lit. [Alas, as of 9/2019, that link went dark.]
#
This past Saturday I had the good fortune to be able to attend Cadena’s book presentation in one of my favorite Mexico City bookstores, the FCE Rosario Castellanos in Condesa. (Here is where I interviewed Michael Schuessler about his biography of Pita Amor, among other works.) Cadena was presenting a novel for young readers, La casa de los tres perros (The House of the Three Dogs) and along for the ride came a group of Mexican writers who have stories in his latest anthology, Callejeros, cuentos urbanos de mundos soñados (my rough translation of that might be, Street People: Stories of Urban Dreamworlds). Happily for me, this also meant a chance to visit with my friend the Mexican novelist and historian Silvia Cuesy. Here we are with Agustín Cadena:
Putting on my armchair-sociologist sombrero now: Aside from its high quality (both its literary content and as an object), what is especially interesting about Callejerosis that the editor lives abroad and the publisher is based in a provincial town– Pachuca, in the state of Hidalgo. Mexican literary culture and publishing has long been overwhelmingly concentrated in Mexico City, but with the digital revolution it seems this is opening up quickly. I talked a bit about this in my talk for a 2015 American Literary Translators Association panel I chaired:
P.S. I mention both this wondrous Mexico City FCE bookstore and Cadena in my longform essay now available on Kindle, “Dispatch from the Sister Republic or, Papelito Habla,” an overview of the Mexican literary landscape and the power of the book.
I moved. And of course, this involved oodles of Kondo-ing.
For those who missed the phenomenon of Japanese tidying expert Marie Kondo: She says the way to do it is to pick up each object and ask yourself, does this spark joy? If so, keep it (even if it’s a raggedy T-shirt), and if not (even if it’s a brand new suede sofa that cost a heap), thank it, then chuck it— or donate it or sell it, or whatever, but get it out of your space. Many organizers and sundry pundits have dismissed Kondo-ing as “woo woo.” Too bad for them because, by Jove, by whatever Shinto spirit you want to name, or the god Pan, or Elvis Presley, it works.
My personal and working library is at last in good order, and I am delighted to share with you, dear and thoughtful reader, just a few of the many old friends that sparked much joy:
Sophy Burnham is best known for her works on angels, but she has a sizable body of outstanding work of literary essay / sociology. Her The Landed Gentry was especially helpful for me for understanding some of the characters in one of my books. Doormen by Peter Bearman… that merits a post…
Drujienna’s Harp was one of my very favorite novels when I was first starting to read novels.As for The Golden Key, pictured right, my copy was left for some days by an open window in the rain back in 1960-something, but I have saved it and I always shall.
I welcome your courteous comments which, should you feel so moved, you can email to me here.
“Each year, more than two million visitors enjoy the attractions of the Western Hill Country, with Uvalde as its portal, and the lower Pecos River canyonlands, which stretch roughly along US 90 from Brackettville, through Del Rio, and on to the west. Amistad National Recreation Area, the Judge Roy Bean Visitors’ Center and Botanical Garden, Seminole Canyon State Park, and the Briscoe-Garner Museum in Uvalde, along with ghost towns, ancient rock art, sweeping vistas, and unique flora and fauna, are just a few of the features that make this distinctive section of the Lone Star State an enticing destination.
“Now, veteran writer, blogger, and educator Mary S. Black serves up the best of this region’s special adventures and secret treasures. From the Frio to Del Rio is chock-full of helpful maps, colorful photography, and tips on where to stay, what to do, and how to get there. In addition there are details for 10 scenic routes, 3 historic forts and 7 state parks and other recreation areas.”
Herewith an interview with the author:
C.M. MAYO: What inspired you to write this book?
MARY S. BLACK: I think what inspired me was the land itself, and the history. The Lower Pecos Canyonlands are not well known by most people, but the landscape is incredibly majestic and unexpected. You can be driving 70 miles per hour down the highway through the desert, when, wham, a huge canyon veers off to the left like a sudden tear in the earth.
These canyons were inhabited by human beings for thousands of years. They lived off the land and made paintings on the canyon walls that illustrate their gods and belief systems. Over 300 of these paintings still exist, and you can visit some of them. They are a treasure of human culture, and I hope more people will learn to value them as something important for us to save. The people who settled this area historically were a diverse bunch with a lot of gumption. Do people know that word anymore? I guess in modern language, we might say they had a lot of guts.
C.M. MAYO: In your view, what is the most underrated place in this region?
MARY S. BLACK: If I have to pick only
one, I’ll say Las Moras Springs Pool at Ft. Clark in
Brackettville. I’m always looking for great swimming holes.
Las Moras Springs Pool is the third largest spring-fed swimming pool in Texas.
Crystal clear water at a year-round temperature of about 70 degrees comes into
the pool from a strongly flowing spring, yet very few people swim there because
they don’t know how to get access.
The pool is located on Ft. Clark, and old U.S. Army
fort originally built in 1849. You can get a day-pass for $5.00 at the guard
house to enter the fort, enjoy the pool or play golf on either of two gold
courses, and look at all the old stone buildings that remain from when the
place was an active Army fort. There is also a really interesting museum there
that is open on Saturdays.
C.M. MAYO: Which is your favorite place?
MARY S. BLACK: Hands down, the White
Shaman Preserve. The best studied of all the ancient murals is located there.
This is a polychrome painting about 25 feet long and 13 feet high done on
a rock wall overlooking the Pecos River. This painting tells a story about
creation and how the sun was born, according to Dr. Carolyn Boyd. You can visit
the preserve on Saturdays at noon if you make a
reservation online through the Witte Museum. Tours are
two-three hours long, and require a fairly strenuous hike down a canyon to a
rockshelter, then back up. But to be up there, to see the mural up close
and in person, to look out over the river and imagine the people who made this
painting, can change your whole perspective. It’s that powerful.
