On Francisco I. Madero as Medium: Q & A with Rev. Stephen A. Hermann, Author of Mediumship Mastery

Francisco I. Madero, leader of the 1910 Revolution, President of Mexico (1911-1913) and author of Manual espírita (Spiritist Manual), 1911

The astonishing thing about Francisco I. Madero’s Manual espírita of 1911 is that it lays out his philosophy so passionately and precisely, and yet, with counted exceptions (among them, Mexican historians TortoleroGuerra de Luna, and Rosas), apart from cursory mentions, historians have told us nearly nothing about this text, its origins, broader esoteric cultural context, and profound implications for understanding Madero’s actions as leader of the 1910 Revolution and as President of Mexico. My translation of Madero’s Manual espírita— the first into English and, as far as I have been able to ascertain, into any language— is included in my book, Metaphysical Odyssey into the Mexican Revolution: Francisco I. Madero and His Secret Book, Spiritist Manual.

>>Click here to view a one minute-long Mexican government video which gives a very basic idea of the official version of Madero’s importance in Mexico.<<

Madero was a medium in the Spiritist tradition of the late 19th and early 20th centuries of France and Mexico. While Metaphysical Odyssey into the Mexican Revolution is a scholarly contribution, I write about Madero and his Spiritist Manual not as an academic historian, but as his translator and as a creative writer who has lived in and written about Mexico for many years. I presumed that most of my readers would encounter Madero’s ideas about communicating with the dead extremely peculiar, even disturbing. For the most part this has been the case. To give one of several (to me, amusing) examples, one prominent Mexico expert who shall remain unnamed felt moved to inform me that, though he very much enjoyed my book, he would not be reading Spiritist Manual.

That said, I am grateful to have been invited to speak about it at the Centro de Estudios de la Historia de México CARSO, Mexico City’s National Palace, Rice University, Stanford University, UCSD Center for US-Mexican Studies, and elsewhere, and to date, historians of Mexico and other scholars in these audiences have been both thoughtful and generous in their comments.

To my surprise, however, the Internet has brought my and Madero’s books another, very different audience, one that encounters the Spiritist Manual as, shall we say, a vintage text out of a well-known and warmly embraced tradition. 

Rev. Stephen A. Hermann
www.stevehermannmedium.com

In his review for the National SpiritualistRev. Stephen A. Hermann writes, “Anyone interested in the history of international Spiritualism as well as as mediumnistic unfoldment will find this manual invaluable.”

With the aim of providing further historical and philosophical context for Francisco I. Madero and his Spiritist Manual, I asked Rev. Hermann if, from the perspective of a practicing medium and teacher of mediumship— and author of the just-published Mediumship Mastery: The Mechanics of Receiving Spirit Communications— he would be so kind as to answer some of my questions about Madero as a medium and about his philosophy.

ON MADERO AS MEDIUM

C.M. MAYO: In your book, Mediumship Mastery, you distinguish between two broad types of mediumship, mental and physical. “Automatic writing” you categorize as both. Francisco I. Madero was a writing medium, that is, a medium who channeled messages from the spirit world through his hand and pen onto paper. Can you explain this? And, is this type of mediumship still common today?

STEPHEN A. HERMANN: Madero practiced automatic writing in which spirit personalities would control the movements of his arm and hand to write messages. It is common for many people, not knowing the difference, to confuse automatic writing with the phase of mediumship known as inspirational writing. With inspirational writing the medium’s conscious and unconscious mind are very much involved with the process. Genuine automatic writing occurs typically quite rapidly with the medium unable to control the movements taking place. The conscious mind of the medium is not involved in the process and the medium could even be engaged in a conversation with others while the writing is produced.

In the period that Madero developed his mediumship the practice of automatic writing, the use of planchette and table for spirit communication was quite common for many mediums. Madero was heavily influenced by the writings of the French Spiritualist Kardec, whose classic Medium’s Book was widely used by students of spirit communication as a standard for mediumistic unfoldment. 

As a phase of mediumship automatic writing is not commonly practiced the way it would have been a century ago. In most countries around the world most mediums practice mental phases of mediumship such as clairvoyance, clairaudience and clairsentience (psychic seeing, hearing and sensing). There are also many mediums who practice controlled speaking or trance channeling.

C.M. MAYO: How how would you, as a medium, evaluate Madero’s mediumnistic notebooks? (These are preserved in his archive in Mexico’s Ministry of Finance; in my book, I quoted from some of them, communications in Madero’s handwriting signed by “Raúl,” “José” and “B.J.”).

STEPHEN A. HERMANN: I was impressed by Madero’s dedication to God, the spirit world and his mission to help Mexico. He certainly appears to have lived by higher spiritual principles. The communications that he received I feel were genuine and indicate the great effort of teachers in the spirit world to use him as a positive influence in the material world. I would love to see all his notebooks published and your book distributed even more as Madero’s work is an excellent example of a politician motivated selflessly out of love and duty.

[C.M. MAYO: The mediumnistic notebooks have been transcribed and published in volume VI. of Obras completas de Francisco Ignacio Madero, edited by Alejandro Rosas Robles, Editorial Clío, Mexico, 2000. For more about the work of Alejandro Rosas Robles and other Mexican historians on Madero and esoteric philosophy, see my post Lifting the (Very Heavy) Curtain on the Leader of Mexico’s 1910 Revolution].

C.M. MAYO: It seems that by the time Madero became president he was no longer channeling written messages but instead relied on “inspiration” or telepathic communication from spirits. My understanding is that Madero considered this an advance in his mediumnistic abilities. Would you agree?

