I wasn’t planning to post this since it’s not a complete essay, only an introduction to a panel at the San Miguel Writers’ Conference, but it has come up in so many conversations since the panel was held this past February that I thought I’d offer it here— and with links in case you’d like to learn more about these extraordinary writers.
TRANSCRIPT OF INTRODUCTORY REMARKS BY MODERATOR C.M. MAYO
Good morning, Buenos días! Bienvenido! Welcome! What an joy of a conference this is. If my memory serves me, I participated in what was the very first of these conferences. I know it was more than 10 years ago. And that was an outstanding conference, but wow, it has gotten not only bigger but better and better. What we have here in this conference is unique: A gathering in the heart of Mexico, of writers from Mexico, writers who may or may not be Mexican living in Mexico, writers visiting Mexico, writers from so many different cultures.
The day before yesterday, here, over there by one of those big white tents, I ran into one of my favorite Mexican writers, who happens to be a native of San Miguel de Allende, and baptized in the Parroquía, that otherwordly gothic church that is impossible to miss. Araceli Ardón. She was on the faculty last year, and some other years. So I mentioned to Araceli that I was going to moderate this panel today on Global Migration: People and their Stories.
Well, why do we write?
And Araceli told me that in his writing workshop, years ago, Carlos Fuentes—who was, without a doubt, one of Mexico’s greatest writers— Carlos Fuentes said something that, like a beacon in the night, had guided her as as writer. In Spanish, Fuentes said: “La literatura tiene que dar voz a los silencios de la historia.”
Literature must give voice to history’s silences.
As we go on with this panel, I would like to invite you to keep those words of Carlos Fuentes present in your mind.
Global Migration: it’s in the news. We see it, we hear it, we read about it every day. Those of us who are from the US and Canada are keenly aware , on many levels, of our histories with migration, and this includes, in most cases, our own family histories.
For those who are new to Mexico— and I know that quite a few if you are—an extra special welcome to you.
I’d like to underline something that could be… shall we say… fruitful to keep in mind as we proceed, and that is that Mexico, too, has had and continues to accept important numbers of immigrants. For example, Mexico’s literary figures include many who were immigrants or descendants of immigrants from Spain, of course, but also from Germany— and that includes Carlos Fuentes—from France, Italy, Ireland, Japan, China, Africa, Central America, Cuba, Argentina, Poland (Elena Poniatowska!) and Russia— it’s a long list.
And it also includes immigrants from the Middle East– that flow of immigrants, from the Middle East, by the way, goes back many, many decades.
Rose Mary Salum, a Mexican writer of Lebanese descent, recently published a visionary anthology entitled, in Spanish, Delta de las arenas, cuentos árabes, cuentos judíos, a title I would translate as Delta of Sands: Arab and Jewish Short Fiction from Latin America. Itis a large and splendid and very interesting book, by the way.
There are also notable flows of migration within Mexico itself. Just to give one example, many people have come from small towns and farms to live in large cities, and in so doing making them larger: Mexico City, Querétaro, Monterrey, Guadalajara, Tijuana… Farm workers, migrant workers, who might go north to Oregon or Florida, also go to the Mexican states of Baja California or Sinaloa.
Another example: Many Mexican artists, professionals and retirees have come from Mexico City have come to live here in San Miguel de Allende—there is quite a bit less traffic, among other attractions.
And Mexico has indigenous groups from Mayas to Nahuas to Zapotecs, and members of these communities have moved all over the map of the Mexican Republic, and beyond. Of course, thousands of years ago, the ancestors of these peoples immigrated to what is now Mexico by way of the bridge under what is now the Bering Straight. And they too have important and rich storytelling, poetic, and literary traditions.
I myself am an immigrant to Mexico. I came from the US to live in Mexico City 30 years ago. So that’s why all my books are about Mexico. And I also translate Mexican writers, which brings me to a Mexican writer I am very proud to say I have translated: Juan Villoro. It was his short story about Mexican punk rockers that appears in my collection, Mexico: A Traveler’s Literary Companion.
Juan Villoro is one of Mexico’s most outstanding writers, and it is truly a privilege, a stellar privilege, to have him here with us.
So now I am going to formally introduce him, as our first speaker. And then, in turn, I will introduce each one of our panel. And then, after each has had the opportunity to speak, for about 10 to 12 minutes, we will take your questions and comments.
