Peyote and the Perfect You: Some Notes (Basics, History, Links, Videos, a Hypothesis about the Heart Chakra, and an Embryonic Bibliography)

SOME NOTES & ETC ON PEYOTE FROM THE RESEARCH FOR MY BOOK IN-PROGRESS ON FAR WEST TEXAS
>> Read about my book in-progress
>> Listen in to the 20 “Marfa Mondays” podcasts (mainly interviews) posted to date
>> View my maps of Far West Texas

Lophohora williamsii, or peyote

Far West Texas, an area approximately the size of West Virginia, includes a goodly patch of the territory that stretches deep into Mexico where peyote, or lophophora williamsii grows… oh so very… very… very… v-e-r-y… slowly. A runty, dull-gray spineless cactus with wispy white hairs, when found, peyote– an Anglicization of the original Nahautl name, peyotl— is usually growing in clusters. What certain indigenous peoples have done for an eon is slice off the tops– the “buttons”– and eat them. Calories and dietary fiber are not the point; apparently the taste is puckerlips nasty. But adepts claim that this humble-looking plant is no less than “the divine cactus,” and eaten as a sacrament, as “holy medicine,” it can bring one’s mind into a mystical realm where psychedelic visions can help one see across time and space and heal one’s thoughts about oneself and the cosmos. As one participant in a peyote ritual reported, echoing so many others, he found “profound gratitude for his life” as it was. 

PEYOTE AND THE HUICHOLS
The Huichols, who live in Mexico’s Sierra Madre, are the indigenous group best known for their peyote ritual. 

>> For more about the Huichol visit the website of the  Huichol Center for Cultural Survival.

PEYOTE IN FRAY BERNARDINO SAHAGUN’S GENERAL HISTORY OF THE THINGS OF NEW SPAIN
The first known written mention of peyote is in Franciscan missionary Bernardino de Sahagún’s Historia general de las cosas de Nueva España, or General History of the Things of New Spain. The original 16th century manuscript, which contains 2,468 colorful illustrations and text in both Spanish and Nahuatl (the language spoken by the Aztecs phonetically transcribed using Latin), is also known as the Florentine Codex because it is in the Medicea Laurencziana Library in Florence, Italy. 

>> To view the digitized manuscript which contains many intriguing and colorful illustrations, but, alas, not one of peyote, click here.

Pages from the Florentine Codex. This does not show peyote, alas.

Of peyote, Sahagún reports (as quoted in Omer C. Stewart, Peyote Religion: A History):

“On him who eats it or drinks it, it takes effect like mushrooms. Also he sees many things which frighten one, or make one laugh. It affects him perhaps one day, perhaps two days, but likewise it abates. However, it harms one, troubles one, makes one besotted, takes effect on one.”

Sahagún also reports that, according to his indigenous informants, the first to use peyote were the Chichimecas, a number of semi-nomadic northern tribes never completely subdued by the Mexica (or Aztecs). [See also Conflict and Conversion in Sixteenth Century Mexico: The Augustinian War on and Beyond the Chichimeca Frontier by Robert H. Jackson.]

(By the way, you may have noticed that I never link to wikipedia, aka The Maoist Muddle, unless there is absolutely, but absolutely, nothing else and a link really would be better than none. FYI: When I checked wikipedia for this post on the Florentine Codex, the images shown were from the wrong book.) 


PEYOTE ALSO MENTIONED IN DR. FERNANDO HERNANDEZ’S
DE LA HISTORIA PLANTARUM NOVAE HISPANAE
In 1570 King Felipe II sent medical doctor Fernándo Hernández (1514-1587) to New Spain to survey and report on the natural resources of the colony, including plants that might be put to medical uses. In his seven years in the Valley of Mexico (Mexico City and environs), Dr. Fernández documented a multitude of plants and a long-standing and elaborate tradition of Aztec herbal medicine. Dr. Fernández’s report on 3,000 plants, in various editions and languages, did not appear in print until some decades after his death. 

Amazingly, until 2002, with Simon Varey’s compilation  The Mexican Treasury: The Writings of Dr Francisco Hernández, almost nothing about this veritable magnum opus could be found in English. From the catalog copy for that book:

“Hernández died before he could publish his Natural History, and the materials were placed in the Escorial, where they were extensively consulted, copied, abstracted, and translated by generations of scientists, medical specialists, and natural philosophers before they were destroyed by fire in 1671. Hernández’s work was still regarded as authoritative on a number of New World botanical topics as late as the nineteenth century, and his writings remain in use in popular form in Mexico today.”

I have yet to get my hands on a copy of The Mexican Treasury, but as quoted in Stewart’s Peyote Religion, in turn quoting a translation from a 1916 article by William E. Safford in Annual Report of the Smithsonian Institution, of peyote Dr. Fernández writes:

“Wonderful properties are attributed to this root… It causes those devouring it to be able to foresee and predict things; such, for instance, as whether the weather will remain favorable; or to discern who has stolen from them some utensils or anything else; and other things of like nature which the Chichimecs really believe them have found out. On which account this root scarcely issues forth but conceals itself in the ground, as if it did not wish to harm those who discover and eat it.”

FIRST IMAGE OF PEYOTE IN DR. HERNANDEZ’S MAGNUM OPUS, POSSIBLY… OR IN CURTIS’ BOTANICAL MAGAZINE — OR, POSSIBLY, IN THE VOYNICH MANUSCRIPT?
According to Stewart in Peyote Religion, the earliest known botanical illustration of peyote is from 1847, in Curtis’ Botanical Magazine. Hat tip to peyote and cactus blogger Lophophora, here is that very illustration, a lovely one, from the Botanicus Digital Library, Missouri Botanical Garden.

Lophohora williamsii, or peyote

However, it is possible that an even earlier illustration is in the Voynich manuscript, which has been carbon dated as several centuries old, but has yet to be deciphered. 

>> See the utterly fascinating 2013 paper by John D. Comegys, “The Voynich Manuscript: Aztec Herbal from New Spain.” Comegys also notes some possible influence from the work of Dr. Hernández. Comegy’s paper is fascinating read, and I highly recommended it for anyone interested in rare book history, botany and/or Mexico.