C.M. MAYO: Your favorite seasonal or annual event?
MARY S. BLACK: I have two: autumn color
near Lost Maples State Natural Area near Vanderpool, and tubing in the cold
Frio river in summer. Both are unique experiences in Texas and shouldn’t be
missed. An isolated stand of bigtooth maple turns orange and red in Sabinal
Canyon in late November. And swimming in the Frio at Garner State Park is
like heaven on a hot day.
C.M. MAYO: What surprised you in researching this book?
MARY S. BLACK: How fascinating the area
really is. The more I learned, the more I wanted to know. The region
has seven state parks and natural areas, nine ghost towns, three historic Army
forts, and many scenic drives. But the coolest part was reading about all the
crazy things that have happened there, like train robberies and early airplane
adventures. And Indian battles. When settlers from the US and Mexico
started coming in after the Civil War, the native Apaches and Comanches were
fighting for their lives. And of course the U.S. Army was trying to drive them
out. It gets complicated, but there were many interesting people involved in
all this, like the Black Seminole Indian Scouts at Ft. Clark, and others. One
of the first settlers in the Nueces River valley was a woman named Jerusha
Sanchez, who came in the 1860s. Later a widow named Elizabeth Hill and her
three sons also pioneered in the area. Blacks, women, immigrants from Italy,
Mexico, Germany, and other places, and Native Americans made the history what
it is.
C.M. MAYO: You offer an excellent bibliography for further reading. If you could recommend only three of these books, which would they be?
MARY S. BLACK: Hmm, they are so
different, let me see. First I think Carolyn Boyd’s new book, which is
called simply The White Shaman
Mural, just published by University of Texas Press in 2016.
She details her 25 years of research on the painting in this book and explains
how she cracked the code on what it means, an amazing accomplishment.
Then I nominate Judge Roy Bean
Country by Jack Skiles, published in 1996, which is a
compilation of local stories of life in the Lower Pecos. The Skiles family has
been ranching in the area for over 75 years and can tell stories about mountain
lions and smugglers that will make you faint.
Finally, one I found fascinating was The Newton Boys: Portrait of an Outlaw Gang by Willis and Joe Newton as told to Claude Stanush, published in 1994. It tells how they became train robbers and learned to blow bank safes with nitroglycerin, which they did in Texas and the Midwest all through the 1920s. By the time they were captured, they had stolen more money than all other outlaws at the time combined.
P.S. As artist-in-residence I will be giving a free travel and nature writing workshop at the Guadalupe Mountains National Park over this Memorial Day weekend, details to be announced shortly on my events page.
Bitter Waters: The Struggles of the Pecos River by Patrick Dearen University of Oklahoma Press, 2016
When I closed the cover of Patrick Dearen’s Bitter Waters: The Struggles of the Pecos River it was with both gratitude and the unsettling sense of having arrived into new territory— raw, rich, appalling—in my understanding of Far West Texas. This is no minor thing to acknowledge; for some years now I have been at work on a book about that very region.
But first, for those who don’t have a jones for, shall we say, Wild Westerie, why bring Far West Texas into the cross hairs? And why give a hoededo about its skinny river so salty, to quote one of Dearen’s informants, that “a snake wouldn’t drink it”?
Texas is one of the most powerful economic and political entities in not only the United States but the Americas. At the same time, “Texas” is so hammered out into tinfoil-thin clichés of popular culture (and many of those informed by warmed-over 19th century war propaganda and Madison Avenue-concocted boosterism), that we have the illusion we know Texas, when in fact it enfolds concatenations of undeservedly obscure histories, stupendenous beauty, and the lumpiest of paradoxes. If Texas—and I mean the real one, not the confection of Marion Morrison aka John Wayne, et al—is still in many ways terra incognita, its “iconic” far west, profoundly moreso. What delineates Far West Texas from the rest of Texas is precisely that skinny, salty river. And a most peculiar body of water it is.
THE PECOS AND THE TRANS-PECOS
In Texas, to set foot on the western shore of the Pecos is to enter the Other Texas, the fritter-shaped, South Carolina-sized chunk of the Lone Star State also known as the Trans-Pecos.
No, Far West Texas / Trans-Pecos does not include Lubbock. Nor San Antonio. Nor South Texas, nor the Panhandle. Nor Austin, nor Dallas. Nor Midland, nor Odessa.
The southwestern border of Far West Texas is the Rio Grande, the border with Mexico; to the north, it shares a stretch along the 32nd parallel of salt fields and the Guadalupe Mountains with the state of New Mexico; and at its extreme west, the Trans-Pecos elbows into New Mexico at El Paso.
With the exception of El Paso, and the miniscule cowtown and artist-cum-hipster magnet of Marfa, few if any towns of the Trans-Pecos can raise an eyebrow of recognition outside the region.
The distances in the Trans-Pecos are stunning, never mind those to get out there from anywhere else in Texas. From the state capital in Austin, a straight shot west on Interstate 10 at the speed limit, no stops, gets you to the Pecos River near Iraan in a shoulder-stiffening four hours and twenty minutes. But the Pecos doesn’t look like much at that point—there’s a tiny sign—the highway sinks down pylons for a moment. Sneeze and you’ll miss it. You won’t catch the Pecos in your rearview mirror, either.
However, if from Austin you are game to drive four hours and thirty minutes southwest into the Lower Pecos Canyonlands, nearing the U.S.-Mexico border past Comstock you could rumble onto the high bridge over a wide and sparkling Pecos, a feat of engineering spanning a bright-walled gorge so spectacular it justifies that marathon of a drive.
And how’s this for an inkling of the scale of the Trans-Pecos itself: To drive from El Paso back to that Pecos River crossing near Iraan, 308 miles, would take at least four hours. El Paso actually lies closer to San Diego, California, on the Pacific Ocean, than to Houston on the Gulf of Mexico. (I Googled that so you don’t have to.)
