Blood Over Salt in Borderlands Texas: Q & A with Paul Cool about “Salt Warriors”

I am still turtling along in writing my book about Far West Texas, which has involved not only extensive travel in the Trans-Pecos and some podcasting but reading– towers of books!– and what a joy it was to encounter one so fascinating as Paul Cool’s Salt Warriors: Insurgency on the Rio Grande

A meticulously researched and expertly told history of the El Paso Salt War of 1877, Salt Warriors is essential reading for anyone interested in US-Mexico border and Texas history, and indeed, anyone interested in US history per se.

The El Paso Salt War of 1877 was sparked by “Anglo” businessmen staking claim to the massive salt bed that lies just west of what is now the Guadalupe Mountains National Park. Local Mexican-Americans, known as Paseños, considered the salt deposits community property, in accord with Spanish Law.

While the salt may have been free to anyone who would shovel it up, that required an arduous journey across the desert with carts pulled by oxen, and under constant threat of Indian attack. For Paseño farmers who eked out a living in this drought-prone region, the salt they could harvest was vital for curing food, pelts, for livestock licks, and above all, as a cash commodity– much of it sold to mines in Mexico, where it was used for refining silver. The Paseños were outraged when Judge Charles H. Howard, a recent arrival from Virginia, informed them that they would have to start paying his father-in-law, a German businessman based in Austin, for the salt.

From behind the windshield, approaching Guadalupe Mountains National Park from US 62, which goes through the salt lake. Photo by C.M. Mayo

In the wake of the El Paso Salt War, several people on both sides of the conflict had been killed, some horribly (Judge Howard was murdered, and his body mutilated and thrown down a well), the town of San Elizario sacked, several reputations ruined– some fairly and others unfairly, as Cool argues– and a wedge of suspicion and resentment driven between communities that is still, more than a century later, not entirely healed.

Paul Cool is a former Army Reserve officer and resident of Arizona with an avid interest in the US-Mexico borderlands. He kindly agreed to answer my questions via email.

C.M. MAYO: When and why did you develop your avid interest in the US-Mexico border?

PAUL COOL: It came late in life, but traces back to growing up in Southern California and marrying a young lady whose paternal grandparents came to El Paso during the Mexican Revolution. Unfortunately, I spent nearly two decades trying to write a book about the French Revolutionary/Napoleonic era, and only recently turned to the borderlands for material.

C.M. MAYO: What prompted your interest in the Salt War?

PAUL COOL: I have always been drawn to historical eras marked by the collapse or relative absence of order, justice, and social restraint, periods when ambitious or unscrupulous individuals are more able to give free rein to their personal desires and vices at the expense of the larger community. The late Roman Republic. Revolutionary France. The frontier West.  

In 1999, I drove from Seattle to Baltimore via El Paso, where I happened to purchase Walter Prescott Webb’s history of the Texas Rangers. His book contains a chapter on the Salt War. It was obvious there was an interesting story here, but it was buried beneath the ethnic bigotry running through Webb’s take. I then read C. L. Sonnichsen’s little book on the Salt War. The writing was vivid, and his account grabbed me in a way Webb’s had not. I felt closer to what happened, but the characters were still archetypes and stereotypes.

C.M. MAYO: Outside the region this conflict is almost unknown. Why do you think this is? 

PAUL COOL: Several reasons. The Spanish-speaking losers in the conflict disappeared into Mexico, and were in no position to write the history. As for the Anglos, many of the protagonists died, and they were soon replaced as by others who came to El Paso with the railroad, lacking any concern for the past. The story was buried because it was about a world that no longer existed, and no one cared about. 

Second, the story did survive as a chapter in Texas Ranger history, but since the Rangers surrendered to an enemy repeatedly characterized as a “howling mob,” Texans generally considered the Ranger performance a thing of shame and no one made any effort to expand our knowledge of the episode for that reason.

Third, from the perspective of Anglo sources, no iconic Anglo figure arose to grab our attention and turn the story into the stuff of legend north of the border. I think the 1916-1918 Arab Revolt illustrates what can happen with a hero. Think of Lawrence of Arabia’s impact on Western understanding of the Arab Revolt. Without Lawrence, no newspaper coverage by Lowell Thomas, no Seven Pillars of Wisdom, no David Lean film, no Omar Sharif as Ali or Zhivago! Lawrence’s story, and all that followed, is a misreading, to be sure, but corrective history is now available. It is possible that Mexican sources will reveal the existence of a hero, possibly Barela, possibly someone who we don’t yet know, and the information needed to provide the foundation of a heroic narrative. The romantic in me hopes that further research uncovers such a figure who can raise awareness of this popular yet tragic rebellion, south of the border first, then migrating up here.

Latino historians are and have long been aware of the Salt War and its place in Mexican American history. When I asked Dr. Arnoldo De Leon, a preeminent authority on Tejano history, why Latino scholars had never tackled the subject, he explained that they are playing catch-up, that there are so many stories still in need of telling, so many that continue to wait their chance.

C.M. MAYO: Of the results of the war, you write (p. 4) “In the long term, the distrust and marginalization of Paseño citizens by Anglos was deepened.” Your book does an excellent job of showing why this was but at the same time, you show that the insurgency was not “a bloody riot by a howling mob but in reality a complex political, social, and military struggle.” After your book came out, did your argument meet any notable resistance?

PAUL COOL: The academic community has generally applauded the appearance of Salt Warriors, although some reservations about my approach have been expressed. For example, one reviewer justly criticized the book for its reliance on north-of-the-border sources, to the exclusion of any archival material inside Mexico. I do not speak or read Spanish, and did not have the resources to hire others to dig through material that might or might not tell the story I wanted to tell. I had a choice: I could leave the story untold because I could not do a so-called “definitive” version (which is always elusive anyway), or I could tell this story to the best of my ability and hope that others would follow up to provide new perspectives. 

One other criticism I will mention is that I gave my opinion of the key participants, of their individual responsibility for the chaos and destruction that took place, and even of their moral failings. Some said that is not the historian’s job. It is best to just state the facts and let the reader decide. That may be true, but in this case, I felt that the story of the Salt War had been so repeatedly twisted over time that a clear statement of who was responsible was in order. One can never really know the hearts and minds of people who died more than a century before, but I feel confident in my opinion of who was most responsible for the tragedy.

C.M. MAYO: What lessons does the Salt War offer us today? I am thinking of some of the dynamics we see played out with other insurgencies and their repression, and the dynamics that ensure. On p. 235 you write “‘Throughout history,’ today’s U.S. Army and Marine Corps officers learn, many defeated insurgent movements ‘have degenerated into criminality.'” My understanding is that this would apply both to some of the defeated Mexican-American and allied Mexican insurgents, as well as to many ex-Confederates who were then coming into the Southwest and taking up careers as rustlers, and bank and train robbers.

PAUL COOL: Any population is always going to include “hustling individualists” who are most interested in getting what they want, whether it is inordinate power or wealth at the expense of the larger population, or the satisfaction of some baser need, including taking something from someone else in a violent or disturbing manner. 

The question is, does the presence of an equally applied law and a just order prevent or at least put a damper on that? 

In the first instance, one group, whether it’s Gilded Age entrepreneurs and their political allies, or their 21st century heirs on Wall Street and in government, uses “law” to corral wealth and power at the expense of the general population. 

In the second, violent criminals trade on the lack of “order” to achieve much the same ends, perhaps more bloodily, but not necessarily on a smaller scale. 

What transpired in post-Salt War El Paso, in terms of increases in criminal activity by gangs and individuals, was probably not much different in nature than what happens any place the authority structure collapses, whether in Iraq, Revolutionary France between Louis XVI and Napoleon, or the Soviet Union after Gorbachev. 

But something additional happened in El Paso, new to the American West but not uncommon in world history. There, the sheriff hired mercenaries to enforce order against perceived enemies, in this case the Mexican American population. Those mercenaries included career criminals led by John Kinney. What happened in El Paso became, for a few years, the way sheriffs did business in the American borderlands, and was repeated during the Lincoln County War (again with Kinney leading a band of criminals) and in Cochise County, Arizona during the final stage of the so-called Earp-Cowboy troubles. 

C.M. MAYO: You were a former Army Reserve officer. How did this inform and color how you saw some of the individuals in this story?

PAUL COOL: The event had largely been treated as an ugly civil disturbance requiring military policing. I decided to approach it as a “war” brought on by clashing cultures, economic drivers, and untrammeled ambition. 

My own military career was slender, but my first thirty years were spent as the son of a decorated combat hero and, as a Reserve officer, in close association with officers and men who also met that definition. The military is made up of people from the general population. Soldiers, sailors, and airmen are, in that sense, much like the rest of us. But in addition to military knowledge, i.e., how to fight and win, the military honestly attempts to inculcate certain ideal qualities, including honor, integrity, reliability. People, whether the population you’re sworn to protect or your buddy in the next foxhole, suffer and die unnecessarily when these qualities are forgotten or ignored. The military I knew does try to adhere to them.  

There is, of course, so much more to the military ethos, but I mention these factors because they influenced the course of the Salt War. There were army officers, such as Lieutenant Rucker and Colonel Hatch, who attempted to use their influence and authority to prevent violence and to quickly, peacefully put a lid on it. But it just so happened that, at the critical point, the officer on the scene, Captain Thomas Blair, possessed probably less integrity than any other officer in the U.S. Army. He was a smooth charmer, and no one realized his lack of character. Had Rucker not been replaced by Blair, or had Blair possessed ordinary integrity, it seems to me likely that some of the violence might have been short-circuited. Who knows? It was only later, through Blair’s bigamy, that the value of his word was revealed to all.

