A Review of Patrick Dearen’s “Bitter Waters: The Struggles of the Pecos River”

This review by C.M. Mayo appeared in Literal Magazine, May 2017.

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.

Marfa Mondays Podcasting Project

More Book Reviews by C.M. Mayo

“Dear Mother, Am feeling hard as a rock and brown as an Indian”:
More Postcards from the US-Mexico Border Circa 1916

A Visit to the Casa de la Primera Imprenta de América in Mexico City

By C.M. Mayo www.cmmayo.com

In the shadow of the National Palace: La Casa de la Primera Imprenta de América, the House of the First Printing Press in the Americas, Mexico City. Photo by C.M. Mayo, 2017.

This is an excerpt from my long essay, of creative nonfiction, “Dispatch from the Sister Republic or, Papelito Habla,” which  is now available in Kindle.

…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.

Aztec snake head on display, 2017.

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. 

A splendid and very important book: El territorio y sus representaciones by Luis Ignacio Sainz Chávez and Jorge Gonzlález Aragón Castellanos, winner of the 2016 Premio de Investigación. Published by the Universidad Autónoma Metropolitana, Mexico.

END OF EXCERPT
From “Disptach from the Sister Republic or, Papelito Habla” by C.M. Mayo
Copyright 2017. All rights reserved. 

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.

# # # # # 

>Your comments are always welcome. Click here to send me an email.

Lord Kingsborough’s Antiquities of Mexico

What the Muse Sent Me about the Tenth Muse, 
Sor Juana Inés de la Cruz

Biographers International Interview with C.M. Mayo: 
Strange Spark of the Mexican Revolution

Find out more about 
C.M. Mayo’s books, articles, podcasts, and workshops.

Thank You, Dear Readers: On the Occasion of Madam Mayo Blog’s Eleventh Anniversary

Images courtesy of Pulp-o-Mizer

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:

(What do you mean, “reading as a writer”?)
One Simple Yet Powerful Practice in Reading as a Writer

(How do you keep up with email?)
Email Ninjerie in the Theater of Space-Time

(Where do you find the time to write?)
Thirty Deadly-Effective Ways to Free Up Bits,
Drips & Gimungously Vast Swaths of Time for Writing


(What do you think about social media?)
Adios Facebook!Six Reasons Why I Deactivated My Account

You will also find posts on my work in-progress and anything relevant to it (at present, a book about Far West Texas):

A Visit to El Paso’s “The Equestrian”

Book review: Pekka Hamalainen’s The Comanche Empire

The Strangely Beautiful Sierra Madera Astrobleme (What’s an Astrobleme?)

Peyote and the Perfect You

Top 13 Trailers for Movies with with Extra-Astral Texiness

The Harrowingly Romantic Adventure of Trade with Mexico
in the Pre-pre-pre-NAFTA Era

Notes on Artist Xavier González (1898-1993)

Once in a zera-striped-chartreuse moon of Pluto I touch on nonwriterly topics:

12 Tips for Summer Day Hiking in the Desert (How to Stay Cool, Avoid Actinic Keratosis, Blood, and Killer Bees)

Yet one more reason to check in with this blog is for announcements about my publications and interviews:

Catamaran and Tiferet: Two Very Fine Independent Literary Journals

Biographers International Interview: 
Strange Spark of the Mexican Revolution


New Thinking Allowed Interview by Jeffrey Mishlove
and a Review by Michael Tymn

Ax of Apocalypse: Strieber and Kripal’s Super Natural

To share my talks and podcasts:

For the 2016 Women Writing the West Conference: 
On Seeing as an Artist or, Five Steps to a Journey to Einfuhlung


For the American Literary Translators Association Conference: 
Translating Across the Border

> All Marfa Mondays Podcasts here.
> All podcasts here.

And, something I especially relish, to learn about and celebrate the work of other writers:

Ellen Cassedy and Yermiyahu Ahron Taub on Translating 
Blume Lempel’s  Oedipus in Brooklyn from the Yiddish

Shelley Armitage on Walking the Llano: A Texas Memoir of Place

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.