From the Voynich Manuscript. Peyote? Possibly…

PEYOTE IN THE LOWER PECOS CANYONLANDS
The archaeological record shows that peyote has been used many groups and many thousands of years into the past in what is today northern Mexico and remote areas along the Rio Grande on both sides of the US-Mexico border in Texas.

>>See the forthcoming book The White Shaman Mural by Carolyn Boyd. 

>> For a novelist’s take on ancient peyote ritual in what is now the Lower Pecos Canyonlands of Texas, see Mary S. Black’s Peyote Fire.  

>>And for more about the Lower Pecos Canyonlands and the magnificent rock art there, see my guest-blog post for Mary S. Black here.

PEYOTE IN THE INQUISITION
It is often said that the Mexican Inquisition focused on heretics, in particular conversos secretly practicing Judaism, but not indigenous. But the Inquisition did prosecute some indigenous and their use of peyote was often the issue.

Quoted in Stewart’s Peyote Religion (p. 20), in New Spain, in 16th and 17th century Catholic priests asked their parishioners:

Hast thou eaten the flesh of man?
Hast thou eaten the peyote?
Do you suck the blood of others?
Do you adorn with flowers places where idols are kept?

(For those not familiar with Mexican history, the first and third questions might seem extreme. All I can say is, read the history.)

And, according to Stewart, in 1620 “the Inquisition was brought to bear against peyote.”

From American Anthropologist 44, 1942:
Irving A. Leonard, “Peyote and the Mexican Inquisition, 1620”
A quote from Leonard’s translation of a Spanish document:

“We, the Inquisitors against heretical perversity and apostasy in the City of Mexico, states and provinces of New Spain, New Galicia, Guatemala, Nicaragua, Yucatan, Verapaz, Honduras, Philippine Islands, and their districts and jurisdictions, by virtue of apostolic authority, etc. Inasmuch as the use of the herb or root called Peyote has been introduced into these Provinces for the purpose of detecting thefts, of divining other happenings, and of foretelling future events, it is an act of superstition condemned as opposed to the purity and integrity of our Holy Catholic Faith. 

“This is certain because neither the said herb or any other can possess the virtue or inherent quality of producing the effects claimed, nor can any cause the mental images, fantasies and hallucinations on which the above stated divinations are based. In these latter are plainly perceived the suggestion and intervention of the Devil, the real author of this vice, who first avails himself of the natural credulity of the Indians and their tendency to idolatry, and later strikes down many other persons too little disposed to fear God and of very little faith.

“Because of these efforts the said abuse has increased in strength and is indulged in with the frequency observed. As our duty imposes upon us the obligation to put a stop to this vice and to repair the harm and grave offense to God our Lord resulting from this practice, we, after consultation and conference with learned and right-minded persons, have decreed the issuing of the present edict to each of you, one and all, by which we admonish you and summon you to obedience by virtue of your holy submission [to the Church] and under penalty of anathema… and other pecuniary and corporal penalties within our discretion. We order that henceforth no person of whatever rank or social condition can or may make use of the said herb, Peyote, nor of any other kind under any name or appearance for the same or similar purposes, nor shall he make the Indians or any other person take them, with the further warning that disobedience to these decrees shall cause us, in addition to the penalties and condemnation above stated, to take action against such disobedient and recalcitrant persons as we would against those suspected of heresy to our Holy Catholic Faith.”

In Peyote Religion, Stewart also includes a map (p.23) of the Inquisition hearings that specifically involved peyote, which were concentrated in Mexico City and surroundings, as well as scattered around what is now the main trunk of the Mexican republic (excluding the Baja California and Yucatan peninsulas). There were two cases in Manila (Philippines) in 1617 and 1639, as well as a case in 1632 as far north as Santa Fe. The case in Santa Fe involved someone who took peyote in order to divine who had stolen some of his clothing. 

(For those wondering, why Manila? The answer is the China trade, wherein Spanish merchants brought the Manila Galleon or Nao de China, across the ocean to Acapulco on the Pacific Coast, and from there, by burro train and tameme, brought the goods inland to Mexico City, parts elsewhere, and via Veracruz on the Gulf, across the Caribbean and Atlantic to Spain.)

Mexico City’s Palacio de la Inquisition is now the Museo de la Escuela de Medicina (part of Mexico’s National University). You can visit that museum, see the original building, and also an exhibition on cells used by the Inquisition.

The Inquisition on Youtube — who needs The Texas Chainsaw Massacre when you can surf around for all that infinitely more creative and toe-curlingly wicked gross-out stuff about Inquisition torture now on the Internet? For those with blood pressure issues, may I suggest Monty Python instead:

The Inquisition in Mexico City:
>> Museo de la Medicina Mexicana (in the Palacio de la Inquisición)

The Bancroft Library’s Collection on the Mexican Inquisition
>> Rare Documents Shed Light on Grisly Mexican Inquisition
>> News from the Bancroft Library: Inquiring About the Inquisition?
>> Guide to the Mexican Inquisition Original Documents Organized by Collection and Bancroft Manuscript Classification

Mexico’s Archivo General de la Nación also has a large collection on the Inquisition. Alas, at the time of this writing the website was down.

PEYOTE IN THE NATIVE AMERICAN CHURCH
North of the US-Mexico border– into Texas and beyond– peyote is used as a sacrament in the ritual of the Native American Church (NAC).  Is this legal? Yes, for members of the NAC, and only after a century of bitter struggle, with the 1994 amendment to the American Indian Religious Freedom Act, which protects the use of peyote in religious ceremonies. (Not that you, dear presumably non-Native American reader, can commence cultivating, selling, and scarfing down peyote as you please. For details, check out the current DEA status.)

Omer C. Stewart’s Peyote Religion: A History and Edward F. Anderson’s Peyote: The Divine Cactus both provide a a history of the founding of the “peyote church” on Plains Indian and other Indian reservations in the United States.