West of the Pecos Texas becomes less southern, more western and more Hispanic, and drier—although there are notable ciénegas, or oases. In places the landscape rolls on as flat as a tortilla; but in others, especially around the Big Bend of the Rio Grande, the landscape turns so lasciviously volcanic it might belong to another planet.
Even as the Texians and the Mexicans contested the farmlands that became the Republic of Texas (and thereafter the state of Texas), and even as the Confederates drove out the soldiers of the Union, and in turn, a victorious Union imposed Reconstruction, in effect, the remote Trans-Pecos remained part of greater Apachería and Comanchería. (That said, the Comanches did not settle in the Trans-Pecos; they passed through it on the so-called Comanche Trail—more aptly, network of trails—to raid in Mexico.) Spanish mapmakers were not far wrong to label the area the Despoblado, or Empty Quarter. The few Spanish, then Mexican, then other explorers who survived their forays into the Trans-Pecos did not have pleasant stories to tell. And so many straggled up to the bitter waters of the Pecos hoping for refreshment for themselves and their livestock only to find death. (Horse lovers should avoid reading the 1858 report of Waterman Lily Ormsby, the first through-passenger on the Butterfield Overland Mail westbound stage. Suffice to say, Ormsby mentions beating the parched and exhausted animals with rocks.)
The impetus for the U.S. government to remove the indigenous peoples—the brutal Indian Wars—and bring this merciless territory into Texas was simply this: to get to California, it had to be crossed.
A few pioneers saw opportunities in Far West Texas. In this twenty-first century some of their enterprises are still ongoing, but the Trans-Pecos is littered with ghost towns, abandoned farms, ranches, mines, and here and there at lonely cross-roads, and even on the main thoroughfares of surviving towns—Fort Stockton, Marathon, Sierra Blanca, Valentine, Van Horn, among others—there are ruins, some boarded up, most not, of houses, motels, cafés, grocery stores, and gas stations. There are many reasons for these eyesores, but a persistent one is the decline in the quantity and quality of water. All over the Trans-Pecos springs and seeps have been disappearing. As for its rivers, after the Rio Grande, the Pecos is the most important, and of all the rivers in the American West, the Pecos is one of the bitterest, most abused, and most fragile. Writes Dearen, “the Pecos is under seige by problems so vast and varied that resolutions are challenging if not impossible.”
You might assume, as I once did, that given all the movies and novels from Zane Grey’s West of the Pecos to Dearen’s own To Hell or the Pecos, the Pecos would be a well-examined river. More to the point, while there is a library’s worth of nonfiction on the Trans-Pecos—from scholarly tomes on the Paleolithic hunters, to the Spanish conquistadors, to memoirs of cowpokes and modern-day naturalists, and Dearen’s earlier works, including the invaluable history Crossing Rio Pecos— astonishingly, Bitter Waters, published in 2016, is the first book-length environmental history of the whole of this river.
THE PECOS AND THE PERMIAN BASIN
Fed by snow, rain, and freshwater springs, the Pecos gushes down from its headwaters in New Mexico’s Sangre de Cristo mountains southeast towards Texas, but before it reaches the stateline it runs into the Permian Basin. For the most part a desolation dotted with mesquites and pumpjacks, the Permian Basin is the remains of what was, some 250 to 300 million years ago, an inland sea. Layers upon layers of its ancient salts cover over yet deeper layers of the fossilized remains of marine organisms—petroleum. Only a western swath of the Permian Basin lies within the Trans-Pecos; the great amoeba-shaped body of it spreads north and east into New Mexico, the Texas Panhandle, and almost as far as central Texas. Oil rigs started popping up in the Permian Basin in the 1920s; today the Permian Basin’s industrial center is the twin cities of Midland and Odessa, about an hour’s drive east of the Pecos River.
It bears underlining that, as Dearen writes, “[s]ince time immemorial, the Pecos and its tributaries have washed across a dead sea bottom and carried away its salts.” Literally, every day, for millions of years, brine springs have been pumping tons upon tons of salts into the Pecos.
But the saltiness varies. Dearen explains that as the Pecos winds though Texas it also drains other watersheds, and freshwater springs feed into it from the Davis Mountains. About two-thirds of its way from the top of the Trans-Pecos to its mouth at the Rio Grande, the Pecos receives yet more infusions of fresh water from creeks and springs originating in the Glass Mountains. It also receives infusions of agricultural run-off and debris, and a litany of other challenges—but this is to get ahead of the story.
“STUPID AND UNINTERESTING”
As a baseline, what was the condition of the Pecos before our time?
In the chapter “The River That Was,” Dearen provides an overview of pre-twentieth-century human encounters with the Pecos, from early peoples (some of whom, close to its source in present-day New Mexico, used its waters for irrigation), to the Spanish explorers who encountered it south of those brine feeder springs and so dubbed it the Salado (Salty River) and later the Puerco (Pig-Like). When mid-nineteenth century U.S. Army personnel encountered the “Puerco,” their reports soon began calling it the snappier-sounding “Pecos,” but they they too disdained it. Dearen quotes Second Lieutenant William F. Smith, echoing others, calling it “muddy, swift and narrow.” U.S.-Mexico boundary commissioner John Russell Bartlett, coming upon it in 1850, called its waters “brackish.” Wherever they drank from the Pecos, men and animals tended to suffer from gastrointestinal upset. In the desert, diarrhea could kill. Bartlett added: “Miserable grass.” One youthful explorer of the 1850s summed it up: “A more stupid and uninteresting river cannot be imagined.”