From the Writer’s Carousel: Literary Travel Writing

The Pecan: A History of America’s Native Nut By James McWilliams

The Marfa Mondays Podcast is Back! No. 21: 
“Great Power in One: Miss Charles Emily Wilson”

What the Muse Sent Me About the Tenth Muse: Sor Juana Inés de la Cruz

Door to the quarters of Sor Juana Inés de la Cruz, “the Tenth Muse.” Photo by C.M. Mayo, 2017.

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.) 

As for my full-length essay, “Dispatch from the Sister Republic,” look for it as a Kindle under my own imprint, Dancing Chiva, ASAP.  it is now available in Kindle.

Herewith my other favorite excerpt, about the Tenth Muse, Sor Juana Inés de la Cruz:

Excerpt from 
“DISPATCH FROM THE SISTER REPUBLIC OR, PAPELITO HABLA”
by C.M. MAYO 

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). 

Ex-convento of San Jerónimo, now the Universidad del Claustro de Sor Juana, Mexico City. Photo by C.M. Mayo, 2017.

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.

[…. CONTINUE READING]

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.

Peyote and the Perfect You

Q & A: Colorado Poet Laureate Joseph Hutchison on The World As Is

Poetic Alliteration

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C.M. Mayo’s books, articles, podcasts, and more.

One Simple Yet Powerful Practice in Reading as a Writer

I will be giving my annual one day only workshop on Literary Travel Memoir at the Writer’s Center in Bethesda, Maryland this April 22. New in ye olde packet of handouts for this workshop is “Words I Like,” my name for a powerful yet simple practice that you might think of as Feldenkrais for your vocabulary.

“WORDS I LIKE”

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.”)

Bonhomie! I love it! Why? ‘Cuz!

From that second index card pictured above:

bonhomie
obviate
banal
decrepitude
penumbra
chronic
salient
pieties
vim
dour
bouyancy
bouyant
circumlocutions

Why these words? Because I like them. You might not. The point is, as you read, write down whatever words you like.

Well now, I hear Henry James’ Muse yelling! 

So many salient pieties… In the penumbra of his chronic bonhomie, she felt at once dour and bouyant.

>> Workshop Page 
>> Resources for Writers
(Includes Tips & Tools; On Craft; On Editing; On Publishing; On Digital Media & more) 
>> Giant Golden Buddha & 364 More Free 5 Minute Writing Exercises

Reading Tolstoy’s War & Peace

Diction Drops and Spikes

From The Writer’s Carousel: Literary Travel Writing

Find out more about C.M. Mayo’s books, shorter works, podcasts, and more at www.cmmayo.com.


Catamaran Literary Reader and Tiferet: Two Very Fine Literary Journals

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.

I am happy to report that a pair of very fine independent literary magazines has landed in my mailbox: Catamaran Literary Reader and Tiferet. I am also honored to report that the Fall 2016 issue of the former includes my translation of Mexican writer Rose Mary Salum’s short story “The Time,” and the Fall 2016 issue of the latter, an excerpt from my book, a work of creative nonfiction about a translation: Metaphysical Odyssey into the Mexican Revolution: Francisco I. Madero and His Secret Book, Spiritist Manual. 

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.  

ABOUT ROSE MARY SALUM, 
Mexican Poet and Writer

Mexican writer and poet Rose Mary Salum is the editor of Literal, and editor of the anthology Delta de las arenas: Cuentos árabes, cuentos judíos. Her collection of linked short stories set in the Midde East, which includes “The Time,” is El agua que mece el silencio. My translation, in-progress, is entitled The Water That Rocks the Silence. If you read Spanish, check out her interview in El Páis.

>> See my previous post about her work in Origins.

>> See also my in-depth interview with Salum in Conversations with Other Writers.) 

TIFERET

Tiferet is published by novelist and poet Donna Baier-Stein. I echo poet Molly Peacock’s praise:

“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! 

ABOUT FRANCISCO 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.

Transcript of C.M. Mayo’s remarks for the panel
“Translating the Other Side”
American Literary Translators Association conference,
Tucson, Arizona, October 30, 2015

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C.M. Mayo’s books, articles, podcasts, and more.

Lord Kingsborough’s “Antiquities of Mexico”

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.

>> Read more about the Antiquities of Mexico at Dorothy Sloan-Rare Books, a description of a set that was auctioned for USD 61, 625.

#

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.