THE PEYOTE RITUAL ARRIVES FROM MEXICO IN TEXAS AND OKLAHOMA

Chevato was a Lipan Apache born in northern Mexico who, long story short, became a member of the Mescalero Apaches roaming both Mexico and Texas, and later, of the Comanches on that tribe’s reservation in Oklahoma, thanks to his friendship with chief Quanah Parker. 

His 2007 biography by his grandson, William Chebahtah, and Nancy McGown Minor, Chevato: The Story of the Apache Warrior Who Captured Hermann Lehman is both a major contribution to Comanche, Lipan Apache and Mescalero Apache history, and a gem-packed fascinating read– a must for any collection on the history of Northern Mexico and the Southwest. 

Apropos of peyote, Minor writes (p.73) that the Lipans stayed near Zaragosa (in Coahuila, northern Mexico) because of its proximity to a hill where peyote grew in abundance. “The Western Lipans had been using peyote in their ceremonies since at least the 1780s, and as the Lipans were dispered out of Coahuila and into New Mexico, they brought with them their special peyote rituals.”

Apart from doing all the Wild West things Apache warriors did in those days, Chevato was a shaman and a “peyote singer,” singing special songs during the all-night ritual. Chevato’s great-grandfather was the first Lipan to make use of peyote in Mexico. Minor:

“Although the Mescaleros had used peyote in their religious ceremonies… it was the Lipan Apaches who created the form of ceremony practised by the Mescaleros by 1870 and the Comanches after 1875.” 

Why 1875? The year prior to that the Quahada and other bands of Comanches had been defeated in a contest over “Anglos” taking the buffalo hunting grounds at The Second Battle of Adobe Walls, which was in the Texas Panhandle, prime buffalo hunting country. This defeat was the end of the end for the Comanches, and I believe that Quanah Parker’s adoption of the peyote ritual needs to be seen in this context.


UPDATE: Lonn Taylor’s Big Bend Sentinel column of August 20, 2015
“Comanche Chief Quanah Parker and His Quest for Peyote in Far West Texas”

So who was Quanah Parker? One cannot write about Far West Texas without writing about Comanches, and one cannot write about Comanches without writing about Quanah Parker, and one cannot write about Quanah Parker without writing about the Native American Church and peyote. So you can be sure, in my book I will be writing about them. 

It seems that everyone in Texas and Oklahoma already knows about Quanah Parker, the son of Comanche Chief Peta Nocona and Cynthia Ann Parker, who had been kidnapped as a child from her family’s farm in Texas and raised as a Comanche. 

(The John Wayne / Natalie Wood  movie The Searchers is loosely based on the novel that was, in turn, loosely based on the story of Cynthia Ann Parker.) 

Although it has little to say about peyote, one of the best books on the Comanches and Quanah Parker and an all-star crunchy fun read is S.C. Gywnne’s Empire of the Summer Moon. Humongously recommended.

>> Comanche Nation website
>> NYT article about Quanah Parker’s Star House
>> More about the Comanches in the paradigm-smasher by Pekka Hamalainen, Comanche Empire.
>> The Last Comanche Chief: The Life and Times of Quanah Parker by Bill Neeley
>> Johnny D. Boggs interview with S.C. Gywnne about Quanah Parker.


Quanah Parker in the first two-reel western ever filmed (in 1907): “The Bank Robbery”
(zip about peyote as far as I can tell)

Screenshot of Quanah Parker  from “The Bank Robbery,” 1908

UPDATE September 2, 2016
Thanks to Gene Fowler, none other, who very kindly sent me the link, I have added to that blog post this link (embed rather) to “Amada of the Gardens” a fascinating documentary on peyotera Amada Cardenas (1904-2005).

[VIDEO CURRENTLY UNAVAILABLE]


https://archives.lib.utrgv.edu/repositories/2/resources/210

THE PEYOTE WAY CHURCH OF GOD
An offshoot of the NAC, with Mormon roots, based in Arizona.
>> Peyote Way Church of God 
>> Peyote Way Church of God testimonials
Quote from a “Marine Corps Vet”: “forgiveness and acceptance of the past, and a firm commitment to a better future” and “Peyote doesn’t care about your past. What Peyote does care about is allowing you to see the perfect you; free from irrational fear, shame and hang-ups.”
>> See also “A Remote Arizona Church Offers Followers Peyote-Induced Psychedelic Trips” by Eric Tsetsi, Village Voice, January 8, 2014


ON THE SPREAD OF PEYOTE RELIGION
From the article “The Native American Church” in the Encyclopedia of the Great Plains, hosted by the Center for Great Plains Studies at the University of Nebraska-Lincoln.

“While the exact origins of the Native American Church and its incorporation of peyote as a sacrament of communion are shrouded in oral history, Native believers generally agree that it began in the Southwest and worked its way up from Mexico. Among the Plains Indians, the Omahas, Poncas, Winnebagos, and Sioux readily accepted the belief system of the Native American Church.”


As I understand it, the NAC is now pan-Indian.


George Morgan had much to say about peyote and the NAC:
>>George Morgan, “The Native American Church: Recollections of the Peyote Road”


MORE MISCELLANEOUS NOTES ON PEYOTE:

>> The basics according to Texas Beyond History.

>>“With the Peyoteros” by Karen Olsson for The Texas Observer, March 2, 2001.
Strong demand, plus fences and ranches plowed over for deer hunting, make finding peyote in the wild increasingly challenging.

>>Bob Prue, “Protecting the Peyote for Future Generations: Building on a Legacy of Perseverance” 
(Excerpt from the anthology Peyote: History, Tradition, Politics and Conservation)

>> ‘The Heart of the Great Spirit: The Peyote Cactus” 
By Stephen Gray, Reality Sandwich

>> Lophophora Blog
A blog all about peyote.


“AN ORDINARY ROCK COULD CURE YOU”:
PEYOTE MENTIONED IN JEWEL BABB’S MEMOIR


A quote from one of my very favorite books about anyone or anything or anywhere in Far West Texas, Border Healing Woman: The Story of Jewel Babb as Told to Pat Little Dog (p. 95-96):

“Indians from Mexico would come across hunting medicine plants and, above all, the cactus peyote. Six or seven of these men would walk up to the house wanting something to eat or water. The Indians were great beggars and always wanted you to give them anything that they could carry off. Sometimes they’d show me the different medicine plants they’d gathered and what each plant was for in curing. I learned lots from them and also from the old men and women that were my neighbors living in Mexico that came to see me at different times. One bunch of Indians came to see me from Oklahoma. They were looking for the cactus peyote. And as we talked, one said, ‘If you have faith, an ordinary rock could cure you.'”