STEPHEN A. HERMANN: A student of mediumship is always progressing and as such the manner that his or her mediumship functions will evolve accordingly. I assume that Madero would have put considerable effort into growing as an individual as well as enhancing his own mediumistic skills. It is not that one phase of mediumship is better than another. All spiritual gifts are ways for the spirit personalities to bring love and healing to people in the material world. It is very common for mediums to develop new phases of mediumship as they gain experience and are ready. Madero was very progressive in all aspects of his life.

C.M. MAYO: One of the questions I invariably hear in any presentation or conference about Madero and his Spiritism is that, if he really were hearing from spirits, why did they not warn him about the coup d’etat of 1913, so that he could save himself? (Perhaps because as President coping with the challenges of governing, he no longer had the peace of mind to listen?) In Mediumship Mastery (p. 154-155) you write, “While warnings might be given in order to prevent a mishap, telling the recipient negative information such as he or she is going to die next week or be involved in a serious accident, generally would not come through with controlled regulated mediumship.” Can you explain and/or elaborate?

STEPHEN A. HERMANN: Madero would have been under great stress so it is very possible that his own mind would not have been receptive to warnings given by his guardians in the spirit world. On the other hand, we do not know the full picture in terms of his karma or lessons in this lifetime. Madero performed great works when he was physically present. I am sure that these great works would have continued in other realms after his physical death.

C.M. MAYO: In the introduction to your book, Mediumship Mastery, you mention that you trained as a hypnotherapist. From his personal library we know that Madero was intensely interested in hypnotism. Would this knowledge have enhanced his abilities as a medium and as a political leader? And if so, how?

STEPHEN A. HERMANN: Kardec and many of the pioneers of the Spiritualist movement studied Mesmerism and altered-states-of-consciousness. The awareness of inducing trance states is crucial for the development of mediumistic ability. For example, with clairvoyance the more the medium is able to place his or her mind into a receptive state and get the analytical mind out of the way, the easier it will be to receive as well as accurately interpret spirit messages given in this manner. Mediumship mastery requires considerable discipline on the part of the medium. Hypnosis is an effective tool for helping student mediums train their minds and open up as instruments for the spirit personalities to work through.

ON SPIRITISM, SPIRITUALISM, 
THE PHILIPPINES, AND PSYCHIC SURGERY

C.M. MAYO: Spiritism developed in France from the root of Anglo-American Spiritualism. As a medium who has practiced and taught in various countries from the U.S. to New Zealand and including in the Philippines, do you see important differences in these traditions, Spiritualism and Spiritism, today?

STEPHEN A. HERMANN: Spiritism and Spiritualism are branches of the same tree. A Spiritist is a Spiritualist who follows primarily the doctrine found within Kardec’s writings. Anglo-American Spiritualists do not limit themselves to Kardec’s writings and as a whole have not officially embraced the concept of reincarnation. The Spiritist approach generally places more emphasis on higher philosophy and less on phenomena or providing evidence of survival as the Spiritualist approach emphasizes. I think as a whole the Spiritist approach tends to be more progressive than what is found in many Spiritualist churches. However, Spiritists can be a bit dogmatic in adhering to Kardec’s writings.

C.M. MAYO: In your chapter “Spiritiual Healing” you discuss psychic surgery in the Philippines. Though Madero does not discuss psychic surgery in the Spiritist Manual, in my book, Metaphysical Odyssey into the Mexican Revolution, I mention the Filipino and Brazilian psychic surgeons as well as some Mexicans including Niño Fidencio and Doña Pachita because they are well-known in Mexico and I felt they represented traditions that could claim at least some tangly bit of roots in the early 20th century Spiritism of Madero. Would you agree? Also, have you practiced and/or witnessed any psychic surgery yourself?

STEPHEN A. HERMANN: There have always been mediums or healers in all cultures. The Philippines were a Spanish colony for almost three hundred years. Many of the leaders of the revolution against Spanish rule were involved in the practice of Spiritualism. Kardec’s writings were again a major influence in this part of the world.

I teach mediumship and healing worldwide and the Philippines is one of the countries I regularly visit. Over the years I have witnessed and experienced many remarkable physical and emotional healings with my own mediumship as well as the mediumship of others. With healing God is the healer and we are only vehicles for God’s unconditional love to work through. Yes, I practice psychic surgery with the help of spirit doctors. However, I do not pull blood and guts out of people and drop it in a tin can as many Filipino healers do.

C.M. MAYO: My understanding is that Spiritism arrived in the Philippines with Spanish translations of Kardec’s works. Presumably many of these came out Barcelona, an important center for esoteric publishing (and indeed, many of the books in Madero’s personal library were from Barcelona). When I discovered that Madero’s 1911 Manual espírita had been reprinted by Casa Editorial Maucci in Barcelona in 1924, I immediately wondered whether any copies had made their way to the Philippines and so played some role in the spread of Spiritism there. Do you know anything about this?

STEPHEN A. HERMANN: I do not know anything about this. Don Juan Alvear in 1901 founded the first Spiritist center in San Fabrian, Pangasinan. I have worked at this center many times and the energy is amazing. Alvear was a great political leader, educator and prominent intellectual. Like Madero, Alvear authored a book on mediumship and was a hero of the revolution. His statue is outside the government building and across the street from the Spiritist center he founded.

[C.M. MAYO: See Hermann’s blog post about some history of Spiritism in the Philippines here. And for more about Spiritism in the Philippines, a subject on which I am admittedly very foggy, one place to start is Harvey Martin’s The Secret Teachings of the Espiritistas.]