The military also attempts to instill discipline, to convince young soldiers to follow the rules, something that goes against the grain for many, from teenagers to independent-minded middle-age men. Discipline enables a unit to carry out its missions and prevents the naked exercise of power in service to personal wants. The Salt War illustrates the importance of discipline and leadership. We read that the various companies of the Ninth Cavalry occupying the Mexicano towns carried out their pacifying mission without any complaints, whereas soldiers from the company of the Tenth Cavalry engaged in a variety of violent personal and property crimes. The difference was the discipline instilled by the leaders of the Ninth Cavalry, but not the Tenth, both prior to and during the military action. 

C.M. MAYO: A modern recounting of the Salt Wars usually makes Judge Charles H. Howard into a simple character, an arrogant, stubborn and greedy villain, the outsider who swiped the community’s salt and then, even to the point of endangering both himself and others, insisted on pressing his client’s claim. One of the things I appreciated about your book is that you explained in more depth some of Howard’s probable motivations and, in particular, the mid-19th century Virginian concepts of honor to which he would have ascribed. The fact that he was bereaved after the death of his wife and deeply indebted to his father-in-law, the purported owner of the salt lakes, was another crucial factor you point out. 

It seems to me that you have made a powerful effort to objectively present the different points of view in the conflict. Was this something that came easily or did it take a while? 

Were there any individuals whose motivations were particularly obscure to you, or even now remain so?

PAUL COOL: While I don’t subscribe to the “great man” theory of history, I do believe that individuals make a difference, whether it’s Jean-Paul Marat steering the French Revolution along a more violent course or young Charlotte Corday who feels bound to save France from Marat. I believe that the Salt War was filled with such characters, whose personalities and behaviors were instrumental in leading the county into a downward spiral. That was not fully evident from the published record, because Salt War history was for decades largely a matter of historians regurgitating the same tale: largely nameless, faceless, hapless Texas Rangers surrender to a Mexican mob led by the evil Chico Barela. Nothing worth investigating further. But once I dug into sources not previously used, such as the federal government’s records, or personal correspondence that popped up in newspapers or located in the governor’s records, a different story emerged. At some point, for some reason, I decided to investigate the lives of key players before and after the Salt War. And that’s where I found the keys to their actions in 1877, most notably in the cases of Blair and Kerber.

Howard is a figure out of Greek tragedy. He wore his arrogance on his sleeve, but arrogance is a trait, not a motive. What was his motive? What impelled him to send a county over a cliff? It had to be something deep and personal. Howard himself spoke and wrote of his debasement by the Paseños, of his overriding debt to his father in law, of his depression after the loss of his wife. Losing his honor, he wanted only to regain it, and it did not matter who he harmed in the process. He was raised in a society that educated him to believe that personal honor trumped all.  I don’t believe that he saw that he had any choice. He could only act as he did. 

That realization took me some time to reach, and it came by happenstance. I caught an interview with Dr. Joanne Freeman, who wrote a book on the highly ritualized duels in the early Republic. (Think Hamilton and Burr.) She stated that, as the 19th century progressed, the formalities fell away, and those who felt their honor attacked were far more likely to just start shooting and caning one another. I thought she was describing Howard feeling empowered to beat or kill Cardis on sight. That led me to some readings on ante-bellum notions of honor and shame, and to discussions with Dr. Gary L. Roberts, who has written about codes of honor in the South and West.

I am afraid that, despite the best efforts of New Mexico historian, Dr. Rick Hendricks, I never quite got a handle on Father Antonio Severo Borrajo, the man most demonized by contemporary Anglo sources. Toward the end of my work, I did add a paragraph that attempted to make sense of Father Borrajo, based on Dr. Hendrick’s guidance, but then in the final flurry of chopping and editing the manuscript, the passage got deleted from one spot and not replaced in another. I didn’t notice until the book was published. I tell myself that these things happen, but it’s a mistake I’d rather sweep under the rug. I’d love to revise Salt Warriors after Dr. Hendricks publishes his Borrajo biography. I think that would fill a large gap in the story I’ve told.

The Paseños were a tough nut to crack. They did not write the histories, their thoughts are largely absent from the written record, and the victors universally denigrated their motives and characters. I got past that in two ways. First, I decided to make the Paseño community a character.  Who were these people at the Pass of the North? Faced with a century-long relative isolation from Spanish, Mexican, and American authorities and support systems, what kind of community did they establish and build? How did it function? What did that maintenance and development of a community say about its leadership? Guesswork on my part was necessary, but traits did present themselves and a portrait I trust did emerge. 

Second, in the case of the Paseno’s leaders, I was able to draw conclusions about their leadership skills based on their military actions, which were quite elaborate. One thing that the evidence revealed is that the Paseños had a long history of self-defense, whether against Apache raiders or the demoralized Confederates who retreated from New Mexico. It was obvious that the Paseño community had a core of leaders they turned to, men who had previously considered how best to respond to threats, and had put their lives on the line to lead those efforts. I had no direct evidence enabling me to get inside the minds of Chico Barela (or “Varela”), Sisto Salcido, or other leaders, but the reports of what actions they took was very revealing. For example, the traditional Anglo account is that Barela was a man not given to keeping his word. A different reading is that he was a master of using deception to misdirect his enemy’s attentions and actions. He could spot an opponent of weak resolve and then guide his actions by telling that opponent what he wanted to hear. He played his opponents no less than Napoleon, Robert E. Lee, or Rommel. That’s something you do in war, if you can. Ultimately, Barela and his little army bit off more than they could chew, but they conducted a skillful military operation that achieved short-term results no one among the Anglos expected.

C.M. MAYO: About Father Antonio Severo Borrajo, who as you say was “most demonized by contemporary Anglo sources,” would you like to share the lost paragraph?

PAUL COOL: Unfortunately, whatever paragraph I had on Borrajo was in some unknown spot in some unknown draft that never got indexed. However, whatever I put in was influenced by this 2002 corrective view by Dr. Hendricks, who, since 2010, has been New Mexico’s State Historian. I do think Borrajo’s intolerance of the Protestants and the French-based Catholic teachings of the then current parish priest, Father Pierre Bourgade (later archbishop of Tucson), helped to keep the population stirred up, even if he was not the greedy demon falsely portrayed by his enemies. Unfortunately, Borrajo’s appearances during 1877, the climax of the crisis, are few and references to him at that point are probably less reliable than usual. 

C.M. MAYO: Louis Cardis, the Italian-born businessman and stagecoach owner is a most intriguing character. Was it possible to find out more about his origins other than that he was from Piedmont and might have served as a captain in Giuseppe Garibaldi’s army? 

PAUL COOL: There was more about his life story and others that just had to come out to get the book down to size. Anything I found that explains his actions did stay in the book. He is another character who, where the written record is concerned, is largely seen through the eyes of others. I detect no bigotry toward his constituents, none, but he did not do all he could to protect them from the power structure that was moving to seize their grandfathered rights in the salt lakes. For example, he signed his name to the 1876 Texas Constitution that enabled private citizens to own saline deposits, but never after, as far as I can tell, spurred his constituents to take legal action to forestall Anglo ownership. 

C.M. MAYO: As you proceeded with your research, what most surprised you?

PAUL COOL: This project started as a planned 2-3 chapters in another book. I was surprised by the complexity and the epic sweep of the story, and by the characters who could leap off the page in the hands of writers much better than me. (If there were a viable market, this story deserves a ten-hour TV miniseries starring Russell Crowe and Edward James Olmos, among others.) If I could have made Salt Warriors twice as long, I would have. Pity the poor reader had I owned my own publishing house. 

C.M. MAYO: You were able to talk to several of the descendants on both sides of the conflict. Were you surprised by how they saw it?

PAUL COOL: The families that remain in San Elizario knew they had reason to be proud of their ancestors, but over the years, exposed only to increasingly vague oral tradition and the Anglo-centric writings of later historians, they had largely lost the details of what really happened. In some cases, I had to reject the tradition, but in other instances, I thought tradition held up and explained what the records obscured. It was the first time I had to make sense of oral tradition, to treat it as evidence that deserved to be weighed rather than ignored.

On an early visit to San Elizario, a leader of the local historical and genealogical society showed me where tradition said certain key events happened. My research often showed otherwise, and a few years later I was happy to return the favor, incorporating the written evidence. We still had doubts about this and that event and had a great time trying to make sense of the surviving evidence, including tradition.

C.M. MAYO: In reading about the organized crime in El Paso in the wake of the Salt War– in particular of cattle rustler John Kinney and his alliance with Sheriff Kerber– it’s tempting to make modern day comparisons with modern day drug trafficking, etc. Would you? Or was it something very different?

PAUL COOL: Well, it was much, much, less organized, and the crimes much more impromptu than we see with modern drug traffickers. My subsequent research has led me to believe that a better analogy would be the Bahamian pirates of the early 18th century, those who established a base of operations on Nassau temporarily free of British authority. (El Paso had a government, but totally ineffective keeping order.) There were criminal leaders (Blackbeard, for example), but individual pirates were more or less free to sign on to this piratical raid or that. They had to strictly follow orders during any voyage—at sea, everyone’s life depends on it—but otherwise were independent contractors who, between “jobs,” had no duty to follow anyone.  Likewise, men might follow Kinney or not. That they raided with Kinney today did not prevent them from riding off to commit their own crimes tomorrow, or just sit around playing cards and drinking rot-gut till they went broke.