PEYOTE TESTIMONY: YOUTUBERIE AND MORE

“Sacred Peyote”: a short documentary film about peyote and the Native American Church.

GERMAN-MEXICAN AMIGO GIVES TESTIMONY 
My friend Hans Lens’ memoir. More about this anon.


GRINGOS GIVE TESTIMONYTara from “40BelowFruity” on her experience ingesting peyote
“Not as easy experience… I was feeling a lot of nausea… deep-seated, buried issues… I was resisting it… I started to become overwhelmed… peyote brought [memories] to the surface…I felt like I had been completely ripped apart and put together again… like a new person, reborn… It has the power to heal people.” 

“The Mind Divided” shares his reflections on his peyote experience 
and what he believes was the beautiful lesson: “Lighten up… embrace and enjoy life.”

Blogger Sara Brooke shares her experience with peyote in this post. A quote: 


“It is conscious medicine, a consciousness that is far more intelligent than our own. It needs to be treated with respect and care and it honestly is something that isn’t for everyone. Psychologically, mentally, emotionally, physically and spiritually you have to be ready for it. It gives you an opportunity to face ALL parts of yourself, especially the shadow aspects. It is one of the most confronting, yet profound and worthwhile experiences I have ever had. I am eternally changed.” 

>> “Through the Lens of Perception” by Hal Zena Bennett in Shaman’s Drum: A Journal of Experimental Shamanism, Fall 1987. Adventure in a Mexican cave with peyote.

>> Related: Amber Lyon, “How Psychedelics Saved My Life” 
(Ayahuasca and mushrooms)
>> But aura reader Rose Rosetree offers a stark warning about ayahuasca.


(WHAT ABOUT CARLOS CASTANEDA? He did write about peyote in his several best-sellers. Alas, dude, not on my wavelength.)


AN ESOTERIC HYPOTHESIS  ABOUT PEYOTE WHICH I DO NOT INTEND TO TEST
My drug is coffee! My own ventures into the esoteric have not been psychedelic but literary– primarily by way of the Himalayas of reading I did for my most recent book, Metaphysical Odyssey into the Mexican Revolution: Francisco I. Madero and His Secret Book, Spiritist Manual. Indeed I read so much esoterica that my sense of cognitive dissonance went from geyser to sputter, then a little puddle, then, well… that dried up. So now, no problemo, I could read about oh, say, aliens tokin’ peyote. That doesn’t mean I am saying anything about aliens tokin’ peyote. I am unaware of any such report. 

Scion of a wealthy family in Coahuila, Francisco I. Madero was the leader of Mexico’s 1910 Revolution and President of Mexico from 1911-1913. I am often asked what he knew about indigenous shamanistic traditions. I did not find any evidence that Madero had any interest in or experience with peyote nor, indeed, with indigenous healing traditions other than an association, late in his short life, with his Masonic brother and fellow Spiritist and doctor, the Mexican-German spy Dr Arnoldo Krumm-Heller, aka “Maestro Huiracocha,” author of a number of works, including El zodiaco de los incas en comparación con los aztecas, 1910.
Madero’s personal library contained mainly French and Ango-American (some in the original, some in Spanish translation) literature on Spiritualism, Spiritism, Theosophy, hypnotherapy, French occultism, the Bhagavad-Gita, adventures into Tibet, and the like. His work that I translated, Manual espirita of 1911, references many of these works. 

Educated in France, where he discovered Spiritism and other esoteric ideas then in vogue, Madero would have been familiar with the Hindu concept, as conveyed to the West through the writings of various Theosophists, of the human body as having interpenetrating “energy bodies” and specific energy vortices known as “chakras.” Under this paradigm, my hypothesis– and take this with a truckload of salt, I am not sure I have a clue what I am talking about– is that ingesting peyote removes certain neuro-filters in the pineal gland and actives a chakra so that one can clearly perceive blockages and other auric debris, and one’s own emotional body. Which chakra might that be? Heart– I guess. Just a guess. 

Continuing to follow my understanding of what could have been Madero’s hypothetical paradigm for understanding peyote, there may also be one or more conscious and intelligent astral entities / spirit guides associated with the plant. This concept is eloquently articulated in Eliot Cowan’s Plant Spirit Medicine.

Most modern doctors and scientists would focus on peyote’s botanical, chemical, medicinal pharmacological aspects, and specifically, their measurable effect on the brain and body. Several chapters are devoted to these topics in Anderson’s Peyote: The Divine Cactus.



AN EMBRYONIC PEYOTE BIBLIOGRAPHY

Anderson, Edward F. Peyote: The Divine Cactus.

Chebahtah, William, and Nancy McGown Minor. Chevato: The Story of the Apache Warrior Who Captured Hermann Lehman.

Cobb, Russell, “Texas’ Peyote Hunters Struggle to Find a Vanishing, Holy Crop”Dallas Observer, February 14, 2008.

Cowan, Eliot. Plant Spirit Medicine.

Furst, Peter T. Rock Crystals and Peyote Dreams: Explorations in the Huichol Universe.

Lens, Hans. Una visita a los huicholes.

Michaux, Henri. Miserable Miracle.

Melville, Michael J. Peyote Ceremony (thesis).

Morgan, George. “The Native American Church: Recollections of the Peyote Road”

Myerhoff, Barbara G. Peyote Hunt: The Sacred Journey of the Huichol Indians.

Shaefer, Stacy B. and Peter T. Furst, eds. People of the Peyote: Huichol Indian History, Religion and Survival.

Shaefer, Stacy B. Amada’s Blessings from the Peyote Gardens of South Texas.

Stewart, Orner Call. Peyote Religion: A History.