The first survey and and scientific study of the Pecos in the Trans-Pecos was not made until 1854, under Captain John Pope, whose mission was to find a route for the railroad to California. Pope identified areas for potential for irrigiation in the fertile lands north of the 32nd parallel, above the brine springs, in present-day New Mexico. But little could be done until after the Civil War and the conclusion of the Indian Wars.
In Texas, as early as the 1870s in the relatively less salty stretch below the town of Pecos to present-day Iraan, entrepreneurs began to divert water from the Pecos for irrigation. By the late 1880s farming commenced when the Pioneer Canal Company began to dig extensive ditches, reservoirs and small dams. These early efforts to farm in this northeastern corner of the Trans-Pecos were repeatedly wiped out in flash floods.
In 1907 a visionary rancher named T.A. Ezell decided that what Texas needed was a mega-dam on the Pecos. It would be called Red Bluff, and it would be built nearly three decades later, in the depths of the Great Depression. By that time, the banks of the Pecos River had been utterly transformed, infested by saltcedars.
THE PECOS DAMMED
In the twentieth century the Pecos River underwent a series of dramatic changes that have left it severely compromised and increasingly fragile. Apart from the saltcedars, these largely resulted from three major dams: Red Bluff (near the border with New Mexico, built in 1936); Imperial (between the farm towns of Grandfalls, Imperial and Pecos, 1912); and Amistad (on the U.S.-Mexico border, 1969). Asserts Dearen, “Repeatedly, knowledgable observers point to the damming of the Pecos as transformational.”
Of course, the benefits of dams are substantial: they can provide water for irrigation, municipal needs, hydroelectric power, recreation, and they can help control floods, a vital concern in the Trans-Pecos, where rainfall, however rare, tends to generate devastating flash floods. (Second-order benefits may include higher asset prices, more employment, and, going to the third-order, greater fiscal revenues.)
But dams and reservoirs have ecological impacts, not all of them foreseen at the time of their construction. Above all, they tend to promote salinity. And in the already bitter Pecos, increased salinity quickly became a problem.
In Red Buff, beginning in the 1980s, blooms of golden alga began to appear. Golden alga is an invasive, possibly from England. As Dearen details in his chapter “A Fiend Unleashed,” golden alga attacks fish in two ways: its toxin affects their gills, and it depresses the levels of dissolved oxygen in the water. The fish kills at Red Bluff were so severe that for a time, Texas Parks and Wildlife closed it to fishing.
Decreased flow in the Pecos has also contributed to higher salinity. Some of this decrease can be explained by the proliferation of groundwater pumps and other irrigation wells. Farming in New Mexico draws away much of the water that might otherwise flow down into Texas (and Dearen provides lengthy discussion of the disputes). In the Trans-Pecos in the neighborhood of Imperial, twentieth century irrigation works set off a boomlet in cotton, alfalfa, vegetable and fruit farming. By the 1960s, however, with the water table down and the quality of the soil eroded, farming went into decline. (Area farms still grow the famed sweet Pecos cantaloupe, though in ever-smaller quantities).
Then there are the questions of long-term drought and climate change, which Dearen addresses briefly in quotes from residents offering their personal observations, as well as from experts. The outlook appears grim.
RECLAMATION AND ROCK ART
My two quibbles about Bitter Waters both have to with the context for these dams.
First, the discussion of issues at-hand and scope for future policy for the Pecos River would have been better grounded by an introduction, however brief, to Reclamation. For the uninitiated, The Reclamation Act of 1902 created the juggernaut first called the Reclamation Service, later the Bureau of Reclamation. Its mission is to promote development in the Western states with water projects such as dams, powerplants, and canals, and to undertake water management and water conservation. According to its official website, www.usbr.gov, the Bureau of Reclamation has constructed over 600 dams and reservoirs, including Hoover Dam, and is today the largest wholesaler of water and the second largest producer of hydroelectric power in the United States. To quote Patricia Limerick in The Legacy of Conquest: The Unbroken Past of the American West, Reclamation “put the national government in the center of the control and development of water, the West’s key resource.” The political and environmental implications have been monumental, as Reclamation’s dams, to quote Limerick again, “have changed Western rivers into giant plumbing systems.” In short, it would be impossible to understate Reclamation’s influence over the economics and environment of the West—including that of the Trans-Pecos.
Second, Bitter Waters makes no mention of the rock art of the Lower Pecos, an unparalleled cultural legacy, some of it many thousands of years old, an important portion of which was inundated by the Amistad Reservoir. The rock art sites that survive are imperiled by the rise in humidity, slight as it may seem in the desert air, from that same reservoir. The most spectacular of these sites is White Shaman, so named for its central headless white anthropomorph, which sprawls across the back wall of a rock shelter—from which one can glimpse the high bridge over the Pecos. I refer interested readers to Harry J. Schafer’s anthology, Painters in Prehistory: Archaeology and Art of the Lower Pecos Canyonlands, and Carolyn E. Boyd’s works, including The White Shaman Mural: An Enduring Creation Narrative in the Rock Art of the Lower Pecos. The latter, published in late 2016, makes a brilliant argument that White Shaman tells the story of creation, and hence it should be considered the oldest surviving “book” in North America.
INVASION OF THE SALTCEDARS
Among the most fascinating and valuable contributions of Bitter Waters is the history of the arrival of the saltcedars and subsequent attempts to eradicate them. Also known as the tamarisk, this “tree to admire and loathe,” as Dearen calls it, arrived in Far West Texas in 1886 on the wagon of one C.E. Buchholz, his idea being that saltcedars could help protect against floods. Two years later, the Pioneer Canal Company imported a second species of saltcedar from California. Native to the Levant and Central Asia, the scraggly-looking saltcedars quickly infested the Pecos. Thickets of them also cropped up along the Rio Grande, and indeed everywhere else there might be water. The list of environmental impacts includes displaced alamos (the stately native willow trees); degraded habitat for various species of birds, fish, grasses; and—ironically—a reduction of the Pecos’ ability to channel flood waters, leaving large zones in greater danger of flooding.