C.M. MAYO: One of the most astonishing things to me about the entire episode is that nearing the end of the book (p.280) we learn that the government never granted Zimpleman ownership of the salt lakes! So what happened after that? Who took possession of them? Who owns them now?

PAUL COOL: I too was astonished by that. I did learn that some business did extract salt into the 20th century, but more than that could not tell you. I simply had to move on.

C.M. MAYO: Anyone who drives east out of El Paso en route to Carlsbad NM passes right through the salt lakes. But to really see them, what is the best place to view them? 

PAUL COOL: If one is simply traveling east or west, on the way to or from El Paso, one can get a good view at several points along Highway 62/180.  My book’s cover painting, by artist Bob Boze Bell, is based on a photograph (found inside on the page facing the Introduction) that I took from this highway. A more immersive experience can be gained at the Gypsum Salt Dunes inside Guadalupe Mountains National Park. The lakes stretch for 100 miles, so I imagine there are any number of good sites for viewing.

C.M. MAYO: One of the stops on one of the routes from the Rio Grande out to the salt lakes is Hueco Tanks, an oasis with some important rock art that is now a State Park and Historic Site. For anyone interested in the history of the Salt War, is there any place there that would be especially relevant to see?

PAUL COOL: Among the signatures carved into the rocks of Hueco Tanks is that of Santiago Cooper, one of the Texas Rangers who survived the siege and battle of San Elizario. 

A walking tour of San Elizario is essential. Many of the buildings date from 1877 and before. With the benefit of the bird’s eye view painting in my book, it is possible to follow the course of the actual fighting, as well as place other events that took place in town. A walking tour guide is also available at the museum, giving historic and architectural details on surviving structures.  

In the city of El Paso, a very few buildings survive, most notably the Magoffin House. One should also visit nearby Mesilla, New Mexico, near Las Cruces, where A. J. Fountain published the newspaper that gave the fullest, if one-sided, reporting of the events inside El Paso County. The town square dates from before the salt war.

C.M. MAYO: Anything else you think I should have asked?

PAUL COOL: There was one other sound criticism of my book that deserves comment. In part because I did not use Mexican sources, I did not link the Paseños to Mexican national thinking and traditions regarding liberty, property, justice, and the right to rise in defense of one’s rights. Instead, I quite clearly linked them to traditions of New England’s minute men and the adoption of the U.S. Constitution. 

I did that for two reasons. First, I know more about U.S. traditions, and can stand on more solid ground. Second, I intentionally attempted to make a point to an American audience.  The political philosophy driving the Paseños was of a universal nature but could be and was expressed at the time by them (page 141) in terms that New Englanders of 1775, Continental Congress delegates of 1789, and the Anglos who moved to El Paso could understand, had their minds been open. However much the Paseños acted within the traditions of the long Mexican quest for justice within the law, they certainly acted within the U.S. tradition.

> Visit Paul Cool’s website here.

UPDATES: Paul Cool passed away suddenly a few months after this interview was posted. See Mark Boardman’s “The Coolest Guy in the Room, Paul Cool 1950-2016” in True West magazine, October 5, 2016.

For more about the area, see also Joe Holley’s article, which mentions Paul Cool’s work, “Danger Lurks in Salt Flats, As It Did A Century Ago,” Houston Chronicle, August 26, 2016.

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A note about the Marfa Mondays Podcasting Project: Exploring Marfa, Texas & Environs in 24 Podcasts. Twenty podcasts have been posted, most recently, an interview with Raymond Caballero about Mexican revolutionary General Pascual Orozco and Far West Texas.

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

The Strangely Beautiful Sierra Madera Astrobleme

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

Q & A: John B. Kachuba, Author of “The Savage Apostle”

John B. Kachuba has just published a novel from Sunbury Press that promises to be a riveting and very rich read: The Savage Apostle. Here’s the catalog copy:

In 1675, when the body of Christian Indian John Sassamon is dragged up from beneath the ice of Assowampsett Pond, speculation is rife as to who murdered the man. Sassamon was a man caught between two worlds, that of his Wamponaug ancestry and that of his adopted English society; people on both sides could find cause to kill him.  

John Eliot, missionary and founder of the Praying Villages where Christianized Indians lived among the colonists of the Plymouth and Massachusetts Bay colonies is particularly grieved by his protégé Sassamon’s death. Eliot had converted the young Sassamon, educated him at Harvard, and trusted him as missionary to the Indians, especially to the Pokanoket and their sachem Metacom. Eliot knows that converting Metacom and his people could be the key to lasting peace between the colonists and the Indians, a fifty-year peace that is dangerously unraveling. 

Metacom finds his authority and sovereignty once again undermined by the Plymouth authorities when three of his closest advisors are arrested for the murder of Sassamon. Pressured by his people to retaliate, but knowing the disastrous consequences war with the English would bring, Metacom struggles to find a way out, just as Eliot tries to keep the two sides from falling into a war that could only end in ruin for English and Indians alike.

Thoroughly grounded in years of research, The Savage Apostle, is an exciting and colorful account of the events leading up to King Philip’s War, the costliest war per capita ever fought on American soil. Moreover, it is an exemplary lesson for today’s world where divisiveness and conflict are so often brought about by racial and religious intolerance.

John Kachuba is the award-winning author of twelve books and numerous articles, short stories and poems. Among his awards are the Thurber Treat Prize for humor writing awarded by The Thurber House and First Place in the Dogwood Fiction Contest. John teaches Creative Writing at Ohio University, Antioch University Midwest and the Gotham Writers Workshop. He is a member of the Historical Novel Society, the Horror Writers Association, and the American Library Association’s Authors for Libraries.

John frequently speaks on paranormal and metaphysical topics and is a regular speaker at conferences, universities and libraries and on podcasts, radio and TV. He has been a repeat guest on radio’s “Coast-to-Coast AM with George Noory” and appeared in the Sundance Channel’s TV production, “Love/Lust – The Paranormal.” His blog is The Metaphysical Traveler.  

C.M. MAYO: The Savage Apostle is grounded in years of research. What sparked this work?

JOHN KACHUBA: I grew up in New England and the region’s history has always fascinated me. In addition, I have had a lifelong interest in Native American history and culture, so this novel, which combines both interests, is a natural for me. Still, it was a long time in the making.

The actual “spark to the fuse,” though, was some research I as doing for a novel in-progress which deals, in part, with the 19th-century Indian boarding schools. As I read about the often disastrous attempts to ”civilize” Native Americans by stripping them entirely of their culture and heritage, I wondered how that idea had originated. That speculation led me back to New England and the Harvard charter of 1650 that promoted education for the youth of the Massachusetts Bay Colony, both Indian and White. From there it was a quick link to Harvard-educated John Sassamon’s murder and the subsequent terrible events that resulted in King Philip’s War.

C.M. MAYO: What was the nature of your research? Can you mention a few key archives, visits, and/or books and how they influenced your novel?

JOHN KACHUBA: Having grown up in New England, living in Connecticut and Rhode Island, I had already visited some of the sites associated with King Philip’s War. I relied heavily on other books for my research. I am especially indebted to Russell Bourne’s The Red King’s Rebellion: Racial Politics in New England, 1675-1678, long regarded as the “bible” on that war. 

Another important book was The Name of War: King Philip’s War and the Origins of American Identity by Jill Lepore. 

A fascinating book dealing with the trial of the three Wampanoag accused of murder Sassamon was Igniting King Philip’s War: The John  Sassamon Murder by J. Yasuhide Kawashima. This last book, in particular, exposed some of the superstitious beliefs that still existed at that time, beliefs that were even more in evidence during the Salem witch trials that took place roughly fifteen years after the events recounted in The Savage Apostle.

C.M. MAYO: Having done so much research, you chose to write the story as fiction. Of course, the novel may the most powerful way we have to convey emotional truth. Is there an emotional truth here that only fiction can convey? (And why is that?)

JOHN KACHUBA: The reason why I wrote this book as fiction is precisely because only fiction can reveal the emotional and psychological truths of those involved in the events. Since the Native American population of which I write was almost entirely illiterate, depending upon oral tradition to tell and pass on their histories and beliefs, there are no written records from them concerning the war and what befell them as a people. The only written accounts we have are from English chroniclers of the time who were writing from a place that held their own biases and cultural and religious beliefs. I thought the onlyway I could fairly relate Metacom’s version of the events and that of his people was through fiction.

C.M. MAYO: In our national consciousness King Philip’s War pretty much draws a blank. Why was this such a crucial period in the history of North America? And do you see parallels and/or echoes in other periods of our history, other regions?

JOHN KACHUBA: Yes, King Philip’s War is one of the “forgotten wars,” like the War of 1812 or the Spanish-American War. Even in New England, it’s possible for schoolchildren to graduate without ever hearing of it. Yet, the war was the costliest war, per capita, ever fought on American soil; dozens of English towns were destroyed, the Native American population was almost entirely wiped out, and the New England economy was so devastated that it too almost a century for it to recover.

But one of the war’s legacies remains with us today. How the English colonists ruthlessly dealt with their Indian neighbors after nearly fifty years of peaceful coexistence set the policy for all future dealings between White authorities and Indians, a policy that extended westward and led to the attempted extinction of Indians, the stealing of their lands, and the destruction of their culture. Indian schools, albeit far more humane that their earlier predecessors still remain and an outdated and broken reservation system continues to keep Native American as wards of the state.

I also believe that The Savage Apostlecan serve as a cautionary tale for today’s world where divisiveness and conflict are so often brought about by racial and religious intolerance. That is why I have included a Discussion Guide in the back of the book in hopes that teachers and book clubs may use it as a tool to explore these topics.