ON THE BHAGAVAD-GITA AND REINCARNATION

C.M. MAYO: In many places in your book, Mediumship Mastery, you quote from the Bhagavad-Gita.This was a work that fascinated Madero; he not only mentions it in his Spiritist Manual, but under the pseudonym “Arjuna”— the name of the warrior in the Bhagavad-Gita— he wrote articles about it and was planning a book about its wisdom for the modern world. The Bhagavad-Gita also had an important influence on Gandhi, Emerson, the Theosophists, and many others. One of its many teachings is about reincarnation. In your book’s chapter “Past Life Readings,” you mention that you have recollections of some of your past lives and also have received communications from spirits about others’ past lives. Would you elaborate on reincarnation as explained in the Gita?

STEPHEN A. HERMANN: The Bhagavad Gita is a conversation between the Supreme Personality and Arjuna. I try to read it as much as possible. Life is eternal as the personality continues into the world of spirit. The Bhagavad Gita explains the science of connecting with the Godhead and how to cultivate devotion or love of God. Every seven years pretty much all the molecules in our physical bodies change. So we are always changing physical bodies. Based on our consciousness at the end of this physical life we will end up having to take another physical birth. The Gita explains the process of transmigration and how we can ascend to higher levels.

C.M. MAYO: Like Madero in his Spiritist Manual, in your book, Mediumship Mastery, you advocate a vegetarian diet. Is this an idea that came to Spiritualism / Spiritism from Hindu philosophy?

STEPHEN A. HERMANN: Higher teachers on both the physical and spiritual worlds always advocate vegetarianism as it is very bad to hurt animals and cause suffering to others. A true follower of Jesus would not want to hurt others as would a true follower of Buddha. There is only one God and we are all God’s children. I am sure Madero was influenced by Vedic teachings which is why he loved the Bhagavad Gita.

MORE ABOUT MADERO’S SPIRITIST MANUAL

C.M. MAYO: What surprised you the most about Madero’s Spiritist Manual?

STEPHEN A. HERMANN: I really loved reading the Spiritist Manual. It didn’t really surprise me as I am familiar with everything he wrote already. However, I especially loved reading the extra sections about your research and his notes, etc. I think you did a fantastic job.

C.M. MAYO: In terms of his understanding of mediumnistic unfoldment—or anything else—are there any points where you would disagree with Madero’s Spiritist Manual?

STEPHEN A. HERMANN: Madero approaches mediumship heavily influenced by Kardec’s Medium’s Book. Nothing wrong with that as Kardec’s work was way ahead of it’s time when it was published in 1861. However, the methods and approaches used by the spirit personalities to communicate, train and interact with mediums have greatly improved.

Back in the early years of Spiritualism there were no teachers of mediumship. Mediums learned through trial and error and with the assistance and input of teachers in the spirit world overtime created structured approaches to the unfoldment of the various phases of mediumship.

Madero was brilliant and had he not have been murdered his mediumship would have expanded even more. Love, harmony, enthusiasm, and higher purpose are the qualities needed to create the best conditions for successful mediumistic communications. Madero possessed all these qualities and more.

In the early years of Spiritualism there was much physical phenomena or manifestations of spirit power that could be directly experienced through the five physical senses. Nowadays, people are much more intellectually oriented and as such the mediumship practiced is mainly mental or telepathic in nature. It is not that one method is better but just better suited for the age. The methods for training mediums have greatly improved and expanded in the last 168 years.


C.M. MAYO: As you were reading Madero’s Spiritist Manual, or before or afterwards, did you ever sense that you were in communication with / sensing Madero’s spirit? Is there anything you would like to say about that?

STEPHEN A. HERMANN: I would think that Madero most likely would have been around you a lot when you were researching and writing the book. I do not know if he was around me when I was reading the book, but I do feel that he and I would have a lot in common if we were to meet. I think we would get along pretty well as I can relate to where he was at in terms of his mediumship and his spirituality in general.

C.M. MAYO: In your book, Mediumship Mastery (p. 9) you introduce the subtle bodies that interpenetrate the physical body. As I read it, this is a somewhat different explanation from given by Madero where he, following Kardec, talks about the “perispirit.” Can you explain?

STEPHEN A. HERMANN: The perispirit is the subtle or astral covering. Madero uses Kardec’s terminology. We have a physical body with subtle bodies interpenetrating it. After physical death the soul continues to function through the astral body and travels into the spirit world.

ON MEDIUMSHIP AND ENERGIES

C.M. MAYO: My experience has been that not all but most people either dismiss mediumship as impossible or, believing it possible, are frightened that, in calling on the spirit world, they might encounter negative entities. In particular, the Catholic and many other churches sternly warn against dabbling in conjuring spirits, especially with Ouija boards. In the introduction to your book, Mediumship Mastery, you write, “In all my years of working as a medium, I have never experienced anything negative or that made me feel uncomfortable. My experience of mediumship has always been genuinely positive, loving, and comfortable.” It would seem, from my reading of the Spiritist Manual, that Madero would have agreed. But has this been the case for others you know?

STEPHEN A. HERMANN: Mediumship is all about love and healing. However, training is important as is proper motivation. Someone could have a bad experience with mediumship if they dabble in it or go about doing it in a superficial way. Spiritual mediumship is completely orchestrated by higher spirit personalities. Mediumship is not a board game for drunk teenagers to play at 2 AM. Like attracts like.

C.M. MAYO: In your book’s final chapter, “Dealing with Skeptics,” you write, “People who are closed off and negative for any reason, which would include hardcore skeptics, are exceptionally more difficult to work with as the energies are not as strong, the links to the spirit world weaker, and the connections more incomplete and vague.”

It seems to me that U.S. Ambassador Henry Lane Wilson, who disdained Madero as mentally unbalanced and who, for his support for the coup d’etat that ended with Madero’s murder in 1913, has gone down as one of the archvillians of Mexican history, had much in common with the rigidmindedness of celebrity skeptics such as the Amazing Randi. Would you agree?