Bureau of Reclamation experts believed that saltcedars both raised the Pecos River’s salinity and reduced its flow. In the early 1960s the bureau launched a massive eradication campaign that, in the Trans-Pecos alone, covered 21,000 acres. Writes Dearen, “Amid soaring early expectations for a significant increase in the river’s base flow, something strange happened—nothing happened.”
In the following decades, after the construction of Red Bluff and Amistad Reservoirs, both of which increased the Pecos’ salinity, experts still took it on faith that saltcedars were displacing staggering quantities of water. Dearen quotes one expert claiming that a single large saltcedar could take up two hundred gallons a day. Ergo, so it seemed at the time, eradicating the saltcedars “had the potential to improve both the quality and vitalty of the Pecos.”
In several campaigns beginning in 1999 Red Bluff District authorities dispatched helicopters to dump Arsenal, a herbicide, on some 12,766 acres. But again, the river’s flow did not respond. One of numerous theories to account for this was that the destruction of the canopy promoted algae. Certainly algae had become a problem. In any event, the saltcedars returned, and worse: in torrential rain in 2014, the still unburned debris of those thousands of poisoned-to-death trees swept down the upper Texas stretch of the Pecos, causing half a million dollars’ worth of damage to croplands and infrastructure.
The widely quoted assertion that a single saltcedar could suck up two hundred gallons a day? That was pulled out of someone’s Stetson. As for saltcedars contributing to the Pecos’ salinity, Dearen notes a 2008 study that showed that saltcedars were not, after all, significant.
Nonetheless, a more exotic scheme to attack the saltcedar was afoot. In its Old World native habitat, the saltcedars had insect predators… As I read Dearen’s account of a U.S. government entomologist importing leaf beetles in his land-luggage, I could not help but envision this as the opening scene in a tragicomic novel.
To date, a number of different species of saltcedar munching beetles have been released on the Pecos. Jury’s out.
AN ESSENTIAL FOUNDATION
In his preface Dearen expresses the hope that Bitter Waters might “provide an essential foundation for the next generation of endeavors and policies.” Unquestionably it does, and its detailed maps and photographs help bring an amply-documented narrative into especially crisp focus.
But Bitter Waters also represents a stellar contribution to the literature on the Trans-Pecos itself, and as such, to the environmental history of Texas and the Southwest, for the Pecos River is fundamental to understanding the region in all its many facets, not only ecological, but also cultural, economic, geological, historical, and political.
And more: in the microcosm of this environmental history of the Pecos River, we may more clearly perceive the macro-catastrophe of our planet’s degradation, and, in my view, its three powerful motors: First, what economists call “the tragedy of the commons”—in the absence of well-specified and enforced limits, we to tend to overexploit shared resources; second, ye olde Road to Hell, that is, the one paved with good intentions—interventions that did not anticipate systemic consequences; and third, the advent of the oil industry, for without oil to fuel agriculture, construction, and transportation, such rapacious demands upon this bitter river, and projects to manage it, would never have been viable.
I welcome your courteous comments which, should you feel so moved, you can email to me here.
…There is one more a pearl of a place that cannot go unmentioned in any discussion of our sister republic’s literary landscape…
From the Claustro de Sor Juana, in less than twenty minutes’ walk north and slightly east—weaving your way through the shoppers, touts, tourists, beggars, businessmen—honking cars and buses and motorbikes—and a skate-boarder or two—blaring music, freighters with their trolleys piled to toppling with boxes—don’t get run over by the pedicabs—and once at the Zócalo, wending around the Aztec dancers in feathers and ankle-rattles, the toothless shouter pumping his orange sign about SODOM Y GOMORRA MARIGUANA BODAS GAY, and an organ grinder, and to-ers and fro-ers of every age and size, you arrive, out of breath, at a squat, terracotta-colored three-story high building.
This is where the first book was printed in—no, not just in Mexico—then New Spain—but in the Americas. La Casa de la Primera Imprenta de América.
To step into the foyer of its museum and bookstore is to relax into an oasis of peace.
The uniformed guard hands me a pen to sign the guest book. It’s late afternoon; I am the third visitor for the day.
I take a gander at the exhibition of contemporary textile art—a few pieces reference one of Frida Kahlo’s drawings in the Casa Azul of a tentacled monster of paranoia, each limb tipped with a staring eye.
In the second gallery I find the replica of our continent’s first printing press soaking in sun from the window. The wooden contraption is taller than I am, but so spare, it occurs to me that it might serve to juice apples.
How my Mexican amigos scoffed at the auction of the Bay Psalm Book in 2013. Not about the record sum—14.2 million US dollars—for which that little book, printed in Cambridge, Massachusetts, in 1640, went to a private collector, but about the report in the international media that the Bay Psalm Book was “the first book printed in America.”
To Mexicans, America is the continent, not their sister republic. Mexico is part of the same continent, of course, and so the first book printed in America—or, as we estadounidenses prefer to say, the Americas—was
Breve y más compendiosa doctrina Cristiana en lengua Mexicana y Castellana (Brief and Most Comprehensive Christian Doctrine in Nahuátl and Spanish), printed right here, in Mexico City, in this building, in 1539.
Mexico beats out Massachusetts by 101 years! But this sinks to silliness. That printer in Cambridge, Massachussetts, was English, and the one in colonial Mexico City, a native of Lombardy named Giovanni Paoli, Hispanicized to “Juan Pablos.” The technology that found its way to the Americas with these printing pioneers—to the north, Protestants, to the south, Catholics, separated by religious schism and the whirlwinds of European politics, and that century, and moreover, by the staggering distance of desert, swamplands, oceanic buffalo-filled prairies, and sunless and unmapped forests—had one and the same root: the fifteenth-century workshop of a German goldsmith by the name of Johannes Gutenberg.