Biographers International Interview with C.M. Mayo:
Strange Spark of the Mexican Revolution

Translating Across the Border

What the Muse Sent Me About the Tenth Muse, Sor Juana Inés de la Cruz

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C.M. Mayo’s books, articles, podcasts, and more.

A Visit to El Paso’s “The Equestrian”

This finds me working on the book on Far West Texas, and about to resume the Marfa Mondays podcasts (20 podcasts posted so far, 4 more to go, listen in anytime). I just posted a brief video of my visit last November to see, among other wonders and curiosities, a most extraordinary and controversial statue at the El Paso International Airport. 

Because of the way it is placed, directly behind a grove of extra-fluffy trees, and at the entrance where most drivers, speeding in, are on the lookout for signs, such as rental car return, departures, arrivals or parking, I daresay few passersby would even notice the statue. I myself drove by it more times that I would like to admit before I realized it was there.

Here’s my 3 minute video:

My video mentions “The Last Conquistador,” a magnificent documentary about this statue and the controversy. Watch the trailer:

POV Interactive offers the first clip of “The Last Conquistador” documentary:

For “Behind the Lens POV PBS”
Cristina Ibarra and John Valadez Talk about the Juan de Oñate Sculpture:

I’ll give the sculptor, John Sherrill Houser, the last word, quoting him from the documentary:

“Here it is, look at this and think about it, good and bad, the whole thing. The history.”

Notes on Tom Lea and His Epic Masterpiece of a Western,
The Wonderful Country

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C.M. Mayo’s books, articles, podcasts, and more.

Biographers International Interview with C.M. Mayo: Strange Spark of the Mexican Revolution

I am the featured member interview this month in the Biographers International newsletter. Herewith:

BIOGRAPHERS INTERNATIONAL: What is your current project and at what stage is it?

C.M. MAYO: I’m at work on World Waiting for a Dream: A Turn in Far West Texas, not a biography properly so-called, but the narrative weaves in some history and so encompasses a number of biographical vignettes from Alvar Nuñez Cabeza de Vaca, the conquistador who got lost, to some of the contemporary artists working in Marfa. Stage: still banging out the first complete draft. 

Francisco I. Madero, leader of Mexico’s 1910 Revolution and President of Mexico, 1911-1913.

My latest publication, however, is about a major figure of the Mexican Revolution, and that certainly informs the Far West Texas book, for some of the key battles were fought along the US-Mexico border: Metaphysical Odyssey into the Mexican Revolution: Francisco I. Madero and His Secret Book, Spiritist Manual.

Madero was the leader of Mexico’s 1910 Revolution and President of  Mexico from 1911-1913, so the fact that he was a Spiritist medium and, albeit under a pseudonym, author of a book of Spiritism published in—yes—1911, is a dramatic twist in the paradigm of how we understand the spark of the Mexican Revolution. 

My book, which includes my translation of Madero’s book, was published in 2014, so I am well into the promotion stage. (I’m delighted to report that Metaphysical Odyssey into the Mexican Revolutionwon the National Indie Excellence Award for History, and to date, I’ve given talks about it at Mexico City’s Centro de Estudios de la Historia de México, Rice University, Stanford University, UCSD’s Center for US-Mexico Studies, and the University of Texas El Paso, among other venues.)

> Listen to and/or read some of my talks about this book here.

BI: What person would you most like to write about?

C.M. MAYO: At the moment, because I’m writing about Far West Texas, pioneer petroleum geologist Wallace E. Pratt. I am especially intrigued that he would choose to live for many years in a such an isolated place as McKittrick Canyon, deep in the Guadalupe Mountains. It is, in large part, thanks to Pratt’s visionary gift that we now have the Guadalupe Mountains National Park. I am very honored to say that I will be one of the artists-in-residence in the Guadalupe Mountains National Park this spring, so I will have the chance to retrace his steps and visit his house.

BI: Who is your favorite biographer or what is your favorite biography?

C.M. MAYO: 
As far as my Far West Texas reading goes, I both admired and especially relished the biography of the 20th century bard of Texas, J. Frank Dobie: A Liberated Mind, by Stephen L. Davis. Many of the popular ideas we take for granted about Texas and Texans have their roots in Dobie’s works. 