STEPHEN A. HERMANN: I don’t know Randi personally nor do I know the US Ambassador of that period. Who knows what motivates people on a deeper level? However, Randi does seem very closed off to higher consciousness and intuitive ability. I suspect that Ambassador Wilson was motivated completely by lower, selfish interests and as a result would have cut himself off from higher spiritual influences.

Skeptics are not necessarily immoral or callous individuals. They just do not often believe in the mystical and are highly suspect of claims that do not fit their rationalist view of the world. I appreciate skepticism as many people are completely gullible and easily misled. It is important to not throw out your intelligence when dealing with mediumship as there is a fine line with genuine psychic impressions and your own imagination.

#

> Visit the webpage of Rev. Stephen A. Hermann, author of Mediumship Mastery

> Visit the web page for Metaphysical Odyssey into the Mexican Revolution: Francisco I. Madero and His Secret Book 

Visit the webpage for my book, together with a transcription of Madero’s Manual espírita, in Spanish, Odisea metafísica hacia la Revolución Mexicana.

> Visit the webpage for Resources for Researchers

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

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

The Book As Thoughtform, the Book As Object: 
A Book Rescued, a Book Attacked, and 
Katherine Dunn’s Beautiful Book White Dog Arrives

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

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

BOOK REVIEW by C.M. Mayo

The Pecan: A History of America’s Native Nut 
by James McWilliams
The University of Texas Press, 2013
ISBN 978-0-292-74916-0
Hardcover pp. 192

Crisply entertaining and chock-full of crunchy research by a food historian, this apparently delicious little book on America’s native nut— (and isn’t the cover charming?)—  is a horror story. 

It opens, as the darkest do, with a sunny scene of innocence. Clustered along river bottoms in what would one day become Texas, groves of pecan trees rained down their bounty for wildlife and indigenous peoples. For centuries, pecans were their superfood, dense with calories and nutrition. In the 16th century, Alvar Nuñez Cabeza de Vaca, the conquistador who shipwrecked en route to Florida and wandered west, found the Guadalupe River “a river of nuts”— although he had no word for them but “walnut.” The name “pecan” dates from the late 18th century.

Those are not pecan trees at Monticello.

The pecan did not do well further north. Thomas Jefferson planted some 200 pecan trees in Monticello; none survive. Where nuts were wanted, European walnut varieties proved more popular and versatile, so the pecan was left to do what it had always done, thrive in its wild state along river bottoms, mainly in what is today Texas. Notes McWilliams, “unlike any other fruit-bearing tree in the age of cultivation, the pecan managed to evade the cultivating hand of man for centuries after humans began exploiting it for food.”

Yum!

In the nineteenth century, as ranching and cash crops such as cotton, corn and wheat spread across the South and Midwest, many pecan trees disappeared; nonetheless, a large number of pecan groves survived, especially in Texas, because they clung to riverbanks and bottoms, and proved able to survive a flood other crops could not.

Farmers found wild pecans not only delicious as snacks for themselves, but good pig feed, and bags of them, easily gathered, could be sold in new markets in San Antonio, Galveston, and New Orleans. In the second half of the 19th century, Texas took the lead in pecan production, but not from formal orchards; for the most part, farmers gathered wild pecans.

How to sell more pecans? The market wanted uniformity, thin shells, and dense nut meats. Even the most magnificent pecan tree’s seed, however, would not “come true,” that is, bring forth a tree producing equivalent quality nuts. The solution was grafting. As early as 1822 one Abner Landrum detailed his own successful experiments with pecan grafting in the American Farmer. It seems no farmer bothered to emulate that experiment. The market for pecans was still marginal and, as McWilliams ventures, “it was simply more macho to run a ranch with cattle than to turn that land over to pecans.”

The Big House at Oak Alley Plantation

In the mid-century 19th century, in the Oak Alley Plantation in Louisiana, a slave gardener named Antoine successfully grafted an orchard of more than 100 fabulously productive pecan trees. Decades later, the plantation’s new German owner, Herbert Bonzano, brought the nuts of those grafted pecans to Philadelphia’s 1876 Centennial Exposition. And thus, like so many other fruits before it, the pecan was at last, if slowly, on the road to industrial production— a road, like that to Hell, paved with good intentions.

For a time, farmers relied on wild pecans, resisting experts’ advice to graft pecans, perhaps out of innate conservatism and a reluctance to becoming dependent on nurserymen. Attitudes soon changed. After a series of insect plagues in the last three decades of the 19th century decimated major cash crops, the USDA championed chemical insecticides that, “lo and behold, worked.” Writes McWilliams, “The USDA was no oracle, but as pecan farmers recognized, history showed it could make life much easier for those who tilled the soil for a living. So long as they would listen.” Listen they did. 

The 20th century brought increasing industrialization in pecan production. After World War I, writes McWilliams, “pecan trees were becoming carefully managed commodities rather than natural aspects of the southern landscape.” As for shelling, an important source of employment in San Antonio in the 30s, after some labor unrest, this was given over to machines. 

In World War II the U.S. government gave the pecan industry a push, promoting the nuts as nutritious replacements for meat; and after imposing price ceilings to help promote consumer demand, buying up millions of pounds of surplus pecans (many fed to schoolchildren). By the late 1940s, pecans were no longer holiday treats or just for pralines, they were in everything from cakes to cookies to pies, even salads. McWilliams: “The aristocrat of nuts had become a commoner.”