Gutenberg was inking his little pieces of movable type more than half a century before Christopher Columbus “sailed the ocean blue,” and the indigenous on this continent chanced to hear the first stirrings of vaguest rumors and weird omens.
Still, 1539 is an early date indeed for that first book printed in the Americas: only eighteen years after the fall of Tenochitlán. Three years after Cabeza de Vaca’s miraculous arrival in Mexico City. Fray Sahagún was still a year away from launching the research that would result in the Historia general de las cosas de la Nueva España, or the Florentine Codex. The lodes that would turn Mexico into an industrial-scale silver exporter had not yet been discovered. The Manila Galleons, treasure ships bringing porcelain, spices, and silks from China to Acapulco, would not begin their annual crossings for another twenty-six years.
In England, Henry the VIII was between wives three and four. It would be sixty-eight more years until the first, disastrous English settlement at Jamestown. The Pilgrims who would land at Plymouth Rock? As a religious community they did not yet exist.
Tucked in the shade of the National Palace and a block east from Mexico’s cathedral, the Casa de la Primera Imprenta was built, it turns out, over the ruin of the Aztec Temple of Tezcatlipoca, Smoking Mirror, trickster god of the night sky, of time, and of ancestral memory.
Who knows what still lies beneath in the rubble? Dug up in the eighteenth century during a renovation, a gigantic Aztec stone snake head was, no doubt with a shudder of horror, reburied. But we live in a different time with a very different sensibility. In 1989 when renovations unearthed that same Aztec stone snake head—elegant with fangs, nostrils, scales, eyes the size of melons—it was carefully excavated and cleaned by archaeologists. This monumental sculpture, heritage of the nation, is now displayed atop a roped platform in the Casa de la Primera Imprenta’s Juan Pablos bookstore, surrounded by a shelf of fiction, a table of poetry, and a sign informing us that the Aztec snake head is carved from grey basalt and weighs approximately one and a half tons.
The Juan Pablos bookstore, named for that original printer Giovanni Paoli, retails books from the press of Mexico City’s Universidad Autónomo Metropolitana (UAM). Such are my interests du jour: I came away with a copy of the first Spanish translation of an eighteenth-century Italian’s journey to Mexico and the 2015 El territorio y sus representaciones.
UPDATE: “Dispatch from the Sister Republic or, Papelito Habla,” my long essay pon the Mexican literary landscape and the power of the book, is now available in Kindle at amazon.com.
Methuselah of Blogdom here. Why am I still blogging? I am heartened to say, dear readers, that I know you’re there, more of you each year, and I appreciate your visits and your comments (as always, I welcome comments via email, see below.)
As for the granular whys and wherefores of this blog, I wouldn’t say much that I didn’t say last year, on its tenth anniversary, which echoed much of what I had to say on its eighth anniversary. The latter link goes to my talk for the 2014 AWP Conference panel on “Homesteading on the Digital Frontier: Writer’s Blogs.” To quote from that:
Madam Mayo blog is not so much my so-called “platform,” but rather, a net that catches certain special fish— the readers who care about the things I care to write about.
As ever, I aim to provide posts on a variety of topics that might be, in turn, of use and/or interest for my writing workshop students, and/or for Mexicophiles, and/or for Far West Texasphiles (is that a word?), adventurous readers, and myself.
One of my many motivations for blogging is to iron out my own thoughts, especially on subjects that tend to come up in my correspondence with other writers and in my writing workshops, for example:
P.S. For those of you who are writers / bloggers, herewith the top five things I would have done differently back in 2006 had I known what I know now: 1. Use WordPress 2. Post once per week, something verily crunchy, otherwise take a vacation; 3. Post interviews with other writers more often; 4. Maybe tweet the link to a post once or twice; otherwise do not waste time with social media; 5. When possible and when there is substantive content, upload the bulk of that content to the webpage, not the blog itself (because of those scraper sites).
P.P.S. Yep, one of these days I will move the whole enchilada over to WordPress. It’s still on my to-do list… [UPDATE JANUARY 2019: This blog is now on self-hosted WordPress at www.madam-mayo.com]
I welcome your courteous comments which, should you feel so moved, you can email to me here.
Late last year my amiga the brilliant short story writer Paula Whyman invited me to send a “Dispatch from Mexico City” for her new magazine, Scoundrel Time. So I dialed in to Muse HQ…
As I told Paula, woefully past the deadline, I had asked the Muse for a slider, a yummy little note about books in Mexico, but she delivered the whole ox. In other words, my “Dispatch from the Sister Republic or, Papelito Habla”is a novela-length essay about the Mexican literary landscape, from prehispanic codices to contemporary writers. It is what it is, I don’t want start chopping (there would be blood!!), but of course, a 30 page essay is too long for a magazine.
Scoundrel Time will be publishing an excerpt about Alvar Nuñez Cabeza de Vaca’s Relación-– a nearly 500 year-old memoir little known outside of Mexico and Texas, yet that stands as one of the most astonishing and important books ever written. (As soon that goes on-line, I will be sure to link to it from here. Read the piece about Cabeza de Vaca in Scoundrel Time here.)
For rare book collectors, Mecca is Mexico City’s Colonia Centro, and for such aficionados of mexicana as myself, its sanctum sanctorum, the Librería Madero—by the way, recently relocated from the Avenida Madero to the Avenida Isabela La Católica, facing the the formidable wedding cake-white corner of the 16th century ex-convent of San Jerónimo, known today as the Claustro de Sor Juana, that is, the Convent of Sister Juana.