C.M. MAYO: You have an impressive background as an expert on metaphysical subjects and in particular, on ghosts. Did this inform this work and if so, how so? (And in your researches, did you encounter any ghosts?)

JOHN KACHUBA: This book is something of a departure from my usual paranormal haunts, so to speak, but maybe not as far afield as one would think. Like many indigenous people, Native Americans have a strong belief in the spirit world and its paranormal denizens. For them, spirts are real and are with us all the time, whether we know it or not, whether we acknowledge them or not.

There are two scenes in The Savage Apostle in which Metacom is visited by the ghosts of his brother, Wamsutta, and father, Massasoit. Did that actually happen? History does not tell us, but given Metacom’s culture and beliefs it is possible that such visitations could have occurred, or he could have believed that they occurred ( a subtle difference, but one that does not matter to the person experiencing the visitations).

In addition to the ghosts, there is also mention of various spirits that would have been consistent with Metacom’s religious beliefs.

> Visit John B. Kachuba’s webpage here.

Q & A: Nancy Peacock, Author of The Life and Times of Persimmon Wilson

Q & A: Leslie Pietrzyk on Writers Groups, the Siren Song of the Online World, and on Writing Silver Girl

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

Podcasting for Writers: To Commit or Not (or Vaguely?)

(A repost of my guest-blog for Women Writing the West.)

Now that I’m working on my 54th podcast, I’ll admit, I love podcasting almost as much as writing. Starting back in 2009 I’ve podcasted many of my lectures, readings, and other events for my books, plus I created and continue to host two podcast series, “Marfa Mondays” and “Conversations with Other Writers.” It remains just as awesome to me now as it was with my first podcast that, whether rich or struggling, famous or new, we writers can project our voices instantly all over the world, while making them available to listeners at any time.

But first, what is a podcast? I often say it’s an online radio show. But the truth is, it’s a much wilder bouquet of possibilities.

A “podcast” is just an online audio (and, less commonly, video) file. It could be of a deeply probing interview; of a bunch of kids singing “Kumbaya”; or of say, you reading your epic poem about belly dancing in the grocery store. It could be a single file—your reading at your local bookstore on March 17, 2015, or, say, a radio show-style series of interviews with fellow horror novelists, one posted each Saturday upon the toll of midnight. 

There may be an eye-crossing number of ways to categorize these things, but if you’re writer thinking about getting started with podcasting, I would suggest that you first clearly identify the level of commitment you are willing to make to your listeners who— lets hope—are going to be eager for your next podcast.

My podcasting assistant checks out the PORTA-BOOTH

1. No Commitment 

This would be a single, stand-alone podcast. Such is my first, which is simply a recording of my lecture at the Library of Congress back in 2009 about the research behind my novel, The Last Prince of the Mexican Empire.

> Listen in to my lecture for the Library of Congress here.


2. Intentionally Vague Commitment

I call my podcast series “Conversations with Other Writers” an “occasional series” because, as I state on the webpage, I post these “whenever the literary spirits move me and the planets align.” Right now, that’s about once a year… maybe. By the way, I just posted the eighth podcast in this series, a conversation with historian M.M. McAllen about a mind-bogglingly transnational period in Mexican history.

>Listen in to this Conversation with M.M. McAllen here.

3. Meaningful but Capped Commitment

This would be my “Marfa Mondays Podcasting Project,” 24 podcasts to run from January 2012 – December 2013, apropos of my book in-progress on Far West Texas. Not all but most of these are of interviews, and although I have posted 20 so far, my self-imposed deadline of December 2013 did not hold, alas. For reasons too complex to go into here, in the middle of this project, I went and wrote a biography. And that’s OK. I may be slow, but with only four more podcasts to go, I’ll get there soon enough! 

> Listen in to all 20—so far— of the “Marfa Mondays” podcasts here.

4. High Commitment

This would involve high production values, a regular, strictly respected, and ongoing schedule, and would surely necessitate and perhaps even command fees from listeners by way of “memberships.” Into this last straight jacket of a category I quake to venture, for I really do love writing more than I love podcasting.

Why I Am a Mega-Fan of the FiloFax

Translating Across the Border

The Strangely Beautiful Sierra Madera Astrobleme

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


Café San Martín: Reading Mexican Poet Agustín Cadena at the Café Passé in Tucson, Arizona

Sparkling sky and only a jeans jacket on the night before Halloween, University of Arizona students everywhere, in witches’ hats and zombie makeup: that’s how it was in Tucson when, as part of the American Literary Translators Conference “Café Latino” bilingual reading fiesta at Café Passé in Tucson, I read my translation, together with the Spanish original, of Mexican poet Agustín Cadena’s poem “Café San Martín.” That translation appears in poet Sarah Cortez’s recent anthology, Goodbye Mexico (Texas Tech Press).

Read Cadena’s poem and about Goodbye Mexico here. (NOTE: This link goes to the old blog on blogger.com. I’ll update the link as soon as this post is migrated.)

Listen to the recording of my reading of Cadena’s “Cafe San Martin” in the Café Passé as a podcast here.

Alas, Cadena could not be in Tucson because he lives in Hungary, where he teaches Latin American Literary in Debrecen. Follow his blog, El vino y la hiel.

Cadena’s name and many works — he is incredibly prolific and writes in almost every genre–were mentioned many times over the course of this year’s ALTA conference. My dear amiga Patricia Dubrava, who also translates Cadena’s poems and short fiction, shared a panel with me on the following day. 

Read about that panel, and my talk for that panel, here.

It was an extra special honor to read Cadena’s poem and my translation because not only is Cadena a treasure of a writer– among the very finest Mexico has ever produced– moreover, he has translated many of my works, including the most recent Metaphysical Odyssey into the Mexican Revolution (as Odisea metafísica hacia la Revolución Mexicana). 

The audience was also especially distinguished, including Jeffrey C. Barnett, Mary Berg, Ellen CassedyDick Cluster,  Pamela Carmel, Jill Gibian, Jesse Lee KerchevalSuzanne Jill LevineAngela McEwan, Barbara Paschke, Liliana Valenzuela, and so many other writers, poets and literary translators of note. 

And a very special thank you to Alexis Levitin, my favorite Portuguese translator (and, by the way, editor of Brazil: A Traveler’s Literary Companion), who organized and MC’ed the reading.

Spotlight on Mexican Fiction: “The Apaches of Kiev” 
by Agustín Cadena in Tupelo Quarterly and Much More

Why Translate? The Case of the President of Mexico’s Secret Book

Translating Across the Border

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

Translating Contemporary Latin American Poets and Writers: Embracing, Resisting, Escaping the Magnetic Pull of the Capital

Yours Truly and Patricia Dubrava with a chapbook of my translation of a short story
 by Agustín Cadena. We both translate Cadena.

For the American Literary Translators Association (ALTA) Conference in Tucson late last month, apart from participating on Mark Weiss’s excellent panel “Translating Across the Border,” I proposed and chaired a panel that addressed a topic that, in truth, could have been considered for translating poets and writers in any of the populated continents:

Translating Contemporary Latin American Poets and Writers:  
Embracing, Resisting, Escaping the Magnetic Pull of the Capital

The panelists were Yours Truly (transcript of my talk follows), Jeffrey C. BarnettPatricia Dubrava, and Clare Sullivan.

In the audience: several very distinguished literary translators (lotus petals upon y’all). The Q & A was extra crunchy, and in true ALTA fashion, in the sweetest way. 

(Seriously, literary translators, and especially the crowd that regularly attends ALTA conferences, are angelically generous and encouraging. If any of you reading this have ever thought of trying literary translation and/or attending a literary translator’s conference, my recommendation is, YES!) 

LAS TRES AMIGAS: Yours Truly, Clare Sullivan, and Patricia Dubrava.
Jeffrey C. Barnett, C.M. Mayo, Patricia Dubrava

Transcript of C.M. Mayo’s Remarks for the panel on 

Translating Contemporary Latin American Poets and Writers:
Embracing, Resisting, Escaping the Magnetic Pull of the Capital

ALTA, Tucson, Arizona, 
October 31, 2015

I started translating in Mexico City in the early 1990s. Mexico City is Mexico’s capital, but it’s not analogous to Washington DC or, say, Ottowa, Canada. The megalopolis, “the endless city,” as Carlos Monsivaís calls Mexico City, is like Washington DC, New York, Boston, Chicago, Miami and Los Angeles, all piled into one. In other words, its the political capital, financial capital, publishing capital, cultural capital, and television and movie capital. Oh, and business capital, too. Yes, there are other important cities in Mexico, and they have become more important in many ways, and some of them have some excellent writers and poets. But Mexico City is MEXICO CITY.

Back in the early 1990s, the ruling party, the PRI or Partido Revolucionario Institucional or Institutional Revolutionary Party was in power, about to enter the last decade of its more than 70— yes, 70—years in power. How did it last so long? There are many answers to that question but the main one relevant for our topic at hand is that the PRI attempted to bring everyone, whether farmers, campesinos, industrialists or intellectuals, and that would include poets and writers, under its own big tent. It had its ways. Stick and carrot— or bone, as Mexicans like to say.

You may be aware that after two consecutive presidential administrations under the PAN or the Partido Acción Nacional, over the past decade, Mexico’s Presidency has since returned to the PRI. But it’s not exactly a return to the past. Not exactly.