The True Identity of B. Traven Revealed by Timothy Heyman in Letras Libres

Q & A: Mary S. Black on Her New Book, From the Frio to Del Rio

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

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

Top 13 Trailers for Movies with Extra-Astral Texiness

Extra-Astral Texiness. First, what do I mean by “astral”? I don’t mean “of the stars,” but the old-fashioned esoteric concept of the imaginal realm. Yes, I am a mite old-fashioned, and apropos of my most recent book, about the secret book by the leader of Mexico’s 1910 Revolution, I plowed through a sizable library of antique tomes on various aspects of the astral. So that’s a word I like to sling around!

Whether you believe in the astral or not, I think you will agree that (1) everyone has an imagination and (2) the imaginal realm, aka the astral– or whatever you have a notion to call it– includes works of fiction and movies. Imagine those works, if you will, floating like little bubbles through the ether. (Well, porquoi pas?) Or big baggy-wobbly monsters– (duck, here comes War and Peace...)

Speaking of Texas-sized astral bubblies, apropos of my book in-progress about Far West Texas, of course my horse (as they say in Mexico) I have a long list of “to dos” that includes grokking Giant, the Rock Hudson-Elizabeth Taylor-James Dean mashup filmed in Marfa and parts thereabouts. I have watched it and read the Edna Ferber novel it was based on, too. And now I’ve finished reading Don Graham’s Cowboys and Cadillacs: How Hollywood Looks at Texas, in which I first came across the term “Texiness.” Writes Graham:

“The Texas Chic-urban cowboy version of the old Western legend offered a sexier version of Texas. Call it Texiness. Frontier values, however romanticized they might have been in Red River or Giant, were supplanted by fashion value, by hype.” (p.6)

I hereby redefine “Texiness”:

I say all that hyper-appealing high-heeled cowboy boot clickin’ movie fah-shun goes back to Giant’s Rock Hudson and James Dean, and indeed, decades yonder: the Founding Pope of that Whole Hamburger-Helper Enchilada was John Wayne. And a big tip of the sombrero (along with a shake of the pepper flakes), to Italian director Sergio Leone for corralling Clint Eastwood. (Maestro of the concept, Leone himself was definitely not Texi.)

(Film historians: sorry, Tom Mix looks pasty-faced and nerdy, and antiques including Gene Autrey and Roy Rogers don’t count. Nope, movies based on Karl May and Louis L’Amour novels and Buffalo Bill shows neither.)

In The Air-conditioned House of Mirrors

If you’re at all familiar with my work on Mexico, you know that I like to take cliches, stuff them in a cannon, and light the fuse. That this “Texiness” stuff exemplifies the real world of Texas…. let’s just say I am preparing to launch that idea, along with its ostrich-leather Luccheses, into orbit around, say, one of the moons of Neptune.

Says Graham, and rightly: “Texans have two pasts: the one they lived in and the one Hollywood created.”

What I’m saying is, Astral Texas isn’t Texas, exactly; it’s a bunch of fancies about “Texas” concocted by a jostling Chinese puzzle of a crowd of screenwriters, novelists, costume designers, executives, and bean-counters of all stripes, many of them New Yorkers, or Danes or Germans or Italians or whatever, who aimed to put butts in seats from Rome to Tokyo and all parts in between, or, to put it in more elegant terms, sell their product, which was international entertainment. The Alice-in-Wonderland thing about it is that Texans watched those movies too, with consequences for their ideas about themselves– or at least concepts of fashion.

(Yes, the house of mirrors goes back to Zane Gray dime novels. Who was Zane Grey? Never mind. He’s hanging out with Mr Mix & Co. in the astral.)

Ten Tropes in Pictures Drippin’ with Astral Texiness

1. The leading character is a man of apparent western European descent who wears dusty boots, a hat, and more often than not a pistol and holster on a second belt slung around the hips;

2. He has a languid gait;

3. He squints a lot and says little;

4. With counted exceptions he and other leading characters are of reproductive age, and any leading female characters are of prime reproductive age;

5. Frequent sudden loud noises (mainly from gunshots but also oil gushers, cars exploding, cannon blasts, dynamite, galloping, train whistles, and miscellaneous ferocious banging);

6. There may be guitar music, preferably languid but with some loud banging;

7. Multitudinous scenes of extreme physical peril (enhanced by frequent and sudden loud noises);

8. Ditto extreme emotional peril;

9. Ditto super fast motion (on horses, in cars, on planes and/or trains);

10. Characters not of apparent western European descent may or may not be played by Jewish or Italian actors and with counted exceptions, said characters are helpless victims, cyphers, comic relief, or else very bad. 

(My actual experience of non-astral Texas is that it involves highways where drivers generally stay within the speed limits and there are lots of exits to lots of shopping malls. On the Texas highways, even in Far West Texas, it is always possible within about an hour to find either a gas station with hot coffee and Snickers bars and/or a Dairy Queen and/or a McDonald’s. As for all them guns, I’ve spent a lot of time in Far West Texas over the past few years and the one and only occasion anyone took out their gun was when, on a private ranch, after touring some rock art, a lawyer and a professor of medieval history commenced popping targets from the back porch. The BBQ expert I interviewed in Pecos carried a pistol in a holster, but that was because he was also the sheriff. Last I checked, among sheriffs that practice is not exclusive to those of the great state of Texas.)

Herewith, in chronological order, my top bakers dozen of trailers for movies with Extra-Astral Texiness. (I’m not necessarily recommending these; just pointing out a characteristic.)

1. Giant (1956)

James Dean steals the show. Based on Edna Ferber’s novel, Giant. Ferber was born in Kalamazoo, Michigan and was a long-time resident of New York City’s Park Avenue.

#

2. The Searchers (1956)

John Wayne versus the Comanches with the incongruous albeit magnificent scenery of Arizona, California, Canada, and Utah. Loosely based on a novel by Indiana native Alan LeMay which was in turn loosely based on the true story of Cynthia Ann Parker, who was captured by Comanches in Texas.

#

3. The Alamo (1960)

John Wayne as Davy Crockett. Do not have a mouthful of popcorn in process when he tells his Mexican sweetheart, “There’s right and there’s wrong, you got to do one or the other. You do the one and you’re living. You do the other and you’re walking around but you’re dead as a beaver hat.” Filmed in Brackettville, Texas.