McWilliams brings the pecan through the rest of its 20th century history with mail order, frozen foods, processed foods, chain restaurants, granola, and ice cream; its oil extracted for lubricants in clocks and guns, its wood milled for basketball court flooring, its shells collected for mulch, barbecue chips, plywood, pesticides, and more. By 2011, when the author tours a Texan pecan farm, he is stuck with dark wonder:

“First, the entire operation is a streamlined model of mechanization. Vehicles designed to fit snugly between seemingly endless rows of perfectly aligned pecan trees spray pesticides, herbicides, and fungicides; they lay mulch, prune trees, apply fertilizer, and harvest nuts. Other machines disk the soil and smooth the turf between the trees so that fallen nuts do not elude harvest. At times helicopters are even brought in for the purpose of keeping frost from icing the nuts. Propane cannons are on hand to scare off crows. It occurred to me as we drove from orchard to orchard that there was nothing ‘natural’ about a contemporary pecan orchard. I was looking at a factory in the field.”

Oh, but it gets stranger. The money isn’t so much in the pecans as it is in shipping trees from the nursery to China. In 2001, Chinese did not have a word for pecan. Today pecans are a popular health food in China, available everywhere from airports to gas stations. It seems a question of time before the Chinese outstrip the U.S. in pecan production.

The future of the pecan, a “chemically saturated activity,” whether in the U.S. or China or elsewhere, looks grim. Arsenals of insecticides are increasingly necessary to combat aphids, beetles, weevils and more. These chemicals also threaten bees and other pollinators (and without them, our food supply as we know it may collapse). Plant diseases are also becoming increasingly resistant to chemical assault. The soil degrades. At some point— perhaps when China has become the top producer; perhaps when some insect or fungus has wiped out enough orchards; or in the wake of some ecological or economic jolt— it may become unprofitable to continue producing pecans in the U.S., the grafted and chemically attended ones for the mass market, that is. 

What then will have become of the now few stands of wild pecans? The good intentions of many decades—ye olde single-minded “economic development”— have brought this once thriving wild nut tree to a state of such fragility that, concludes McWilliams, “we may well lose yet another natural thread to the past.”

Lone Star Nation: How Texas Will Transform America by Richard Parker

Marfa Mondays Podcasting Project:
Cynthia McAllister with the Buzz on the Bees

A Visit to El Paso’s “The Equestrian”

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

Q & A: Roger Greenwald, Poet and Literary Translator of Gunnar Harding

ROGER GREENWALD, POET AND TRANSLATOR
Photo by Alf Magne Heskja  

I got poet Roger Greenwald on my radar when we crossed paths at last year’s American Literary Translators Association (ALTA) conference in Milwaukee [see my post Why Translate?], and I began to read his gorgeous latest translation, Guarding the Air: Selected Poems of Gunnar Harding. (Greenwald’s latest book, actually, is Slow Mountain Train, more about that after the Q & A. Important point: I have always believed, for it has always been my experience, that the best literary translators are poets.)

Gunnar Harding, a jazz musician, painter, essayist and a translator himself, is one of Sweden’s leading poets. Surely Harding is one of Sweden’s most prolific as well; Greenwald has selected numerous poems from more than a dozen of his books. Strange, witty and jazzy, Harding’s poems wing from the moon’s Sea of Tranquility to nickels in a jukebox (“Rebel without a Cause”).  

GUNNAR HARDING, Swedish literary legend

> Visit Greenwald’s webpage for the book, which includes some of the poems and a video of the launch, here

Read the review by Christine Roe for Words Without Borders. “Spanning a lifetime of poetry, Guarding the Air pays homage to tragically under-translated Swedish literary legend”

Gunnar Harding on Swedish Wikipedia
(Note: I’m not a fan of Wikipedia, but alas I could not find much else on Gunnar Harding. Caveat emptor.)

ROGER GREENWALD attended The City College of New York and the Poetry Project workshop at St. Mark’s Church In-the-Bowery, then completed graduate degrees at the University of Toronto. His poetry has appeared in such journals as The World, Pequod, Pleiades, Poetry East, Prism International, The Spirit That Moves Us, The Texas Observer, Great River Review, and Leviathan Quarterly. He has won two Canadian Broadcasting Corp. Literary Awards (poetry and travel literature) and has published two books of poems: Connecting Flight from Williams-Wallace in Toronto and in April 2015, Slow Mountain Train, from Tiger Bark Press in Rochester, New York.

C.M. MAYO: In a sentence, why should readers pick up this book?

ROGER GREENWALD: This selection spans the whole career of a major poet whose work is accessible and appealing– and also strong in both idea and feeling.


C.M. MAYO: What were the challenges for you as a translator?

ROGER GREENWALD: First I had to understand each poem in depth, of course, and in this case that meant understanding not only the language and the “argument,” but a broad range of allusions to other literary works, paintings, recorded music, places, people, and so on. (I’ve put pointers to these in endnotes.)  

The biggest challenge, as always, was to write in English poems that had something like the voice and the music of the source. People assume that it is easier to translate poems written in a colloquial voice than to translate work full of neologisms, broken syntax, word play, and other notoriously “tough” features. But the fact is that those features give a translator license to be creative and sometimes to sound “strange”; whereas to translate a whole book in a colloquial voice, getting the literal sense and the line units and the music right while never once sounding odd or “translated” is just as hard or harder.

C.M. MAYO: What advice would you offer others who might consider undertaking a poetry translation?

ROGER GREENWALD: Translate into your native language. If you’re not doing that, you need to collaborate with a poet whose native language is the target language. Try to live for at least a year in the country that your poet and his or her language come from. Read not just the major works from that country’s literature, but some of what children read in school years, like fairy tales. Get to know some of the art and music. Watch TV and listen to radio. And ask a lot of questions, especially about the language, its idioms, its peculiarities. When you start understanding friends’ jokes, stand-up comics, and locally made comedy films, you will know your cultural immersion has worked.

C.M. MAYO: As a member of the American Literary Translators Association (ALTA), can you talk about what the benefits have been for you as a translator?