I’m not going to get all political on you, I simply want to underline the fact that back in early 1990s, the Mexican literary establishment, concentrated in Mexico City, was heavily influenced by and subsidized by the PRI government. Just to give you a notion of this: If you were to go into a library and look at some back issues of the leading Mexican literary and intellectual magazine of the time— of course that would be Octavio’s Paz’s Vuelta— you would see a large number of advertisements from government-owned entities and Televisa, the party-allied television conglomerate. There were literary gatekeepers, as there are everywhere in this world, but in Mexico City at that time, they were very few and ginormously powerful. Octavio Paz was king.

Though Octavio Paz met his maker some years ago, in some ways things remain the same. Mexico City is where it’s at. The government still plays an important, although lesser role. Letras Libres, successor to Vuelta, remains a leading magazine of influence, and in fact it does publish some of the best writing you’ll find anywhere.

But since the early 1990s there have been political and economic sea-changes in Mexico. Power is more dispersed. Other political parties have become far more powerful. On the right and the left they rival the PRI and on many an occasion, beat the PRI at the ballot box.

And even more than the political and economic changes, the technological changes have been sea-changes. I’m talking about the rise of digital media, from blogging to YouTube, podcasting, Tweeting, FaceBooking, and publishing— and by the way, amazon is now in Mexico with www.amazon.com.mx.

To find a Mexican writer to translate, you no longer have to travel to Mexico City and get chummy with the powers that be who can make recommendations and, perhaps, invite the anointed to tea. Now, say, from Boston or Hong Kong or Cleveland, you can follow any given Mexican writer’s blog, and comment thereupon. Or, say, send her a Tweet!

I would love to tell you the story of how, in the late 1990s, I started my bilingual magazine, Tameme, which published many Mexican writers, and my experiences with putting together the anthology, Mexico: A Traveler’s Literary Companion— no easy task, since the idea of the TLC series is to provide writing about the whole country— and that would include writing from and about Baja California, Yucatan, Chiapas, Chihuahua… 

At present I am translating short stories by four Mexican writers: Ignacio Solares, a novelist born in Ciudad Juárez, long based in Mexico City; Agustín Cadena, who was born in the state of Hidalgo and is living in Hungary; Araceli Ardón, who was born in San Miguel de Allende and lives in Querétaro; and yet another, Rose Mary Salum, who is from Mexico City and is now based in Houston, Texas.

But I don’t want to take time from my fellow panelists and what I hope will be a rich question and answer session. The main thing I want to emphasize is that, as literary translators, we can play a powerful role in influencing who is and who is not read in English. 

Whom to translate? It’s good to ask for advice from the powers that be of the literary establishment in, say, Mexico or Cuba or Chile, and maybe even choose to translate one of them. They might be blast-your-wig-to-the-asteroid-belt fabulous! But we also have to recognize that there are power structures in literary communities, some of them entangled with political structures, and we need to acknowledge and examine, in our own minds, and our own hearts, what part we play in that or choose not to play. And why.

#   #   #

Catamaran Literary Reader and My Translation of
Mexican Writer Rose Mary Salum’s “The Aunt”

On Seeing As an Artist: Five Techniques for a Journey to Einfühlung

Diction Drops and Spikes

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

On the Trail of the Rock Art of the Lower Pecos

Remote as they are, the Lower Pecos Canyonlands of the US-Mexico border have a strangely magnetic pull. That may sound like a wild assertion, but the evidence comprises over 200 shamanistic rock art sites, many of them thousands of years old, and the fact that dozens of rock art enthusiasts, including myself, find themselves returning again and again. 

It was on a meltingly hot August day in 2014 that I made my first foray into the canyonlands for the Rock Art Foundation’s visit to Meyers Spring. A speck of an oasis tucked into the vast desert just west of the Pecos, Meyers Spring’s limestone overhang is vibrant with petrographs, both ancient, but very faded, and of Plains Indians works including a brave on a galloping horse, an eagle, a sun, and what appears to be a missionary and his church.

MEYERS SPRING, AUGUST 2014

Because I am writing a book about Far West Texas and I must travel all the way from Mexico City via San Antonio, I had figured that this visit, plus an interview with the foundation’s executive director, Greg Williams, would suffice for such a little-known corner of my subject. 

I took home the realization that with Meyers Spring I had taken one nibble of the richest of banquets. In addition the rock art of the Plains Indians—Apaches and Comanches— of historic times, the Lower Pecos Canyonlands are filled with prehistoric art, principally Pecos River, Red Linear, and Red Monochrome. Of the three, Pecos River is comparable to the best known Paleolithic rock in the world, the caves of Lascaux in France.

I would have to return to the canyonlands— alas for my book’s time and travel budget!  Not that the Rock Art Foundation charges more than a nominal sum for its tours. The individual tour to Meyers Spring, which lasted four hours, cost a mere 30 dollars. Everyone involved, including the guides, works for the foundation for free.

By December of 2014 I was back for another Rock Art Foundation tour, this one down into Eagle Nest Canyon in Langtry. Apart from rock shelters with their ancient and badly faded petrographs, cooking debris, tools, and even a mummy of a woman who—scientists have determined— died of chagas, Eagle Nest Canyon is the site of Bonfire Shelter, the earliest and the second biggest bison jump, after Canada’s Head Bashed-In, in North America. Some 10,000 years ago hunters drove hundreds of prehistoric bison—larger than today’s bison—over the cliff. And in 800 BC, hunters drove a herd of modern bison over the same cliff, so many animals that the decaying mass of unbutchered and partially butchered carcasses spontaneously combusted. In deeper layers dated to 14,000 years, archaeologists have found bones of camel, horse, and mammoth, among other megafauna of the Pleistocene. 

DESCENT INTO EAGLE NEST CANYON, DECEMBER 2014

Then in the spring of this year I visited the Lewis Canyon site on the shore of the Pecos, with its mesmerizing petroglyphs of bear claws, atlatls, and stars, and, behind a morass of boulders, an agate mirror of a tinaja encircled by petrographs. 

LEWIS CANYON PETROGLYPHS, MAY 2015

LEWIS CANYON TINAJA SITE WITH PETROGRAPHS, 
BY THE PECOS RIVER, MAY 2015

Not all but most of the Lower Pecos Canyonland rock art sites— and this includes Meyers Spring, Eagle Nest Canyon and Lewis Canyon— are on private property. Furthermore, visits to Meyers Spring, Lewis Canyon, and many other sites require a high clearance vehicle for a tire-whumping, paint-scraping, bone-jarring drive in. So I was beginning to appreciate the magnitude of the privilege it is to visit these sites. At Lewis Canyon, as I stood on the limestone shore of the sparkling Pecos in utter silence but for the crunch of the boots of my fellow tour members, I learned that less than 50 people a year venture to float down its length.

This October I once again traveled to the Lower Pecos, this time for the Rock Art Foundation’s annual three day Rock Art Rendezvous. Offered this year were the three sites I had already visited, plus a delectable menu that included White Shaman, Fate Bell, and—not for those prone to vertigo— Curly Tail Panther.

WHITE SHAMAN, OCTOBER 2015

Just off Highway 90 near its Pecos River crossing, the White Shaman Preserve serves as the headquarters for Rock Art Rendezvous. After a winding drive on dirt road, I parked near the shade structure. From there, the White Shaman rock art site was a brief but rugged hike down one side of cactus-studded canyon, then up the other. I was glad to have brought a hiking pole and leather gloves. No knee surgery on the horizon, either. When I arrived at White Shaman, named after the central luminous figure, the sun was low in the sky, bathing the shelter’s wall and its reddish drawings in gold and turning the Pecos, far below, where an occasional truck droned by, deep silver.

The next morning, at the Rock Art Foundation’s tour of the Shumla Archaeological and Research Center in nearby Comstock, I heard Dr. Carolyn Boyd’s stunning talk about her book, The White Shaman Mural: An Enduring Creation Narrative in the Rock Art of the Lower Pecos, which is forthcoming in 2016 from University of Texas Press. Dr. Boyd, whose work is based on 25 years of archaeological research in the Lower Pecos and a meticulous study of Mexican anthropology, argues that White Shaman, which is many thousands of years old, may represent the oldest known creation story in North America.  

FATE BELL, OCTOBER 2015

From the White Shaman Preserve, Fate Bell is a few minutes down highway 90 in Seminole Canyon State Park. More than any other site, this shelter in the cake-like layers of the limestone walls of a canyon, reminded me of the cave art I had seen in Baja California’s Sierra de San Francisco. Inhabited on and off for some 9,000 years, Fate Bell is the largest site in the Lower Pecos Canyonlands. It has various styles of petrograph, including a spectacular group of anthropomorphs with what appear to be antlers and wings. 

CURLY TAIL PANTHER, OCTOBER 2015

Curly Tail Panther is a scoop of a cave about the size of a walk-in closet, but as if for Superman to whoosh in, set dizzyingly high on a cliff-side overlooking the Devils River. The back wall has an array of petrographs: red mountain lion, anthropomorphic figures, and geometric designs. The only access to Curly Tail Panther is by way of a narrow ledge. Drop your hiking pole or your sunglasses from here, and you won’t see them again. You might lose a character, too—in the opening of Mary Black’s novel, Peyote Fire, a shaman stumbles to his death from this very ledge. The Rock Art Foundation’s website made it clear, Curly Tail Panther is not for anyone who has a fear of heights. But who doesn’t? My strategy was to take a deep  breath and, like the running shoes ad says, Just do it. 

Twelve Tips for Summer Day Hiking in the Desert

Cartridges and Postcards from the US-Mexico Border of Yore

What Is Writing (Really)? Plus a New Video of Yours Truly Talking About Four Exceedingly Rare Books Essential for Scholars of the Mexican Revolution

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

Translating Across the Border

C.M. Mayo and Wendy Burk at the “Translating the ther Side” panel
American Literary Translators Association (ALTA) conference,
Tucson, 2015. Mark Weiss, chair of the panel, is in the back on the right.