#

4. The Man Who Shot Liberty Valance (1962)

Another shoot ’em up directed by John Ford, starring John Wayne (very Extra-Astral Texi), James Stewart (not Texi) and Lee Marvin (eww).

#

5. Hud (1963)

An actor’s actor Paul Newman was, though Millennials know him better as that old gent who, though passed away, still lends his name and handsome visage to the Newman’s Own brand of salad dressings and dog food. As the bully Adonis Hud, Newman exudes Extra-Astral Texiness in the extreme. Based on Larry McMurtry’s novel Horseman, Pass By.

#

6. The Sons of Katie Elder (1965)

“Four brothers who met gunfire with gunfire!” More John Waynerie.

#

7. A Fistful of Dollars (1964)

“The man with no name: Danger fits him like tight black glove.” Not lacking for firearms! The first Sergio Leone “spaghetti western” starring Clint Eastwood in that poncho was a remake of Akira Kurosawa’s samurai flick Yojimbo.

#

8. The Good, the Bad, and the Ugly (1966)

The ultimate Spaghetti western. Pow, boom, whack, crack, pow! The ne plus ultra in Extra-Extra-Uber-Astral Texiness! Californian Clint Eastwood does the hat-poncho-gun-cigar thing in Spain. Watch out, the music by Italian composer Ennio Morricone — a masterpiece–can turn into an earworm. (Listen to the score here.)

#

9. The Life and Times of Judge Roy Bean (1972)

There was a Judge Roy Bean but his biography was more than a bit different from that of the movie character played by Paul Newman. If you can get past Jacqueline Bissette shouting that she is a Bean (oof), you’ll hear Anthony Perkins, his hair ablowin’ in the wind, assert that “This land abounds in ruffians and varmints.”

#

10. Lone Star (1996)

A deft and complex film by writer-director John Sayles, starring Chris Cooper, Kris Kristofferson, and Matthew McConaughey, the then Prince Imperial of Extra-Astral Texiness.

#

11. The Three Burials of Melquiades Estrada (2005)

This is by a section the best of all the films about and filmed in Texas– a much longer list than this one. Directed by Tommy Lee Jones. Screenplay by Guillermo Arriaga. Filmed in the Big Bend.

#

12. No Country for Old Men (2007)

Shooting, more shooting, even more shooting and loud crashes plus some more shooting with Texan Tommy Lee Jones, and Spanish actor Javier Bardem with creepazoid hair. Based on the Cormac McCarthy novel.

#

13. There Will Be Blood (2007)

Once again, radiating super human intensity, English actor Daniel Day Lewis nails the accent. Gushers o’ the black stuff! And the red stuff!

So where are The Wild Bunch (William Holden, too old) and Urban Cowboy (John Travolta, too silly)? Alas, they lack Extra-Astral Texiness. 

UPDATE: I debated about The Magnificent Seven, which was filmed in Mexico. Steve McQueen, yes.

UPDATE: Texan friends recommend Lonesome Dove. I didn’t count it because it was a TV series about taking cattle north and the leads, Tommy Lee Jones and Robert Duvall, struck me as a couple of very un-astral-Texi granpaws. But my opinion isn’t the only one. You can check out the trailer for Lonesome Dove here.

UPDATE: I might have included The Wonderful Country starring Robert Mitchum. But having read the novel by Tom Lea, which I greatly admire, I found the movie jarringly small and the lead miscast.

A Visit to El Paso’s “The Equestrian”

Marfa Mondays Podcast #16:
Tremendous Forms: Paul Chaplo on Finding Composition in the Landscape

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

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

Notes on Artist Xavier González (1898-1993), “Moonlight Over the Chisos,” and a Visit to Mexico City’s Antigua Academia de San Carlos

It was in 2012, when I started on my still in-progress book about Far West Texas, that I first encountered the paintings of Xavier González in the Museum of the Big Bend on the Sul Ross University Campus in Alpine, Texas. I was there to see “The Lost Colony,” an exhibition  of works by painters associated with the summer Art Colony of the Sul Ross College (now Sul Ross State University). The works were from 1921-1950; the Art Colony, formally so-called, spanned the years 1932-1950.

Curator Mary Bones gave me a fascinating interview about “The Lost Colony,” which you can listen to here.)

“MOONLIGHT OVER THE CHISOS,” 1934

The artwork by Xavier González that most enchanted me was his magnificent “Moonlight Over the Chisos” of 1934. It was not in the show itself, however, but tucked into the top of the stairwell leading down to the museum’s map collection– not an ideal location, but no doubt one of the few available walls large enough to accommodate the massive 6 x 14 feet canvas. 

“Moonlight Over the Chisos” is in the tradition of Mexican murals of the 1930s, although technically not a mural, as it is painted on canvas. (In no way do these two photos, snapped with my iPhone and pasted together with a screenshot, do this masterpiece justice. Alas, the painting is so large, I couldn’t back up far enough to fit the whole of it into one shot.) 

(Dear reader, if you haven’t hiked the Chisos, you have yet to live.) 

XAVIER GONZÁLEZ IN MEXICO CITY
(RESEARCH UNDERWAY…)

What also caught my attention was that González had studied art in Mexico City and precisely during the time of great muralists, among them, Diego Rivera. Mary Bones told me: “Xavier González spent many summers down in Mexico and Mexico City looking at the muralists.” 

Born in Almería, Spain in 1898, as a child Xavier González immigrated with his family to Mexico. 