ROGER GREENWALD: The greatest benefits have come from sharing knowledge and experiences with other translators. Seeing and hearing their work and discussing how they approached certain texts gave me useful insights into practice. But it was also important to learn about how to navigate relationships with authors and their publishers, how to find suitable potential English-language publishers, how to present work to those, and how to avoid getting burned by unfair contracts. Simply hearing, in the Bilingual Reading series at ALTA conferences, a great range of usually unpublished work, some of it still in progress, has been an ongoing source of delight and inspiration. 

And beyond that, it’s worth saying that literary translators have to be some of the most interesting people in the world, with extremely diverse backgrounds, experiences of foreign cultures, and knowledge of wonderful writers who are little known in English, even if their work has been translated and published. So it has been great to get to know my fascinating colleagues!

C.M. MAYO: Are there are other associations you would recommend?

ROGER GREENWALD: None that I belong to. But I have had it in mind for some time to look into the Authors Guild, because it is focused on advocating for fair treatment of authors and translators. And this seems to be an issue of growing concern as digital media undermine publishing revenue, and as companies like Amazon demand deep discounts and exert downward pressure on the sale price of both paper and electronic books.

[C.M.: See my post Shout-out for the Authors Guild.]

C.M. MAYO: Where can readers find a copy of this book? 

ROGER GREENWALD: I’m happy to say that the publisher of Guarding the Air has excellent worldwide distribution. So readers can buy it directly from the press at www.blackwidowpress.com (choose “Modern Poets” or use Search); they can order it through any independent bookseller they care to support; or they can buy it on line from Amazon or Barnes & Noble

It’s also worth remembering that readers can ask their public library or their college library to acquire the book.

+ + + + + + + + + + 
+ + + + + + + + + + 

From Roger Greenwald’s new book of poems, Slow Mountain Train:

From the B. Traven Conferences in Berlin / Plus Cyberflanerie

Q & A: Independent Publisher Michele Orwin,
Founding Editor of Bacon Press Books

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

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


“So Good They Can’t Ignore You” by Cal Newport

So Good They Can’t Ignore You:
Why Skills Trump Passion in the Quest for Work You Love
By Cal Newport
Grand Central Publishing, 2012
ISBN: 978-1455528042

My heart sank when I opened the box from amazon.com. Why had I bought a hardcover edition of what surely must be airport-bookstore-biz-section fluffo? (When I indulge in fluffo it’s the cheaper Kindle editions— and only for perusing on airplanes, hair salons, and the like). But lo, Cal Newport’s So Good They Can’t Ignore You turns out to be both an unusually insightful and practical book. It’s addressed to younger readers, from wannabe movie actors to disgruntled cubicle workers to maybe-biologists-maybe-astrophysicists, but of course I read it as the 50-something literary writer that I am. I’ve “made it” as a writer, I guess you could say, if only because I’m still at it after having published several books, and every once in a while I get the breeze-at-my-back of a glowing review or an award or an invitation to speak. And I’ve taught creative writing workshops for over a decade, so I’ve had many a conversation with beginning writers who want to “follow their passion.” In sum, I hereby throw the weight, such as it may be, of my career and experience behind Cal Newport’s Rule #1: Don’t Follow Your Passion.

Rule #1: Don’t Follow Your Passion

That may sound strange, for I am passionate about what I do. In a sentence: passion isn’t enough because it will never be enough. (And as any writer, or any artist, passionate about their work can tell you, some days are just head-banging torture.) When beginning writers say they have passion for writing, methinks what they really have passion for is their idea of being a writer, which is as different as the first date with the dorm hottie from celebrating a 30th wedding anniversary.

So if it isn’t necessarily following your passion, what describes “great work”? According to Newport, it involves creativity; it has impact; and you’re in control. 

Hmm… sounds like writing.

Rule #2: Be So Good They Can’t Ignore You

Newport argues that “the craftsman mindset is the foundation for creating work you love.” Certainly that has been true for me. I could retail a hundred stories of beginning writers who couldn’t weather their first workshop. They come in with the notion that you have talent or you don’tso they’re resentful, even deeply angry when the workshop leader and other students don’t shower their manuscript with lotus petals of praise, and they’re quick to conclude: I don’t have talent, I give up. They don’t think: I need to get some skills in the craft of writing. Ah, how rare that is. And the impulse is one of generosity. Writes Newport:

“Whereas the craftsman mindset focuses on what you can offer the world, the passion mindset focuses instead on what the world can offer you. This mindset is how most people people approach their working lives.”

(Which, I guess, is why most people begrudge their boss / customers the minimum and spend the balance of their days in the Gulag Architelevisiono.)

Newport continues:

“[The craftsman mindset] asks you to leave behind self-centered concerns about whether your job is ‘just right.’ and instead put your head down and plug away at getting really damn good. No one owes you a great career… you need to earn it— and the process won’t be easy.”

Newport then provides a checklist of jobs to avoid: Those that do not provide opportunities to develop rare and valuable skills (e.g., working on a frozen foods packing plant’s conveyor belt isn’t going to cut it); those that provide a good or service you think is bad for the world; those where you have to work with people you really don’t like. 

That still leaves a wide open world, for many. The point is, if you’re fortunate enough to have a choice in where and with whom you work, and you want to find work you love, choose the job that enables you to develop a rare and valuable skill, and then— this is crucial—proceed to actually do that. To do that, you have to develop the five habits of the craftsman.

Here is where I began to sit up straight and make use of my highlighter. 