My two all-time favorite biographies are Nancy Marie Brown’s The Far-Traveler: Voyages of a Viking Woman and Paula Kamen’s Finding Iris Chang: Friendship, Ambition, and the Loss of an Extraordinary Mind.

BI: What have been your most satisfying moments as a biographer?

C.M. MAYO: I’ll answer this for my book on Francisco I. Madero, Metaphysical Odyssey into the Mexican Revolution. After many years of reading and archival research, it was tremendously satisfying to be able to fit together the pieces of what had been a humdinger of a puzzle—how could Madero be rifle-toting revolutionary and a Spiritist, a savvy political organizer and victim of a coup d’etat?— into a narrative of high strangeness but relative sense. Suddenly Mexico itself looked very different.

BI: One research/marketing/attitudinal tip to share?

C.M. MAYO: As a biographer I have only published the one title, however, I have published several other works of fiction and  nonfiction, so I do have more than a little  experience about this perennially mystifying and consternating topic. 

My short answer is three words: sports psychology helps. 

My long answer is: take consistent resilient actions, answer the email that deserves an answer, write an op-ed if you can, and be generous (what goes around comes around, albeit willynilly). The true reward is in the writing itself. It is a wondrous privilege to be able to write at all. Don’t ignore the “publishing business,” but don’t take it too seriously, either. Books can have deeply strange destinies. After all, they are magical time travelers.

BI: What genre, besides biography, do you read for pleasure and who are some of your favorite writers?

C.M. MAYO: 
I mainly read history, literary essay, and literary fiction. Just this year I’ve come across several historians who are my new favorites: Patricia Nelson Limerick (The Legacy of Conquest: The Unbroken Past of the American West); Jill Lepore (The Name of War: King Philip’s War and the Origin of American Identity); and Rebecca Solnit (River of Shadows: Eadweard Muybridge and the Technological Wild West). 

For literary essay I remain in awe of V.S. Naipaul, in particular, his memoir published in 1989, A Turn in the South. This year I especially admired Shelley Armitage’s Walking the Llano: A Texas Memoir of Place and, last year, one of my favorite writers writing on Mexico, Sam Quinones, brought out Dreamland: The True Tale of America’s Opiate Epidemic— a grenade of a book, a must read for anyone and everyone living anywhere in North America.

Fiction: Agustín Cadena, Truman Capote, Willa Cather, Anton Chekhov, Giuseppe di Lampedusa, Ann Patchett, Leo Tolstoy, Edith Wharton. 

Peyote and the Perfect You

Translating Across the Border
(A Transcript of Remarks for a Panel at the American Literary Translators Association Conference)

The Strangely Beautiful Sierra Madera Astrobleme

Find out more about
C.M. Mayo’s books, articles, podcasts, and more.

Typosphere, Ho! “Stay West” on my 1961 Hermes 3000

My first attempt at typing on a typewriter in nearly thirty years. From: Meteor.
My writing assistant denies any and all responsibility for slipshod typing or head-scratching sushi poetry.

Thank you, Typewriter Techs! My refurbished 1961 Hermes 3000 typewriter has arrived in Mexico City. Typewriter Techs, the Riverside, Illinois company that refurbished it, shipped it to California in a box so well padded it could have survived a Mars landing; having discarded the packing materials and box, I then grew some new biceps carrying it on board my flight home. I’d say it weighs about the same as a wet brick. It was a loooooong way from the security screening area to the gate. Jack LaLanne, watch out.

No, not the French scarf and tie and stupendaridiculously-expensive-whatnots company. This Hermes was of Swiss manufacture of yore.

The color is just as I had hoped, a foamy celadon (although it looks gray in this photo— too strong a flash).

LIKE TIME TRAVELING

I’m old enough to have had nearly two decades of experience with typewriters, both manual and electric, before I started using a computer in the late 1980s. It was an eerie experience to type on a typewriter again… like time traveling.

My first attempts at typing on this antique were clumsy, since I am, as are we all, so used to letting fingertips fly over a laptop’s keys and making scads of corrections en medias res and whatever whenever wherever and with the benefit of, after penicillin and sliced bread, the bestest thing ever invented: CNTRL Z!