American Literary Translators Association (ALTA)
Conference 38, Tucson, October 29, 2015

Panel: “Translating the Other Side”
Moderator, Mark Weiss
Panelists: Wendy Burk, Catherine Hammond, C.M. Mayo

Edited Transcript of Talk by C.M. Mayo

Muchísimas gracias, Mark Weiss, and thank you also to my fellow panelists, it is an honor to sit on this dias with you. Thank you all for coming. It is especially apt to be talking about translating Mexican writing here, a jog from the Mexican border, in Tucson—or Tuk-son as the Mexicans pronounce it.

I grew up in Northern California and was educated in various places but mainly the University of Chicago. As far as Mexico went, until I was in my mid-twenties, I had absorbed, to use historian John Tutino’s term, the “enduring presumptions.” Translation: I had zero interest in Mexico.

You know that old saying, if you want to make God laugh, tell her your plans?

What brought me to translating Mexican poetry and literary prose was that I married a Mexican—my fellow graduate student at University of Chicago— and we moved to his hometown, Mexico City, in 1986. I am happy to say that we are about to celebrate our 30th anniversary.

For me, as a writer, and as a translator, these decades, mainly spent in Mexico City, have been a grand adventure in learning and exploring the cultures, histories, and geography of Mexico and of course, learning Spanish. I cannot claim that I speak and write Spanish like a native—I started learning Spanish when I was 24 years old. But after three decades in Mexico… well, after three decades of living in any country, if you haven’t learned the language, at least to level of conversation and daily business… I was about to say something unkind.

My husband has his own and very distinguished career as an economist but I call him my Translation Assistant. Although I would say I am fluent in Mexican Spanish, as all of you well know, literary translation can be fluky-tricky. Many a time he has rescued me from what would have been toe-curling embarrassment. May we all have our translation assistants.

Includes my translations of work by T. López Mills

It was back in the early 1990s, when I started writing my own poetry and short fiction, that I had two epiphanies. First epiphany: I could do this! I mean, I knew some Spanish and at the same time, I could write literary fiction and poetry myself. I was beginning to get my own stories and poems published in well-regarded literary journals, such as the Paris Review, The Quarterly, Southwest Review. That gave me a shot of confidence. To this day, I really believe that the best literary translators are not necessarily the most fluent, the most perfectly bilingual, but rather, those who can render the work into the same literary level in the target language.

And the second epiphany was that appallingly little Mexican work was being translated into English.There were some books, mainly from university presses, the occasional anthology, and here and there, a poem in a literary magazine, but I was in Mexico City, in Coyoacán, I could see what was going on, the rich, flourishing literary culture. It was obvious to me that this was not registering in the literary communities north of the border, not the way it should.

Includes my translation of a story by Alvaro Enrigue

For me, getting to know Mexican poets and writers was not difficult. Back in those days of yore, before the Internet … well, one important poet, Manuel Ulacia, was my neighbor. We would often see each other out walking our dogs.

But let me back up for a broader perspective.

Mexico shares a 2,000 mile border with the United States, spanning the southern borders of California, Arizona, New Mexico, and the greater part of Texas. And Mexico has some of the richest literary traditions in the world.

It starts with the codexes of the Maya and the Aztecs, and others—and as a quick side note, there is a book forthcoming in 2016 from University of Texas Press by archaeologist Dr. Carolyn Boyd, in which she argues that the White Shaman rock site near the U.S.-Mexico border in the Lower Pecos Canyonlands, which is thousands of years old, is actually a codex— and basing some of her arguments on the work of Mexican anthropologists, Dr. Boyd has decoded it. It tells the story of creation. And so we can think about “White Shaman” as the first known book in North America. North America, of course, includes Mexico. And the Texan side of the Lower Pecos Canyonlands was once part of Mexico.

And speaking of books, you may recall the hullabaloo about the 14.2 million dollar sale of a copy of the first English language book printed in the New World, The Whole Booke of Psalmes of 1640. Well, that was more than one hundred years after the first Spanish language book was printed in Mexico City. That was Breve y más compendiosa doctrina Christiana en lengua Mexicana y Castellana, printed in 1539. And there may have been an even earlier book printed in 1537, Escala Espiritual par llegar al cielo, but no known copies survive.

My anthology of 24 Mexican writers on Mexico. Read more about this book, including excerpts, here.

In the prologue to my anthology of 24 Mexican writers, Mexico: A Traveler’s Literary Companion, I write, “Mexican literature—a vast banquet—is one of the greatest achievements if the Americas. And yet we who read in English have gone hungry, for so astonishingly little of it has been published.”

Mexico: A Literary Traveler’s Companion was published in 2006 and although I know many of you and other members of ALTA, and other translators, have since then published many Mexican works in translation, and anthologies, this scarcity, this appalling scarcity of translations of works from our neighboring country, continues.

I could go on with names, book titles, and numbers from the publishing industry, but it would be too sad. To give you the simplest and most concrete sense of how sad this situation is, when the sales team asked for blurbs for Mexico: A Traveler’s Literary Companion, I really had a problem. Of course there are many anthologies of English language writing about Mexico. But Mexicans writing about Mexico? I would have to ask a Mexican for a blurb. But what Mexican?

Octavio Paz? Yes, he won the Nobel Prize. But he was dead.

Carlos Fuentes? He was in the anthology himself, so asking him for a blurb would have been awkward. Anyway, he wasn’t answering his email.

Sales reps and bookstore buyers, for the most part, did not recognize the name of any Mexican writer.

Salma Hayek? I suggested.

The sales rep answered, “WOW! That would be AWESOME!”

(No offense intended to Ms Hayek, an accomplished Mexican actress and producer. But methinks a blurb from her, had I been able to wrangle one, would have carried about as much clout as that of, say– to scramble it into Texanese, porquois pas– a rodeo barrel racing champion opining on the national polo team.)

We ended up using a blurb that Isabelle Allende had provided for the Traveler’s Literary Companion series itself—a series from Whereabouts Press that includes many countries, among them, Chile, Costa Rica, Cuba, and as far afield as Australia and Viet Nam.

And I managed to wrangle a blurb from Isabelle Allende’s translator, a translator who is a queen among us—I know many of you will recognize her name—Margaret Sayers Peden. She wrote:

“This delicious volume has lovingly gathered a banquet of pieces that reveal Mexico in all its infinite variety, its spendid geography, its luminous peoples. What a treat!”

Bless her heart.

Apart from the anthology and various contributions to other anthologies and literary magazines, for a few years I founded and edited Tameme, a bilingual literary journal of new writing from Canada, the US and Mexico. That was a project I did with my dad, Roger Mansell, who had 25 years of experience in the graphic arts and printing business in San Francisco. So if I do say so myself, the three issues of Tameme and two chapbooks were quite beautiful and they should be collector’s items. Unfortunately my dad passed away, and with my own books to write, Tameme was more than I could handle.

But I have continued to translate. A few of the writers and poets I have translated in recent, post-Tameme years include Agustín Cadena for BorderSenses and Chatahoochie Review and various anthologies, most recently, Sarah Cortez’s Goodbye Mexico: Poems of Remembrance. I also recently published a story by Ignacio Solares in Lampeter Review, and am working on a second story by Solares and another by Araceli Ardón. 

A story by Rose Mary Salum was published in a very fine a new literary magazine edited by Dini Karasik called Origins. And I am also working on translating Rose Mary Salum’s forthcoming book, El agua que mece el silencio, as The Water That Rocks the Silence. 

Apart from Tameme, the largest translation project I have undertaken to date is a strange one, and I bring it up because I know that for many of you the question of rights is a concern. A book that is out of copyright, you can grab that, you can translate that. Go to it! 

Last year for ALTA, when the topic was “Politics and Translation,” for two different panels I talked about that book, or rather my book about that book. The title of my book is Metaphysical Odyssey into the Mexican Revolution: Francisco I. Madero and His Secret Book, Spiritist Manual. And it does include the complete first translation of Spiritist Manual. 

Francisco Madero was the leader of Mexico’s 1910 Revolution and President of Mexico from 1911 to 1913, when he was overthrown in a coup d’etat and murdered. Madero was a Spiritist medium, that is, he believed he could communicate with the dead—and so can you! His secret book, Spiritist Manual, written in 1910—the year he launched the Revolution—and published under a pseudonym when was president elect in 1911, is… all about that. And I translated it because nobody else had. 

As I said in my panel talk last year,

I cannot deny other motives and the millions of other participants in that Revolution of 1910. But its spark, and the way it played out, and, I believe, Madero’s murder, become a radically different story once we take into account his Spiritism.

My aim with my book and my translation of Madero’s book is to deepen our understanding of Madero, both as an individual and as a political figure; and at the same time, deepen our understanding of the rich esoteric matrix from which his ideas sprang, in other words, not to promote his ideas nor disparage them, but explain them and give them context. 

It is also then my aim to deepen our understanding of the 1910 Revolution and therefore of Mexico itself, and because the histories are intertwined, therefore also deepen our understanding of North America, Latin America, the Pacific Rim, and more— for as long as a book exists, should someone happen to read it, it can catalyze change in understanding (and other changes) that ripple out, endlessly. 

Such is the wonder, the magical embryonic power of a book, any book, whether original or in translation: that, even as it rests on a dusty shelf for a hundred years, or for that matter, an unvisited digital “shelf,” if it can be found, if it can be read, it holds such potential.