Newport’s Step 1, “Decide What Capital Market You’re In,” “winner-take-all” or “auction,” was something I hadn’t thought about before. (He is using the term “capital” to include “human capital.”) In my own case, writer of literary books, it seems to me that I’m not in as narrow a market as the television scriptwriter (“winner take all,” i.e., the script is all), but close. So what I need to do is write the best book I can write. (Why blog? Because I want to clarify my own thinking, and to share that with you, dear writerly reader.)

Two points Newport makes here: if you’re not uncomfortable, you’re probably not developing your skills, and you need patience. In my experience, yes, developing skills is sometimes toe-curling and yes, you need patience, shipping containers full of it. (And boy howdy am I lucky that my first efforts at literary writing date from well before the advent of the Internet.)

Rule #3 Turn Down a Promotion 

Newport asserts, and I agree, that: 

“Giving people more control over what they do and how they do it increases their happiness, engagement, and sense of fulfillment.”


So if you want to love your work, first get good at what you do, then think about getting control over what you do. 

But watch out for traps. First, taking control too soon, when one doesn’t have adequate skill, may be unsustainable (Ye olde “don’t quit your day job to write a first novel.”) And second, if you really do have valuable skills, you will be sure to encounter resistance to your leaving or at least loosening the leash (from an employer, an agent, an editor). Your employer may promote you— not into a better job for you in terms of developing your skills and control over your time, but ye olde “golden handcuffs.”

In developing this argument, Newport devotes a chapter to what he calls “The Law of Financial Viability,” all common-sense advice for most college graduates and anyone else who needs to make regular debt payments. My one quibble with this book is here: Many people considering a new career are middle-aged or retired, and for some of them— a minority to be sure, but an important one— the financial viability of any given enterprise is not so crucial an issue. They can afford to take a year to write a novel, or open a yoga studio, or what-have-you; but this doesn’t mean they want to remain at the level of a hobbyist. Furthermore, what the market pays is sometimes a poor indicator of meaningful value, and especially in the arts and politics, the best lead with vision, rather than follow the pennies and dimes and dollars and expense account steak dinners. The book would have been far stronger had it considered this demographic as well.

As for myself, before turning to writing, I had a career as an economist specializing in international and development finance. As I am sure you can imagine, dear reader, in saying adios to that for the life of a literary writer, I made some elephantine trade-offs. That said, I did not proceed until I’d already published two books on finance plus an award-winning book as a literary writer. And that said, if I could do it again, I’d do it again because, as the Estate Lady says, “the hearse doesn’t have a trailer hitch.”

Rule #4 Think Big, Act Small

Newport argues that “a unifying mission in your working life can be a source of great satisfaction,” and he illustrates with the case of Pardis Sabeti, a happy and successful Harvard professor of evolutionary biology whose mission is “to rid the world of its most ancient and deadly diseases.” 

As for finding big ideas, Newport introduces the concept of “the adjacent possible” and the caveat: you cannot recognize the adjacent possible until you get to the cutting edge of your field. Writes Newport:

“If life transforming missions could be found with just a little navel-gazing and an optimistic attitude, changing the world would be commonplace. But it’s not commonplace; it’s instead quite rare. This rareness, we now understand, is because these breakthroughs require that you first get to the cutting edge, and this is hard— the type of hardness that most of us try to avoid in our working lives.”

Newport details each step of Professor Sabeti’s career, and how she focused on her training and only after achieving a high level in her field did she identify her defining mission. 

That resonated with me. My mission? To bring my readers to richer levels of understanding and an awakened sense of curiosity and wonder. Sounds simple, but only after writing several books could I articulate that so concisely. And I know the big doesn’t happen without the small. As far as writing a book goes, it’s one word, one sentence, one paragraph at a time. And sometimes— forklift in the industrial quantities of patience— after weeks of work, one has to discard the draft to start over.  It might also mean reading and reading and reading and reading and… whew… more reading, not only about the subject, but the craft itself, which includes, of course, the essential task of reading other books in the same genre, not as a passive consumer, but actively, as a craftsman.

Wrapping up this fourth rule, Newport offers a last chapter on marketing. He argues that

“[f]or a mission-driven project to succeed, it should be remarkable in two different ways. First, it must compel people who encounter it to remark about it to others. Second, it must be launched in a venue that supports such remarking.”

He illustrates with “rock star” computer programer Giles Bowkett who realized that “the best way to market yourself as a programmer is to create remarkable open-source software.” So he did. For Professor Sabeti, the venue was prestigious scientific journals— so she published. (Speaking of venues, this is the main reason why, for many authors, self-publishing turns into such a disappointment.)

As for his own book, Newport confesses:

“If I had published a book of solid advice for helping recent graduates transition to the job market, you might find this a useful contribution, but probably wouldn’t find yourself whipping out your iPhone and Tweeting its praises. On the other hand, if I publish a book that says ‘follow your passion is bad advice,’ (hopefully) this would compel you to spread the word. That is, the book you’re holding was conceived from the very early stages with the hope of being seen as ‘remarkable.'”

Ah, our modern fame-crazed culture. But one thing I’ve learned as a writer: a good blurb is gold. And word of mouth, though it can’t always be quantified—(that’s another subject)— is better than gold. Yes, Newport nails it.

Newport’s own career is indeed remarkable. The author of a series of best-selling books, including How to Be a High School Superstar and How to Win at College (which I thought excellent and regret not having been able to read back in my day); and the host of the blog Study Hacks: Decoding Patterns of Success, he is also a PhD from MIT, now a professor of computer science at Georgetown University.  In the conclusion, itself well worth the price of the book, he recounts how he applied the four lessons to his own career. 

I highly recommend So Good They Can’t Ignore You for everyone from teenagers to retirees, in short, anyone looking to spend their days in a long-term commitment to satisfying, meaningful activity. You can call it “work” if you want. 

And now I’m going to go work on my book.