The questions at hand are: Why are stories of migration, or stories in some way inspired by migration, so vital? And what is it that elevates them to the level of “literary”? What are the challenges for writers who may be far removed from the culture in respecting their subjects, respecting their own creative process, and, ultimately, respecting their readers? And how is literature itself changing with such infusions?
If you would like to buy an MP3 recording of the entire panel, that is available from the San Miguel Writers Conference here.
As those of you following this blog well know, I’m at work on a book about Far West Texas (that’s Texas west of the Pecos) and so reading deep into the history of the wider region that is now Texas and northern Mexico– for it all connects. I’m not reporting on each and every book I come across, but now and then I read one that, in taking both my understanding and my curiosity to a fresh level, prompts me to order my thoughts with a review and/or interview the author, should he or she be alive and willing. (See for example, Q & As with Raymond Caballero, Paul Cool, and John Tutino). Carolina Castillo Crimm’s deeply researched De León: A Tejano Family History is one of those.
We often hear about the Tejanos (Mexican Texans or, as you please, Texan Mexicans) in Mexican and Texas history, but who were they? Crimm’s De León provides an intimate glimpse of one of the first and most influential Tejano families though several generations, beginning with Don Martín de Léon and his wife Doña Patricia de la Garza, the founders of the de Léon colony and the town of Victoria on the coastal plains of Texas in the early 19th century. They and their descendants weathered Mexican civil wars; Comanche attacks; cattle rustlers; cholera; the Texas Revolution of 1835-36; the massive influx of “Anglo” immigrants; exile and legal battles to reclaim their land; the US Civil War and Reconstruction; and, into the late 19th century, the rise of the railroads and the cattle ranching industry.
C.M. MAYO: As historian Arnoldo de León commented, your study of a Tejano family “confirms what other historians have said (but not buttressed with this kind of detail) about Mexican Americans in history: that they are resilient in the face of adversity, that they adjusted to an Anglo American political environment after 1836 with a degree of success, and that their absence in Texas history books is explained by a neglect of the primary sources.”
CAROLINA CASTILLO CRIMM:
Thank you for the opportunity to talk about the De León family of Victoria,
Texas, one of the early founding families of Texas. As far as I know, Arnoldo
de León is not related to the De León family of Victoria although you never
know. He has been influential in encouraging many students to study the
Hispanic world both past and present.
I am grateful to be part of a growing field of
historians focusing on early Hispanic settlement in Texas. These so-called
Borderlanders were originally inspired by Arnoldo de León and David
Weber. Since then, there have been many more scholars who have delved into
this area and produced excellent studies on this period. Among them are Dr.
Frank de la Teja, Dr. Andrés Tijerina, Dr. Armando Alonso, Dr. Francis X.
Galan, among many others.
There are also dozens of new, up-and-coming young
historians working in the field of the Borderlands. It is thrilling to see so
many people searching through primary sources to discover the histories of
these early settlers.
C.M. MAYO: And a related question: You mention in your acknowledgements that Nettie Lee Benson had been one of your mentors. She was such a towering figure among historians of Latin America that the University of Texas Library’s Latin American collection is named after her. Can you share a memory or two about Nettie Lee Benson, how you met her, what you remember of her?
CAROLINA CASTILLO CRIMM: I
was fortunate enough to arrive at the University of Texas at Austin in 1989
while Dr. Benson, or Miss Nettie as one of my fellow students called her, was
still teaching her course on Mexican History and the Borderlands. I had
mistakenly assumed that the Latin American Collection at UT had been named for
her because she was the wife of some oilman who had donated millions to the
University. I was wrong.
As it turned out, she had been a librarian at UT
during the 1940s. She made it her mission to take the funds she was given by
the university and invest the money in books and materials from Mexico and
Latin America. Each summer, she would take what, in reality, was a pittance and
travel throughout Mexico. She bought, traded or salvaged materials everywhere
she could. On one occasion she found a stack of old dissertations from the UNAM
at a pawn shop. They were about to be destroyed but she bought them for fifty
cents each, thereby rescuing a precious heritage. Each evening, she would go
back to her room and wrap up her finds in brown paper and string and send them
back to the library at UT. She did this every summer for years.
At last, Eugene C. Barker (for whom the Texas
collection was named) encouraged her to begin work on a Ph.D. in Mexican
History. Working part-time, she completed her degree and became a professor in
the History Department. She continued to work at the library and to add to the collection
which eventually was renamed in her honor. Students still remember her falsetto
voice echoing through the stacks as she asked what each of us was working on
then led us directly to some seminal book on our particular topic. She spent
her life helping students explore the stacks that she created.