An important influence on his development as an artist was his maternal uncle, the academic painter José Arpa (1858-1952), a native of Spain who later divided his time between Mexico City and San Antonio– and became a leading figure in the art community of the latter, running an art school out of the Witte Museum. According to the notes for “The Three Worlds of Jose Arpa y Perea” exhibition of 2015 from the website of the San Antonio Museum of Art, Arpa won the Rome Prize three times and had been offered the directorship of the Academia de San Carlos, but instead worked independently. In my notes from a visit to González’s archive in the Smithsonian (box 4, unattributed article):

“[José Arpa] received his early art training at the School of Fine Arts in Seville… His first success was in 1891, when his painting of Don Miguel de Manarra won first prize in the Madrid exhibition. Travels in Africa and Europe followed… the Spanish government sent for of his paintings to the first World’s Fair held in Chicago in 1893 as representative of the best of Spain…. shortly after that time the Mexican government sent a man-of-war to Spain and brought him to Mexico to assume charge of the academy of Fine Arts in Mexico City. He later declined the appointment, but remained for many years becoming enthralled with the light and color and movement of the country…”

At age thirteen (circa 1911) Xavier González was studying at the Academia de San Carlos in Mexico City. This was the same time that 15 year old David Siquieros, who was to became one of Mexico’s greatest muralists, was also beginning his studies at San Carlos. (Did they take the same classes?) 

In 1913 the violent stage Revolution intervened… I’m still a little foggy on the details of González’s early life… 

The Lost Colony catalog notes that González studied and worked as a mechanical engineer. In 1922 he was working in Iowa for a railroad. Later he studied at night and graduated from the Chicago Art Institute. In 1925, he was assisting his uncle José Arpa in his art school in San Antonio’s Witte Museum and from 1927-29 he was teaching classes himself.
González became a US citizen in 1930 and the following year took a faculty position at Sophie Newcomb, the women’s college now folded into Tulane University in New Orleans.

From “The Lost Colony” catalog:

“…much of the work was to be done en plein air with frequent trips to the Davis and Chisos Mountains”

> 1932 González conducted the first summer Art Colony at Sul Ross (along with Julius Woeltz and Aline Rather)
> 1933 González in Paris, and also Mexico City (on a leave of absence from Sophie Newcomb College.)
> 1934-1939 González conducted sessions of the summer Art Colony.
> 1935 González married his student Ethel Edwards.

More about Xavier González:
> New York Times obituary; 
> Texas State Historical Association; 
> David Dike Gallery;
> Archives of American Art Xavier González papers –and also the papers of his wife, artist Ethel Edwards 1935-1999). 

I hope to be able to dig into the archives at the Academia de San Carlos to find out when exactly González attended and with whom he studied. I am also curious to learn why his uncle José Arpa, after coming all the way from Spain, did not take the helm at the Academia de San Carlos.

#

A VISIT TO THE ANTIGUA ACADEMIA DE SAN CARLOS
(Not to be confused with the Museo San Carlos, different building, different neighborhood. Uyy, Mexico City is endlessly endless.)

Herewith a batch of notes, GIFs, photos and brief videos from my recent visit to the Antigua Academia de San Carlos which now serves as the National University (UNAM) campus for masters and doctoral degrees in the fine arts. Art history professor Dante Díaz Mendieta leads tours on the last Wednesday of each month. (For details scroll down to the end of this post.)

You’ll find the Antigua Academia de San Carlos a short walk behind the National Palace, at the corner of Moneda and Academia Streets (Calle Moneda y Calle Academia). This GIF shows my approach from Moneda, the National Palace along the right, then the terracotta-colored neoclassic Italianate façade of the Academia de San Carlos. 

APPROACHING THE ANTIGUA ACADEMIA SAN CARLOS FROM CALLE MONEDA

The site of the Academia de San Carlos has been continually occupied for almost 500 years. The land once backed the Aztec emperor Moctezuma’s palace, Casas Nuevas. After the Conquest the parcel became the property of the Church; the original building arose as a hospital specializing in syphilis patients. 

In the late 18th century King Carlos III sent his chief engraver to New Spain– Mexico wasn’t yet Mexico– to establish an academy and so improve the production of coins– hence the Academia de San Carlos’ location, only steps from the Casa de Moneda, the mint for the colony which was founded in 1535. 

Classes began in 1781 and the Academia de las Nobles Artes de San Carlos de la Nueva España, offering instruction in architecture, engraving, painting, and sculpture, was officially inaugurated in 1785.

The oldest fine arts academy in the Americas, San Carlos has been in almost continuous operation for 235 years. It closed in 1822, during the cash-strapped years of the First Empire, and not until 1843 did it reopen, when Santa Anna, in a moment of inspiration, joined it to the lottery which became known as the Lotería de San Carlos. According to the Mexican Lottery website (my translation):

“The San Carlos Lottery utilized its income to acquire important artworks, provide scholarships for the Academia de San Carlos, and to bring important teachers to Mexico among them, the painter Pelegrín Clave, sculptor Manuel Vilar, landscape painter Eugenio Landesio and architect Javier Cavallari… Thanks to this lottery’s economic success it was possible to address other large and urgent needs of the general population in a time of foreign invasions and civil wars that left in the country in circumstances of chronic poverty.”

My 49 second video below shows the entrance, then the central patio before “Winged Victory” and brief look at glass dome which was installed by Antonio Rivas Mercado in 1913. According to Mauricio Tenorio-Trillo in I Speak of the City: Mexico City at the Turn of the Twentieth Century (high recommended):

“Antonio Rivas Mercado was one of the few Mexican architects favored with contracts for major national construction projects. But he was a French-trained architect, a follower of the Paris beaux-arts style, who had lived in London and Paris for many years.”   (p. 22) 

The dome was manufactured in France. Note the Art Nouveau ojos de buey or oval windows, also designed by Rivas Mercado for the section added to help support the dome’s weight. Part of the tour included a jazz concert by Los Cuatro Saxofones (The Four Saxophones).

Here is a much better video made by the university (about 7 minutes, in Spanish):

Winged Victory represents the goddess Nike. Most Mexicans, familiar with the American sports shoe brand, pronounce Nike to rhyme with bike. Professor Díaz Mendieta set his audience straight. In Spanish Nike is pronounced Nee-keh. She is the symbol of the Academia de San Carlos. The other 19th century plaster casts of iconic Greek and Renaissance sculptures, including Michelangelo’s Moses and head of David, are not for decoration but for the students to copy.

This handsome gallery of walnut wood and gold leaf features a ceiling decorated with portraits of artists and scientists including Copernicus and Raphael. A few of the heads fell off during the 1985 earthquake.  There was little light by this time, alas; the colors in this room are actually rich and brilliant.