And if you would not know Sor Juana from a poinsettia, gentle reader, with all respect, you must crowbar out that boulder of ignorance, for which you will be rewarded by a glimpse of the diamond of the Mexico’s Baroque period, the first great Latin American poet and playwright, “the Tenth Muse,” a cloistered nun.
Texan poet John Campion was the first to translate Sor Juana’s magnum opus, “Primero sueño,” as “The Dream,” in 1983. (Alas, that date is not a typo.) Campion’s translation is out of print, but he offers a free PDF download of the text on his website, worldatuningfork.com. The first lines of Campion’s translation beautifully capture Sor Juana’s uncanny power:
Pyramidal death-born shadow of earth aimed at heaven a proud point of vain obelisks pretending to scale the Stars
In her time Sor Juana was one of the most learned individuals, man or woman, in the New World, and her prodigious oeuvre, from love poems to polemics, comedies to enigmas to plays to villancicos, was exceptionally sophisticated, so much so that its interpretation is today the province of a small army of sorjuanistas. As Mexico’s Nobel laureate poet Octavio Paz writes in Sor Juana: Or, the Traps of Faith (translated by Margaret Sayers Peden), “A work survives its readers; after a hundred or two hundred years it is read by new readers who impose on it new modes of reading and interpretation. The work survives because of these interpretations, which are in fact resurrections.”
And perchance startling discoveries. In his 2011 El eclipse del Sueño de Sor Juana, Américo Larralde Rangel makes a radiant case that her “Primero Sueño” describes the dawn over Mexico City after a lunar eclipse on the solstice of the winter of 1684.
In the Librería Madero I find on the first shelf, facing out, two new books by sorjuanistas: one about Sor Juana’s family, another, just published by a Legionario de Cristo, that purports to decipher her twenty enigmas. The latter work incorporates a series of contemporary paintings of Sor Juana in the baroque style—dim backgrounds, crowns and scepters of flowers, and afloat above her head, fat-tummied cherubs, flounces, unspooling bundles of draperies. But these Sor Juanas look too pert, make too coy a tilt of the head. It seems to me as if, session over, the model might have just tossed off that habit to wriggle into some yoga wear.
Yes, just as in the United States, in Mexican cities yoga studios have been popping up like honguitos.
But if a vision of modern Mexico would have been obscure to Sor Juana, by no means is Sor Juana obscure in modern Mexico. She has inspired scores of poets and musicians; there have been movies, documentaries, and novels, most recently, Mónica Lavin’s 2009 best-seller Yo, la peor (I, the Worst—yet to be translated into English—fingers crossed that Patricia Dubrava will do it).
As I write this in 2017, Sor Juana graces the celadon-green 200 peso bill. From the portrait by Miguel Cabrera in the Museo Nacional de Historia: a serenely intelligent young woman’s face framed in a wimple, and behind her, her quills and inkpot and an open book of her poetry—and a few lines:
Hombres necios que acusáis a la mujer sin razón, sin ver que sois la ocasión de lo mismo que culpáis.
I cannot pretend to render the music of Sor Juana’s lines into English. But here’s a rough go at their literal meaning: You pig-headed men who accuse women unjustly, blind to the fact that you are the cause for that which you cast blame.
UPDATE: “Dispatch from the Sister Republic or, Papelito Habla,” my long essay on the Mexican literary landscape and the power of the book, is now available in Kindle.
#
P.S. You will find more Mexico-related posts on this blog’s Mexico page. As you will see, there are a few posts that have been migrated, and many more to go– and more as yet unlisted. Plus, ayyy, there is the whole Maximilian – Carlota blog (History of Mexico’s Second Empire / French Intervention) to do…. It will happen.
As writers, albeit human creatures of habit, we tend to use only a woefully limited portion of our vocabularies. Hence our first drafts may be stiff, dull, and vague. To add verve, freshness, and focus, it helps to loosen up our mental joints, as it were, and reach for a greater variety of words.
The challenge is not necessarily to expand your vocabulary –I am not talking about trying to sound fancy– though perhaps you or one of your characters may want to do that– but to bring more of your writerly attention to words you know but do not normally use.
Towards that end reading is vital– but not reading passively, as a consumer of entertainment, nor reading for facts and concepts, as would a scholar. Instead, read as a writer, with a pencil or pen in hand, noting down any words that strike you as especially apt or somehow, for whatever reason, attractive to you.
These might be simple words such as, say, brood; caprice; crackpot; pall; nougat; persimmon.
When I read I keep a notebook, PostIt, or index
card handy so I can jot down any words and phrases that I like. I used to worry
about keeping all these notebooks and bits of paper in some semblance of order,
but I now believe that most of the benefit is in simply noticing what it is
that I like; and second, writing it down. (In other words, when it comes time
to declutter, I will, as I have, and so what?) Of late I toss these index cards
in a recipe box that I keep on a shelf behind my desk. When one of my drafts
needs an infusion of energy, I pluck out a random batch of cards, shuffle
though them, and see if anything might be of use. Often it is.
From another card plucked out at random:
shrewd sagacious “intrigue and shifting loyalties” surmise astute console relentless do not relent never relent; pout nuanced verdict deadly banal banalities dejected munificence fail to grasp thieving toad
Thieving toad! I don’t know why, that
makes me laugh. And it makes me want to start (or perhaps end?) a short story
thus:
She failed to grasp that he would never relent,
he was a thieving toad.
I also note phrases and sayings I like, e.g.:
“Trust in Allah, but tie your camel.”
“Birds of prey don’t sing”
“the apostles of — ”
“camarón que se duerme amanece de botana” (the shrimp that sleeps wakes up as an appetizer– that’s a variation on the old Mexican saying, “the shrimp that sleeps is carried off by the current.”)
While it is a joy to be able to publish without gatekeepers– joy enough that I for one have been blogging every Monday and oftentimes more often since 2006– a curated presentation of poetry and prose, that is, the traditionally edited literary magazine on ye olde paper, has not disappeared, nor will it, and thank goodness.