To conclude: I mainly translate contemporary Mexican short fiction and poetry. It is a labor of love and, as an English language writer who lives in Mexico City, a way for me to engage with Mexico and with my Mexican colleagues. And finally, translating is a way to bring what I can, whether it be a monster on a platter or algún taquito sabroso, to the literary banquet.

To quote myself again from the prologue of Mexico: A Traveler’s Literary Companion, “Throughout Mexico there are so very many writers whose work has yet to be translated, or, though translated, deserves a far wider readership in English.” 

Any and all of you who have an interest in translating Mexican literature— know that you have my heartfelt good wishes.

 THANK YOU.

Catamaran Literary Reader and Tiferet: Two Very Fine Literary Magazines

Q & A: W. Nick Hill on Sleight Work and Mucho Más

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

Q & A: Sonja D. Williams on Writing “Word Warrior: Richard Durham, Radio, and Freedom”

Sonja D. Williams, author of Word Warrior: Richard Durham, Radio, and Freedom

Those of you following this blog know that I have bouquets of beautiful things to say about Biographers International and their super-crunchy conference, which I attended last June in Washington DC. One of the biographers I was delighted to cross paths with there is Sonja D. Williams, whose biography, Word Warrior: Richard Durham, Radio, and Freedom has just been published by the University of Illinois Press. Herewith some Q & A.

C.M. MAYO: What inspired you to write this biography?

SONJA D. WILLIAMS: In fall 1994 I had just started working as a writer/producer for the Smithsonian Institution’s Black Radio: Telling It Like It Was project—a 13-part series exploring the legacy of African Americans in radio.  (The Smithsonian’s National Museum of American History in Washington, D.C., housed a unit that produced award-winning radio and television documentaries about the American experience). So starting in January 1996, our weekly half-hour Black Radio programs aired on more than two hundred noncommercial radio stations nationwide.

Of the five shows on my producing plate, I felt the most trepidation about the one exploring African American contributions during radio’s “theater of the mind” heyday of the 1930s and 1940s. Blacks were rarely featured in local or national dramatic broadcasts then. When I found out about Destination Freedom, I was struck by this radio series’ lyricism, dramatic flair, and fiery rhetoric. African American writer Richard Durham created this series in 1948 and for two years he served as its sole scriptwriter. A master storyteller, Durham seductively conjured aural magic, inventively dramatizing the lives of black history makers.

And Durham used his desire for universal freedom, justice, and equality to inform his storytelling choices.

Richard Durham had died in 1984, so my interviews with his wife, Clarice, actor/singer Oscar Brown Jr., and writer Louis “Studs” Terkel provided salient insights. Durham was an astute, Chicago-based writer who employed poetic, hard-hitting prose to entertain, educate, and promote positive social change. He stood behind his convictions, even when the consequences of his actions caused him emotional pain, financial hardship—or both.

Durham’s accomplishments reinforced my own belief that the media, in all its incarnations, should serve a higher purpose than just mindless diversion.  His life was drama itself, full of unexpected twists and turns, of creative invention and reinvention.  His story certainly fascinated me. So after the Black Radio series ended, I planned to work on Durham’s biography. 

Unfortunately, other documentary projects monopolized my time. I also continued teaching in my academic home, the Howard University Department of Radio, Television, and Film. Appointment to an administrative position in my department eventually forced me to sandwich research for this book into spring or summer breaks and other far-too-fleeting time frames.

Still, a Howard University–sponsored research grant in 2002 enabled me to begin immersing myself in Durham’s world. Later, a 2009 Timuel D. Black Jr. Short-Term Fellowship in African American Studies sponsored by the Vivian G. Harsh Society enabled me to spend a summer in Chicago. I practically moved into the Woodson Regional Library, home base of the Harsh Research Collection of Afro-American History and Literature, where Richard Durham’s papers reside. Finally, a sabbatical from my university during the 2010–11 academic year allowed me to make significant progress toward the completion of this book.

C.M. MAYO: Did Durham’s family help and/or cooperate with you? 

SONJA D. WILLIAMS: Durham’s family members were extremely cooperative and supportive.  Durham’s wife, Clarice Davis Durham (now 95), generously allowed me to interview her on numerous occasions, and she provided contact information for several of her husband’s longtime friends and colleagues. She also shared documents she had not donated to the Chicago Public Library’s Harsh Research Collection.  

Mrs. Durham’s brother, Charles A. Davis and sister Marguerite Davis offered touching stories and historical perspectives about their brother-in-law, as did Richard Durham’s older sister Clotilde and younger brothers Caldwell and Earl.  And Mark Durham, Clarice and Richard’s only son, provided a wealth of additional information and contacts.

C.M. MAYO: What were the most unexpected and biggest challenges for you in writing this book? 

SONJA D. WILLIAMS: If someone had told me in the early 2000s that it would take between 10 and 15 years to complete Word Warrior, I would have been convinced that this person had abused some crazy, judgment-clouding substance. The longest documentary project on which I had worked, NPR’s and the Smithsonian’s 26-part series Wade in the Water: African American Sacred Music Traditions, was about five years in the making, from its conception by artist/historian Bernice Johnson Reagon to airdate. 

But additional documentary, teaching and administration responsibilities, along with other life demands, soon proved that Word Warrior would take a lot longer to become a reality.  And at times I had to overcome serious personal roadblocks. Was I really up to this challenge?  Who told me I could write a book?  Was I fooling myself? 

I got past those doubts, but not without struggle – and time. 

C.M. MAYO: I believe every book has many angels. Who were the angels for this book?

SONJA D. WILLIAMS: So many angels hovered over this project. Durham’s longtime friends, artist Oscar Brown Jr., journalist Vernon Jarrett and writer/radio personality Studs Terkel were generous with their time, recollections and insights.  Historian J. Fred MacDonald, who died earlier this year, was an angel from the start, providing all types of audio and visual materials and regular encouragement.

Vivian Gordon Harsh, an African American woman I never met, served as an earthbound angel during Durham’s lifetime and a heavenly one in mine. During the 1940s, this pioneering head librarian created and curated a special collection of Negro books and historical documents in Chicago’s George Cleveland Hall Public Library.  Durham spent hours there, combing through the research materials Harsh provided for his Destination Freedom and other projects.  Today, the Harsh Collection is the largest African American archive in the Midwest. It also houses Richard Durham’s Papers.   

And of course, my family members and close friends – angels all – divvied up places to stay, reality checks and butt-kicking critiques.

C.M. MAYO: Were you able to listen to all of Durham’s “Destination Freedom” radio shows? (Where are they archived?) Did you have some favorites– and why? 

SONJA D. WILLIAMS: Of the 92 shows in the Destination Freedom series, I listened to all of the tapes that have survived. Northeastern Illinois University historian and author J. Fred MacDonald discovered and rescued those tapes and scripts from Northwestern University years ago and housed them in his own media archives (now located in the Library of Congress).  From his archives, Dr. MacDonald sent me a huge box containing copies of every Destination Freedom script.  I read every word.  I also listened to Destination Freedom tapes in the archives of the New York Public Library’s Schomburg Research Center of Black Culture, and in the Richard Durham Papers archived in the Chicago Public Library’s Harsh Research Collection. 

It’s rather hard to pick favorites from such a rich cache of dramatic programs.  Of course, a few stand out for their storytelling strengths and messages:

The Rime of Ancient Dodger examined Jackie Robinson’s integration of baseball, starring Oscar Brown Jr. as Robinson and Studs Terkel as a Brooklyn-accented, rhyming narrator. Denmark Vesey recounted Vesey’s revolutionary militancy and his 1822 slave revolt in South Carolina; Negro Cinderella portrayed artist Lena Horne’s young life and social awakening; Premonition of a Panther demonstrated how his sport’s brutality affected boxing great Sugar Ray Robinson; The Death of Aesop displayed the biting humor and wisdom of an Ethiopian slave famous for his fables; The Long Road explored the contributions of women’s suffrage activist and educator Mary Church Terrell. 

C.M. MAYO: Durham was Muhammed Ali’s biographer (The Greatest, 1975). Did you find it challenging to write the biography of a biographer? 

SONJA D. WILLIAMS: In part because Muhammad Ali is such a huge personality and significant cultural figure – and because I was fascinated by his story and his fights during my younger years – Ali threatened to take over the chapter about Durham’s work with him on The Greatest. I had to fight with myself to make sure that Durham remained in focus by using Durham’s interviews with historian J. Fred MacDonald, magazine and newspaper articles where Durham talked about Ali, the tapes Durham personally recorded while following Ali during the writing of The Greatest, and relevant interviews with Durham’s friends, colleagues (including his Random House editor Toni Morrison) and family members.

C.M. MAYO: You’ve written for radio. Did you find writing a book to be similar or a very different process? 

SONJA D. WILLIAMS: While I never thought that writing a book would be a breeze, the research process felt very familiar.  It required the same primary and secondary research muscles needed for documentary production.  I loved digging for information and finding unexpected gems – like Durham’s letters to and from acclaimed writer Langston Hughes, or learning about Durham’s interaction (along with other labor union leaders) with a young Rev. Martin Luther King Jr.  Dr. King had journeyed to Chicago to seek financial support for the Montgomery, Alabama bus boycott he was leading. At that point, February 1956, the boycott was in its infancy and struggling to survive.