And this is the Centennial Gallery, decorated in the then fashionable Frenchified festoonerie for the academy’s 100th anniversary:

Voilà, Weltschmerzerie and sparkly donuts:

Finally, here is a GIF of Professor Díaz Mendieta wrapping up the tour in the torreo or bullring, an original classroom. The torreo was used not for making art but teaching theory and history of art. No doubt Diego Rivera addressed students here, as did his professor, Santiago Rebull, and many more in a long list of Mexico’s greatest artists. 

PROFESSOR DANTE DIAZ MENDIETA IN EL TORREO, OR THE BULLRING, THE CLASSROOM AT THE ANTIGUA ACADEMIA DE SAN CARLOS

The desks are notably narrower than in classrooms today. The room (was it windowless?) felt a smidge creepy.

SIDEBAR (FROM ONE VERY MACHO MUNDO): 
A FEW OF THE NOTABLE ARTISTS OF THE ACADEMIA DE SAN CARLOS, BY DATE OF BIRTH

MANUEL TOLSA, AN ARCHITECT AND SCULPTOR WHO MERITS AT LEAST 378 BLOG POSTS

Manuel Tolsá (1757-1816)

SANTIAGO REBULL, MAXIMILIAN’S COURT PAINTER; LATER ONE OF DIEGO RIVERA’S PROFESSORS AT THE ACADEMIA DE SAN CARLOS

Santiago Rebull (1829-1902)

José María Velasco (1840-1912)

Antonio Rivas Mercado (1853-1927)

Jesús Fructuoso Contreras (1866-1902)

Dr. Atl (Gerardo Murillo) (1875-1964)

José Clemente Orozco (1883-1949)

Diego Rivera (1886-1957)

Saturnino Herrán (1887-1918)

David Siquieros (1896-1974)

Xavier González (1898-1993)

Rufino Tamayo (1899-1991)

Luis Nishizawa (1918-2014)

¿FANTASMAS? POR SUPUESTO, AMIGOS

The great glass dome had gone dark when Professor Díaz Mendieta concluded on the wicked note that of course there are ghosts in here: a little girl who laughs; loud knocks; and, as the nightwatchman swears, on occasion in the wee hours of the night, moving from one side of the entrance foyer and disappearing into the opposite wall, a procession of monks holding torchlights. 

Recently the National Institute of Anthropology and History (INAH) conducted an excavation that turned up 17 bodies. Presumably these were not of art students but syphilis patients of the 18th, 17th, or even 16th century.

¿Y LA FRIDA?

It’s impossible to talk about Mexican artists without mentioning Frida Kahlo. No, Professor Díaz Mendieta answered the question, Frida did not take classes at the Academia de San Carlos; at that time it was for men only, but Frida hung out here (andaba aquí) with her sweetheart, Diego Rivera.

In a future blog post I will talking about González’s wife Ethel Edwards; also about noted Texas regionalist painter Julius Woeltz (1911-1956), a student of González’s who taught at the summer art colony at Sul Ross and who accompanied González on some of his trips to paint in Mexico City in 1934 and 1935. (Woeltz also served as best man at González’s wedding.) I hope to also unearth more about Woeltz in the archives of the Academia de San Carlos. Stay tuned. Curator Mary Bones also talks about these and many other artists of the “Lost Colony” in my “Marfa Mondays” podcast interview. Again, that recording and transcript are available free here.

#

HOW TO GET THE TOUR

On the last Wednesday of every month, at 7 PM, UNAM art history professor Dante Díaz Mendieta offers a free tour, no reservations required. (In Spanish, of course.) Check for updates on the Facebook pages “Difusión San Carlos” or “GestionCulturalSanCarlos” or call tel. 5522-0630 ext 228. 

A tour of the Academia de San Carlos is also included in the annual Festival del Centro Histórico de la Ciudad de México. The 2016 Festival concluded in March; look for it again in 2017.

An Interview with Alan Rojas Orzechowski 
about Maximilian’s Court Painter, Santiago Rebull

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

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

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

Global Migration: People and Their Stories (Introduction to the Panel with Elizabeth Hay, Lisa See, Luis Alberto Urrea, and Juan Villoro at the San Miguel Writers’ Conference)

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.

PANELISTS: ELIZABETH HAY, LISA SEE, LUIS ALBERTO URREA, AND JUAN VILLORO 

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. It is 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.

John Bankhead Magruder: A Military Reappraisal by Thomas M. Settles

Q & A: Sara Mansfield Taber on Chance Particulars: A Writer’s Field Notebook

A Glimpse of the New Literary Puzzlescape


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


My new book is Meteor

Q & A: Carolina Castillo Crimm, Author of “De León: A Tejano Family History”

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.

P.S. Check out Carolina Castillo Crimm’s website, and be sure to watch the video of her fascinating talk about Bernardo de Gálvez. 

Blood Over Salt in Borderlands Texas:
Q & A with Paul Cool, Author of
Salt Wars

Q & A with David A. Taylor, Author of Cork Wars:
Intrigue and Industry in World War II

Notes on Wolfgang Schivelbusch’s The Railway Journey:
The Industrialization of Time and Space in the Nineteenth Century

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

> Visit Paul Cool’s website here.

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

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

#

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

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

The Strangely Beautiful Sierra Madera Astrobleme

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

> Visit John B. Kachuba’s webpage here.

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

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

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

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

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

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

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

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

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

My podcasting assistant checks out the PORTA-BOOTH

1. No Commitment 

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

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


2. Intentionally Vague Commitment

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

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

3. Meaningful but Capped Commitment

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

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

4. High Commitment

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

Why I Am a Mega-Fan of the FiloFax

Translating Across the Border

The Strangely Beautiful Sierra Madera Astrobleme

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


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

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

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

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

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

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

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

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

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

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

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

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

Translating Across the Border

#

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

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

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

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

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

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

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

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

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

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

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

ALTA, Tucson, Arizona, 
October 31, 2015

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

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

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

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

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

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

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

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

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

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

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

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

#   #   #

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

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

Diction Drops and Spikes

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