As an ex-literary magazine editor myself (Tameme), I have a big heart full of appreciation for such magazines. And when they are as unique, and as beautifully edited and exceptionally well-designed as these two, I want to get up on the top of the roof and toot a tuba– or something!
CATAMARAN LITERARY READER
Founding editor Catherine Segurson describes Catamaran
as “pages full of color, inviting images, and engrossing stories, poems and
essays—all from curious and inventive minds.”
Indeed: standouts in this issue include a poem
and an essay by Richard Blanco, and the
several paintings by Bo Bartlett, whose “Via
Mal Contenti” graces the cover. More about artist Bo Bartlett in this
brief video:
Catamaran makes a special effort to
include literary translation in every issue. N.B.: Catamaran’s contributing
editors include essayist and translator Thomas Christensen and
poet, teacher, and noted translator Zack Rogow.
“Thank you for this journal which combines spiritual issues, imaginative issues, esthetic issues. All of those, I think, need to be in the mix for the richly lived life, the richly observed life.”
This Fall 2016 issue opens with a splendid essay
by poet Mark Doty, “Luckier / Rowdyish, Carlacue, Wormfence and Foosfoos.” Just
for that yonder-galaxy-beyond-the-Cineplex-title: Another thank you!
ABOUTFRANCISCO I. MADERO, Leader of Mexico’s 1910 Revolution; President of Mexico, 1911-1913
My piece in Tiferet about Madero’s 1911 Spiritist Manual did not include any of my translation, but you can read some of that here. Caveat: If you are unfamiliar with metaphysics you might find Madero’s Spiritist Manual… oh, I guess I would say… wiggy-zoomy.
In which case, I invite you to read my book about that book, my own wiggy-zoomy attempt to give it some cultural-historical-political context, which is available from amazon and other major sellers, and the website offers several lengthy excerpts, as well as extentive Q & A, a podcast of my talk for the University of California San Diego US Mexican Studies Center, the Centennial Lecture for University of Texas El Paso, and several other talks and interviews here. (My personal fave is Greg Kaminsky’s Occult of Personality.)
P.S. & P.S.S.
P.S. For those of you, dear readers, looking to
publish in literary magazines, everything I have to say about the oftentimes
crazy-making lottery-like ritual is here. If
you are audacious enough to start your own journal, I say, go for it! Please!
(But bring a case of apirin and a few wheelbarrows of dough. The green kind.) I
have more to say about literary magazines, past, mine, and future, here.
And for an interview with an editor who managed to establish an unusual level
of financial viability, be sure to check out my podcast
interview with Dallas Baxter, founder of Cenizo Journal.
P.S.S. If you’re wondering what’s up with Marfa Mondays, stay tuned,
the long overdue podcast 21 is still in-progress. Listen in to the other 20
podcasts posted to date here.
Mexico has been very much on my mind these past days because I have been working on some translations of works by Mexican writers Agustín Cadena and Rose Mary Salum... more news about those soon… and also (not entirely a digression from the book in-progress about Far West Texas) I have been working on an essay about books in Mexico entitled “Dispatch from the Sister Republic.”
A brief excerpt from my longform essay:
The Dresden Codex was water-damaged in the firebombings of World War II. Fortunately for us, around 1825, a facsimile had been made by the Italian artist Agostino Aglio, commissioned by the Irish peer Edward King, Lord Kingsborough—the latter a believer in the theory, to become an article of faith for the Mormons, that the Mesoamericans were descendants of one of the Lost Tribes of Israel.
Aglio’s facsimile is included in Kingsborough’s colossal multi-volume Antiquities of Mexico. And when I say “colossal” I do not exaggerate. In those days before photography, Lord Kingsborough sent Aglio all over Europe, to the Vatican Library, the royal libraries of Berlin, Dresden, and Paris, and the Bodleian Library at Oxford, among many others, to copy their Mexican codices, painstakingly tracing the elaborate diagrams and glyphics, and then coloring them in. Aglio also made paintings of Mexican sculptures and other artifacts in European collections. The whole project, from making the fascimiles to the state-of-the-art color printing and luxury binding, was at once a visionary contribution to world culture and an extravagance beyond folly. It could be said that Antiquities of Mexicokilled Lord Kingsborough; having exhausted his liquidity before paying for the paper, he was imprisoned in Dublin, where he contracted typhoid.*
[*Sylvia D. Whitmore, “Lord Kingsborough and His Contribution to Ancient Mesoamerican Scholarship: The Antiquities of Mexico,” The PARI Journal,Spring, 2009]
Lord Kingsborough never made it to Mexico, but it was in Mexico City, on a tour of the Biblioteca Vasconcelos, that I saw one of those volumes of Antiquities of Mexico up close. That particular volume was part of the personal library, then recently acquired, of Carlos Monsiváis, one of Mexico’s most esteemed journalists and leftist social critics, who died in 2010. I could not tell you which volume of Antiquities of Mexico it was nor why nor how it was separated from its fellow volumes in its set, nor why nor how Monsiváis, famous for his witty musings on Mexican popular culture, had acquired it.
The librarian, wearing white gloves, strained to lift the volume off its shelf. Bound in navy-blue Morrocco leather, it was the size of a small suitcase. With the grimace of a weight-lifter, he slowly lowered it onto the table. He levered up the cover, then turned a couple of the pages. The colors of the prints of Aglio’s paintings of the leaves from a codex— red, yellow, turquoise, ochre— were as bright as if painted that morning.
I later learned that that single volume weighed some 65 pounds.
UPDATE: “Dispatch from the Sister Republic or, Papelito Habla,” my longform essay on the Mexican literary landscape and the power of the book, is now available in Kindle.