But writing for the page (or computer screen) is different that writing for the ear, and my early chapter drafts contained clunky chunks of interview segments or script samples. It was as if an unseen narrator (me) briefly set up an audio clip and then let the clip run uninterrupted, taking up a bulk of the page. While I could let audio segments, sound effects, ambient sound and/or music guide listeners in radio storytelling, it was clear that I had to take a more active role as narrator/guide for a book. 

I had to reorient my mind and my writing.  A struggle.

But if I learned anything from past projects, my work on Word Warrior cemented the fact that hard work, persistence, and faith are essential elements for any creative endeavor. 

C.M. MAYO: What’s next for you?

SONJA D. WILLIAMS: I plan to return to my first love, music, and explore the lives, musical triumphs and personal struggles of some contemporary musicians. Wish me luck, faith and persistence!

Visit Sonja D. Williams’ webpage
Find Word Warrior on amazon.com
Find Word Warrior at University of Illinois Press

Blood Over Salt in Borderlands Texas Q & A: Paul Cool on Salt Warriors

Top 10 Books Read 2018

Notes on Wolfgang Schivelbusch’s The Railway Journey

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

Adios, Facebook! The Six Reasons Why I Deactivated My Account

I have been on Facebook since 2008, back when I was about to start the tour for my novel The Last Prince of the Mexican Empire. It was my amiga the crackerjack historical novelist Sandra Gulland who urged me to sign up. No question, Sandra was right, FB is a powerful way to get the word out about my bookspodcastslectures, workshops and book signings

The now deactivated Facebook page (If you find another C.M. Mayo on FB that would not be me)

Plus, FB has been an unexpected pleasure: I could keep up with family, both close and distant, and friends, new, old and previously long-lost. I smiled wide to see photos of a relative’s 80th, jokes and memes posted by cousins and neighbors, videos of the antics of one of my old book editor’s puppies, and so on. 

In that torrent of FB feed arrived many treasures too, such as artist Hope Swann’s daily door picture; gorgeous paintings by other artist friends including Mariló Carral, Kelley Vandiver and Edgar Soberon; a video—  I forget who “shared it”—  of a 90 year old yoga teacher; links to read about fascinating books; political news in Mexico and abroad which I might have missed otherwise; news of a dear friend’s book prize (yay, Leslie Pietrzyk!!); and oodles more. 

I am grateful to FB for providing this platform, and grateful to my FB friends (and friends of friends) who have helped make it such a richly interesting experience. (And muchas gracias, Mikel Miller, for recently forming the Mexico writers group on FB and so energetically championing my writing there—and including a chapter from my book on Baja California in your Kindle anthology, Mexico: Sunlight & Shadows.)

In sum, as many of you well know, there are excellent reasons to participate on FB. Nonetheless, after months of dithering, I deactivated my account

Here’s why:

1. I find it increasingly unsettling that a corporation not only mediates my interactions with my friends and family but also shapes them by its algorithms, then harvests and sells the data on those interactions to third parties. (Translation: it’s looking a mite too 1984.)

2. Not all, certainly, but much of the FB feed is trivia—(I love you, N., but I don’t need to see the sandwich you ate yesterday in Barcelona)— or upsetting (I agree with you, J., that animal abusers should be punished, but I’d rather not have been slammed with the photos). Some of the FB feed is assuredly not trivia— the passing of a beloved grandfather, the birth of a baby, a child’s graduation, the adventure of a lifetime— but because of FB’s algorithms, posts are broadcast to “friends” its bots deem relevant, and it can become so. I mean, if S. didn’t invite me to her birthday party, why did she imagine I would want to see a photo of her blowing out her birthday candles?

(I’ll admit, maybe I never “got” FB in this regard; I rarely posted anything from my personal life. In the real, meatspace world, social networks are intricately nuanced; FB, for all its “groups” and feed settings and ever-morphing privacy options, turns it into a one-size-fits-all spew. Adding nuance: I guess that’s what the algorithm engineers will be working on from the dawn of FB ’til Kingdom Come.)

3. FB is annoyingly addictive, albeit for some people more than others. For me, staying off FB like trying to diet with an open box of chocolates at arm’s reach.

UPDATE: And it’s addictive by design, of course. It’s all about hooking your brain into the machine zone. 

4. If I’m going to get this out the door before I’m 94, I need more time and mental energy to finish writing my book about Far West Texas.

> Yo! Checkout the latest podcast, my interview with rodeo barrel racer Lisa Fernandes!

5. As far as book promotion goes, FB isn’t the “wow” it first seemed (especially after, for reasons known only to itself, FB changed its algorithms). Furthermore, although many of my readers are on FB, many are not, or don’t follow me there. Yes, one can create author and book “fan pages,” but that is a form of “sharecropping”— after all, FB owns the digital platform— with all the attendant disadvantages for the sharecropper. (My current philosophy: “Likes” on FB are given so promiscuously, they don’t mean much, if anything. From my own platform, that is, my website, true fans of my work, legion or scant may they be, are always welcome to subscribe to my newsletter.) Moreover! As noted above, FB sucks up time and energy that I could apply elsewhere to better effect. (In case you were wondering, for book promotion, apart from writing the next book, that would include blogging, sending out that newsletter, freelancing for magazines, podcasting, an occasional postcard campaign, and… drumroll… answering ye olde email.)

UPDATE: Speaking of “sharecropping, yes indeed, this blog is sharecropping on Google’s platform. It has been on my to do list for an age to move the whole enchilada over to WordPress. Stay tuned.

UPDATE, January 2019: Dear writerly reader, you are now reading this blog on self-hosted WordPress. Viva!

6. Though I will miss the casual interactions of “liking” and “sharing” on FB, I prefer to meet friends, family and colleagues in person, that is, on our terms, not FB’s, and also to talk on the phone or by Skype, and… more drums… answer my email. 

Speaking of email: friends, family, students, readers: I am sincerely happy to hear from you! As always, you can write to me at cmmayo (at) cmmayo (dot) com. And now that I’m free of Facebook, I shall be able to answer you in a more thoughtful and timely manner.

And of course, I welcome your comments on this blog.

As ever, I blog on Mondays.

P.S. To deactivate a FB account, log in, then go to “settings,” then “security,” then click on “deactivate your account.” Oh, but FB doesn’t let you go that easily! The whole ooey-gooey-extra-velcroey process made me shake my head and laugh out loud several times. By the way, this is not the same action as deleting the account. I can imagine that I might need to log on again in order to contact someone whom I couldn’t contact otherwise, or possibly, for some other very good reason. But to participate as I did before? Definitely not.

UPDATE: Yet another reason to deactivate FB. 

FURTHER UPDATE: November 2017. Still massively relieved to have deactivated FB. In case you were wondering. But still have not yet moved this blog over to WordPress… It will happen.

YET ANOTHER UPDATE: 2018:  See novelist Nancy Peacock’s blog post, “Quitting Social Media.” 

YE VERILY ANOTHER UPDATE, JULY 2018: Jaron Lanier’s Ten Arguments for Deleting Your Social media Accounts Right Now.

JULY 2018: A nonprofit’s take on FB.

UPDATE, JANUARY 2019: Now the battle is against Whatsapp. I wonder what’s next?

This Writer’s Distraction Free Smartphone (Plus an App Evaluation Flowchart to Tailor-Make Your Own)

Q & A: Nancy Peacock, Author of The Life and Times of Persimmon Wilson,
on Writing in the Whirl of the Digital Revolution

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.


Guest-Blogger Diana Anhalt on Five Books That Inspire Poetry

They say that books are magical objects. Certainly some take a long and mysterious while to reach this reader. I had heard about Diana Anhalt’s A Gathering of Fugitives: American Political Expatriates in Mexico 1947-1965 when it first came out in 2002, but it wasn’t until a dozen years later that, after finding it by happenstance at Tepoztlan’s La Sombra del Sabino bookstore, and— more happenstance, a deliciously free afternoon—  I delved in, and with increasing admiration and fascination, devoured it. 

The author of three chapbooks —Shiny Objects, Second Skin, and Lives of Straw— Diana Anhalt is also a superb poet. Her work has been nominated for this year’s Pushcart Prize and her book, Because There is No Return, is forthcoming from Passager Press (University of Baltimore). 

> Read some of Anhalt’s poetry on Kentucky Review’s webpage: “Desaparecido” and “Inventory“.

> You will find A Gathering of Fugitives on my Top 10 List of Books Read in 2014 and also on the ever-growing list of Recommended Books on Mexico.

#

FAVORITE BOOKS THAT INSPIRE POETRY
A GUEST-BLOG POST

BY 
DIANA ANHALT

1. Sometimes I am convinced I write poetry because I hated Math. Throughout high school I spent my math classes memorizing poems from my literature textbook: Edgar Allen Poe, Robert Frost, Carl Sandburg, Amy Lowell, William Rose Benet, Joyce Kilmer…  So, certainly, the books that influenced me, although I no longer remember their titles, and drove me to write poetry, were the high school literature textbooks commonly used during the 1950s.  

2. Then, once I started writing in the ‘60s, an inspiration and a frame of reference became John Ciardi’s How Does a Poem Mean (Houghton Mifflin, 1959)

3. One collection I refer to time and time again because so many of its writers spur me to write is A. Poulin’s  Contemporary American Poetry (Houghton Mifflin, 1985)

4. When it comes to the craft itself Lewis Turco’s The Book of Forms: A Handbook of Poetics  (University Press of New England, 2000) is indispensible.

5. I also find Annie Finch’s A Poet’s Craft (The University of Michigan Press, 2012) helpful, though sometimes overwhelming.

Q & A with Diana Anhalt on her Poetry Collection Walking Backward

Poetic Repetition

Poetic Alliteration