Dr. Benson was awarded the Aguila Azteca by the
Mexican government, the highest honor that can be given to a foreigner, for her
work on the Provincial Deputations of the 1820s. Her on-going encouragement of
students working in the field has led to the production of hundreds of works on
Mexican and Borderlands History.
There have been some Mexican scholars who have
resented the removal of so much material from Mexico. They maintain that the
books should be in Mexican libraries, not in the United States. As I have seen,
however, Mexican libraries often do not have the funding to protect these
priceless treasures. I have been in archives in Matamoros where there are bugs
eating away at the paper, or in Saltillo where burned archives were only
rescued by accident when a historian/diner at an out-door restaurant noticed
the bits of burning paper sifting down from next door. The material at the University
of Texas has been preserved and protected and is accessible to scholars from
all over the world. Admittedly, Mexicans do have to travel to Austin to find
the materials, but at least it is available.
C.M. MAYO: You also write that Nettie Lee Benson set you on your path. Can you talk more about that, and what inspired you to write De León?
CAROLINA CASTILLO CRIMM: I
started on my Ph.D. at the University of Texas without any sure direction or
goal in mind. As a Mexican, I wanted very much to focus on the early Hispanics
of Texas. Miss Nettie Lee suggested I work on Martín de León, the only
successful Hispanic Empresario in early Texas. The problem then, and now, was
the lack of sources. There were no diaries or letters, but with Nettie Lee’s
help, I began to discover court records, county records, land records, and the
last will and testament of Doña Patricia de León. I was also fortunate to find
many of the descendants of the De León family who provided invaluable
assistance in writing the book.
C.M. MAYO: You tell the story of the matriarch of the de León clan, Doña Patricia, who lived a long life filled with success but also struggle and heartbreak. And one of the key contributions of De León is to underline the role of Hispanic women settlers in Texas and, by their example, their influence on Texas laws pertaining to women. Can you talk about that a bit?
CAROLINA CASTILLO CRIMM: I
had not originally focused on Doña Patricia or the women of the De León clan.
As with many studies of Texas history, the women were often relegated to
background roles. As I explored the sources, however, I began to see that the Victoria
settlement would not have existed without the efforts of Doña Patricia and her
daughters and daughters-in-law.
Patricia, evidently from a very good family at
Soto la Marina, had received an immense dowry of $9,000 pesos. This was at a
time when most dowries in Monterrey averaged less than $5,000. Some might say she
gave up the money to her husband, Martín, to fund the ranches in Texas.
Considering her later careful use of money, I prefer to think she invested the
money in the future of her family. And it paid off handsomely. She was able to
recoup the money when she needed it most by selling the Texas family ranch in
1836 to a New Orleans real estate broker for a handsome profit. But Patricia
also donated land. The lovely St. Mary’s Catholic Church sits on land donated
by Doña Patricia to the Catholic Church.
Doña Patricia taught her daughters to fight for
their rights when they returned to Texas in 1845. Not only did she enter the
American courts to regain family land, but she encouraged her offspring to
regain land that had been usurped by unscrupulous settlers. She held mortgages
on land and taught her daughters to do the same. Luz Escalera, wife of
eldest-son Fernando, and Matiana Benavides, a grand-daughter, held a mortgage
on land owned by an uncle. When he didn’t pay up, family or no, they foreclosed
on him, leaving him only the 20 acres around his ranch house.
At a time when Hispanics could not borrow from
Anglo banks, Hispanic women were often the money-lenders within the Mexican
community. They learned to be tough business women. It will remain a mystery
why she turned on her eldest son, Fernando. In her will, she forgives all the
debts owed to her by her descendants, except for the money owed her by
Fernando. That money was to be collected by his brothers and sisters.
C.M. MAYO: What comes through clearly to me in De León is that the early Tejano settlers, such as Martín de León, were neither wealthy nor campesinos (peasants), but part of an emerging and literate middle class. Yet throughout many decades of the 19th century the Tejanos had to fight both the Comanches and, depending on where they placed their loyalties, various factions for or against Spain, Mexico City, the Texians, and then the Confederacy. What stands out is that these decisions were not unanimous in the Tejano community, and they were fraught with terrible risk.