But I like the deliberateness of typing on a manual typewriter— the goose-stepping linearity of it. That is the whole point, for me as a writer now. (Why? See my previous post, Consider the Typewriter. Am I Kidding? No, I Am Not Kidding.)


Madam Mayo says, The Anti-Digital Revolution will be Youtubed!  And blogged! And, when I get around to it, tweeted!  Git yer iron-knee right here, on a spatula! But seriously, check out this fine trailer for philosopher Richard Post’s excellent and thought-provoking resource The Typewriter Revolution.

WHY AN HERMES 3000?

I chose the Hermes 3000 because of Richard Polt’s recommendation in The Typewriter Revolution: A Typist’s Companion for the 21st Century:

“The 3000 model is a Swiss segment-shifted typewriter with excellent alignment, smooth carriage return, and quality manufacturing, introduced in the fifties. You’ll find it in a wonderfully bulbous body, painted in a color that some call “sea-foam green”… Not the very fastest or snappiest typewriter, but “buttery” in its smoothness, as fans like to say… Users include Larry McMurtry, Sam Shepard, Eugene Ionesco, and Stephen Fry.”

A tip of the Stetson to my fellow Texan Mr. McMurtry. As for Monsieur Ionesco, voila l’entrevue:

Watch the interview with English subtitles here. No, alas, Ionesco’s Hermes 3000 does not make an appearance. Mais nous pouvons utiliser notre imagination.
My 1961 Hermes 3000 arrived in its original carrying case along with, LOL, total yay, a packet of jellybeans!!
Under the jellybeans, a message from Typewriter Techs…
The original 1961 Hermes 3000 instruction manual. (Ha! Will those websites and YouTubes still be available and playable in 55 years? You reeeeeeaaaaaaalllly think so…?)
The warranty, yay, from Typewriter Techs.

I WILL NOT PANIC ABOUT TYPEWRITER RIBBONS NO I WILL NOT PANIC

Although we now inhabit a consumersphere rife with such ecologically exploitative poppycock as single-serve Nespresso capsules… it is nonetheless easy-peasy to find typewriter ribbons that work for multitudinous models and makes of typewriters. I knew that from reading Polt’s The Typewriter Revolution, and a quick Google. Furthermore, Typewriter Techs included this with their shipment:

In case you cannot read the image and/or your brain, like mine, goes into blur mode WITH ANYTHING WRITTEN PLEASEGODWHY ALL IN CAPITAL LETTERS, it says:

“ALL ABOUT RIBBONS 

“In the 1950s ribbon sales topped 50 million annually, they were the toner of their day. But unlike toner most typewriters will take the same ribbons. There are several direct replacement ribbons available for most machines. If you cannot find one, don’t panic. The ribbon itself is identical, only the spool changes. We recommend you purchase the genetic black., or black and red ribbon and rewind it onto your current spools. This is the least expensive and guarantees a correct fit. You can also contact us we stock a large variety if replacement ribbons.

“Cloth ribbons will hold more ink than nylon. Cotton will soak up the ink, nylon it just lays on top of it. A typical ribbon should last about 900,000 characters or about 180,000 words… That’s around 500 pages. A good quality ribbon will transfer the ink without leaving excessive ink on the type bars or pages. If the entire type slug is covered in blue, it’s probably not a good ribbon to use again. Black only ribbons can be turned upside down and doubled in life.”

YE PAD

A related and most felicitous purchase was the Jackalope typewriter pad. Definitely it cuts the noise.

The typewriter pad. Land o’ Goshen, why didn’t I use one of these before?

LAST BUT NOT LEAST, YE LOVELY TYPEWRITER FABRIC

My writing assistant remains confused but pugfully blasé.

A most thoughtful holiday gift from my sister’s dog (yes, in our family the dogs give presents): this yardage of neat-o typewriter fabric and I do like it draped over the Hermes, just so. Nope, I am not going to attempt anything on a sewing machine, the typewriter is my own personal Mount Everest for the moment. Must get typing.

More anon.

Consider the Typewriter (Am I Kidding? No, I Am Not Kidding)

Q & A: Ellen Cassedy and Yermiyahu Ahron Taub on Translating Blume Lempel’s Oedipus in Brooklyn from the Yiddish

From the Typosphere: “Bank”

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