CAROLINA CASTILLO CRIMM: Yes,
as Dr. de la Teja has pointed out, the Texas ranchers were not wealthy but they
were not poverty-stricken either. The de León family employed a teacher on the
ranch to educate their children. And not all the children agreed on which side
to choose. I suspect Patricia’s Christmas gatherings were a trifle tense during
the years of Mexican Independence when some of her offspring sided with the
Liberals while others chose the Conservatives. Things got even worse during the
Texas Revolution.
Antonio López de Santa Anna
C.M. MAYO: Until recent times the story of the fall of the Alamo came across as a simple story of brave Texians vs dastardly Santa Anna. Do you see your book as part of the impetus to enrich that particular narrative?
CAROLINA CASTILLO CRIMM: Yes,
certainly. During the Texas Revolution, half the De León family sided with the
Texians while others supported the legally constituted Mexican government, even
if it was Santa Anna.
The decades from 1800 through the Civil War,
were a time during which there were dangerous decisions to be made. The wrong
decision could result in being shot by one side or the other. Many of the
Mexican ranchers learned from bitter experience to keep their heads down and
their mouths shut or get out of the way. General Joaquín de Arredondo’s 1813
attack at the Battle of Medina and the later executions of Liberals, or
Revolutionaries, in San Antonio was a difficult time for everyone in Texas.
Doña Patricia had good reason to insist on removing her family to Soto la
Marina for safety during these years, and again in 1836 to escape to New
Orleans during the lawlessness of the Republic of
Texas. But she always came back.
C.M. MAYO: You mention that during the US Civil War many Tejanos, including members of the de León family, engaged in the cotton and transport trades to benefit the Confederacy. I note that Evaristo Madero, grandfather of the subject of my recent book, also made his first fortune in this trade. My question is, do you see the de Leóns as part of the broader fabric of a culture of entrepreneurship found throughout the north of Mexico?
CAROLINA CASTILLO CRIMM: The
Spanish and then the Mexican government had restricted trade for generations
(1713 to 1821) thereby preventing much in the way of entrepreneurship for the
ranchers of Texas. They could sell hides and lard but there was little else of
value in Texas that could be transported and sold. The Anglo settlers, in
particular the Irish from the Refugio area, learned to profit from the sale of
cattle from their Mexican rancher neighbors.
Once the borders were opened to trade after 1836,
the Mexicans improved on their cattle trade and profited by selling corn and
vegetables to the incoming colonists. They also made a profit by carrying goods
in carts to the coast. As soon as the Texians saw there was a profit to be
made, however, the Cart Wars of
the 1850s broke out, and the Tejanos were cut out of the trade. They continued
to profit wherever they could, and wherever the Texians would permit.
C.M. MAYO: It is impossible to read Texas history without the mention of the strains and struggles between the so-called Anglos and Tejanos, as if the two communities were sealed off from one another under two bell jars. Yet of course they were not. You mention the tensions and the struggles the de León family faced in defending their dignity and their land titles against Anglo newcomers at various points in the 19th century, but you also mention their long-time friendship with the Linn family.
Can you talk a little more about the Linns?
CAROLINA CASTILLO CRIMM: Martín
de León needed settlers to establish his Empresario grant. He brought some from
Mexico, but there were some settlers already squatting on the land he had been
granted. Rather than get rid of them, he simply incorporated them into his
colony. Although some said he was a “cranky old man” as an Empresario (he was,
after all, in his 60s), he accepted people of all nationalities into his
colony. Fernando, his eldest son, became very close to the Linn family. Just as
the De León family helped the Linns during the Mexican period (Edward Linn
became their surveryor), they returned the favor when Texas became a State.
Fernando was able to count on the Linns (John Linn
became a Texas Senator) for help with legal problems.
I found that the early settlers, both Texian and
Tejano, who had helped each other survive Indian raids and droughts and hard
times in the years from 1821 to 1836 became loyal friends, regardless of
nationality. The arrival of new settlers after 1836, however, who had not
had those close relationships, created an atmosphere of antipathy and racial hatred
against the Mexicans. Fortunately, there were still a few of the supportive old
Texian families who protected their Tejano friends and called them the “Old
Spanish Families.” This didn’t prevent the killings of the Mexican families by
mobs during the 1870s or the mass murders by the Texas Rangers
during the 1920s.
C.M. MAYO: At various points you mention a slave owned by Fernando de León and later inherited by his adopted son Frank, and that Frank tried to manumit him but the laws of Texas at that time would not permit it. Do you know his name and what became of him?
CAROLINA CASTILLO CRIMM: Unhappily,
I do not know what happened to the slave. It is possible that Frank’s will, if
one were able to find it, might indicate a name or what happened to him. Most
Mexicans were opposed to slavery which made the years of the Civil War
difficult for them. Unlike the Germans, however, they kept their opinions to
themselves and avoided getting hung. They created guard units to protect the
coast from Union troops, but only one of the de León grandsons actually fought
with the Confederate troops.
C.M. MAYO: You managed to keep straight several generations of a sprawling family. I can only begin to imagine how much work it must have been just to keep your research in order! For readers who may be working on their own opus, can you offer your best organizational tip?
CAROLINA CASTILLO CRIMM: Any
genealogical study that covers several generations is challenging. Rather than
just tracing one line, where one can safely ignore all but one of the children
of each generation, I created a large wall chart with all of the various
children, each of their spouses, and their descendants. Where it gets
complicated is with the families of the in-laws who are equally important as
brothers- or sisters-in-laws. More charts, more wall space.
As anyone in South Texas will tell you: “Todos
somos primos.”* And it is true. Once you connect in-laws and
godparents, the network of relations is truly a Gordian knot. I found out, to
my surprise, that my Castillo family who lived in the Refugio area from the
1790s to the 1870s, were distantly related to the de León family as well.
*We’re all cousins.
C.M. MAYO: Your book came out in 2003. What are the reactions that surprised you, and what are the ones that gratified you?
CAROLINA CASTILLO CRIMM: I
was very pleased to receive several awards from the Sons of the Republic of
Texas, from the San Antonio Conservancy, and from the Catholic scholars. To
have Arnoldo de León say such kind things about the book was a real
honor.
I should probably not have been surprised to find
that some Tejano scholars were opposed to my book. They felt that a blonde
Gringa should not be writing books about Mexican land loss. I don’t “pass”
since I don’t look Hispanic. I had a rather heated altercation with one of my
colleagues at a conference about whether I understood how difficult it had been
for Mexicans in Texas at the time. They were certain I was just another
do-gooder Anglo trying to put a better light on the challenges facing Tejanos
during the 1800s and their survival in spite of the difficulties. I was glad to
be able to prove them wrong.
In the course of my research, I had learned that
my Castillo family had lost their Refugio land in an 1870s court case to a
(now) wealthy Texan family. A gunfight resulted in which one of the Anglos was
shot. A lynch mob was formed and the Castillo brothers had to make a run for
the border to avoid the noose. The Castillo family left Texas and lost their
land. Some say it was sold, others that it was stolen. They reestablished a
large ranch outside Reynosa at Charco Escondido on the Mexican side and
continued to prosper as ranchers until the Mexican Revolution when they
returned to the United States. So, yes, I may not look Mexican, but my family
does understand land loss.
C.M. MAYO: What are you working on now?
CAROLINA CASTILLO CRIMM: As you can imagine, my interest is still focused on writing about Hispanics on the border and in Texas. I have started to write the story of the Castillo land loss and have already gotten several chapters into it. However, inspired by Americo Paredes, I wanted to go back and look at what formed the early Tejanos. Luis Alberto Urrea’s The Hummingbird’s Daughter has certainly helped.
Bernardo de Gálvez
Scandalizing though it is for a historian, now
that I am retired, I have kicked over the traces and turned to fiction. I am
working on a series of three novels on the 1770s in New Spain and the impact of
the Bourbon Reforms. I’ve based my characters in large part on the social gulf
that existed between the criollos
or mestizos,
like Martín who may have been a low class muleteer who made good, and
Patricia, the daughter of a wealthy Spanish family. Since the story (in the
third book) carries us into 1777, Bernardo de
Gálvez and his defense of the American Revolution plays a part as
well. The first two novels are finished and are in the editing stages. The
third should be done soon. Now, I just need to find an agent and publisher. My
usual publishers–the university presses–don’t do fiction.
Thanks for the opportunity to share the story of
the De León saga with your readers. My website is at www.carolinacastillocrimm.com
and De León is available through my web site or through amazon.
C.M. MAYO: Immense thanks to you, Carolina, and mucha suerte with your novels.
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’sSalt 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.
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.
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.
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.
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.
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.
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!
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.
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).
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.
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.
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.
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.
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.
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!”
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.
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!
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.
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!