Synge’s The Aran Islands and Kapuscinski’s Travels with Herodotus 

Q & A with Bruce Berger on A Desert Harvest

Donald M. Rattner’s My Creative Space

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

Q & A: Independent Publisher Michele Orwin, Founding Editor of Bacon Press Books

As some of you may know, I wear another chapeau as editor / publisher of Dancing Chiva (which specializes in publishing works by Yours Truly and, shall we say, denizens of the Afterlife). In that guise, I attended last weekend’s excellent two day seminar in Austin, Texas, “Publishing U,” the annual conference of the Independent Book Publishers Association, where I ran into my Washington DC writing friend, novelist and poet Michele Orwin. Turns out she’s started up Bacon Press Books

Check out the Bacon Press Books’s beautiful website and the latest book, the first paperback edition of Kate Blackwell’s superb short story collection, You Won’t Remember Thiswhich was originally published in hardcover—and to glowing reviews— by Southern Methodist University Press.

Herewith some Q & A:


C.M. MAYO: What prompted you to start the press?


MICHELE ORWIN: I knew if I wanted to keep working, I’d have to have my own business. Since I’d spent my whole professional life working as a writer and teaching others about writing, I wanted to do something where I could use my experience. Then I read about digital publishing. It made so much sense. 

We know so many writers who had published books that are only available in hardcover. I thought once I learned how to publish, I could either release their books in paperback and Ebook or else teach them how to do it. 

The first paperback edition of Kate Black’s splendid book of short fiction, You Won’t Remember This, Bacon Press Books, 2015

C.M. MAYO: I for one am delighted to see what I would call a “hybrid press.” (Would you agree with that term?) It seems authors such as myself—previously published with various small and commercial presses, a track record of reviews— have been caught between, shall we say, less than attractive deals, or self-publishing, with zip in between. Self-publishing has usually meant that one’s book gets lost in the amazon.com haystack, next to Suzy’s Memories of Cupcake Recipes, which is set in some horrible font with a blecch cover. (Though now that I think about it, Suzy’s Memories of Cupcake Recipes could be the title for a delicious comic novel…)

MICHELE ORWIN: There’s been a lot of discussion in the indie community about terms. I’ll be very happy when we all finally come up with ones we can use. People still confuse what used to be called “vanity publishing” with “self-publishing.”  Vanity publishing in the past meant all you had to do was pay a (usually) exorbitant fee and you’d get a book. No vetting and not great editing. Self-publishers today are a lot more sophisticated and they have access to a wide range of talented free-lancers, so the quality of self-publishing can be pretty high. 

Plus there are a lot of what’s now called “hybrid authors.” Authors who publish both with traditional publishers and with independents or else self-publish. For some it’s a question of economics, they can make more money publishing on their own. For others, it’s a matter of control. We have one author who was published traditionally but wanted to go in a different direction from what his publisher wanted, so he chose to work with us. 
I call myself an independent publisher. We don’t take on most of the books we’re sent. We have high editorial and production standards. People can’t pay us to publish bad books or even mediocre ones.  Not sure what we’d do with Suzy’s Memories of Cupcake Recipes. 

I call the business model I use “partnership publishing.” That comes closest. We’ve tried to make it as author friendly as possible and still be in business. While we can’t offer advances, and we do ask authors to cover production costs, we share other expenses. And while they may provide the capital, I put in way more time than our authors do once the book is published. We offer a generous split on revenues, a two-year contract so authors can go elsewhere if they get a better offer or aren’t happy, and the author keeps all rights and all files. 


C.M. MAYO: You’ve been around a long time and seen many other small presses. Not to name names, but what are some of the things that you’ve seen as common practice in the small press world that you think would be best to avoid?

MICHELE ORWIN: Not sure I can answer that. We published our first book in January 2013 and we’re still learning. What I have seen is that the indie community is incredibly generous in helping newcomers. Giving out information, sharing  contacts. I’ve learned so much from conferences, online groups, and other small presses.  The really awful things are done mostly by the larger companies that charge authors a fortune and don’t do much more than produce a book and make the author buy hundreds of copies. 


C.M. MAYO: What are some of the common misconceptions first time authors have that make it difficult for their press?

MICHELE ORWIN: There are five misconceptions that I’ve run into and have heard other publishers talk about too. First, that the book is fine as is and doesn’t need an editor. Second, just because a book is good, it’ll be a best seller or maybe even sell at all. Third, that they don’t have to do any marketing or promotion to help their books get discovered. Fourth, that they’ll make money. Fifth, that it’ll happen quickly. 

With more than 600,000 books expected to be published this year, it’s a very tough business. 


C.M. MAYO: Your website is one of the best I’ve ever seen. Tell, tell!

MICHELE ORWIN: Thank you! I tried about half a dozen different providers. But I’m not very adept and they just didn’t come out right. My daughter knows coding, she told me about SquareSpace. I needed something easy to use that would look good and SquareSpace was it. 


C.M. MAYO: How about book stores? Does Bacon Books Press work with sales reps?


MICHELE ORWIN: Not all the books we publish would do well in book stores. But for the few that would, we haven’t had much luck. The books can all be special ordered or ordered online from the stores. From what I’ve heard, that’s how many stores would prefer to deal with most small presses. 

We’re not working with distributors yet. But at some point we will be when it makes economic sense for us to do it. A big part of this new publishing landscape is having access to a global market by making the books available online. That’s where we’ll find most of our readers. 


C.M. MAYO: Can you talk about your background as a writer and poet and how that informs what you’re doing now?

MICHELE ORWIN: I’m a fiction writer, my husband is a poet. It’s been a real eye-opener for both of us. Though probably more for me. I now understand why agents/publishers don’t want to see a whole book, or won’t read past the first 10-20 pages. You really can tell pretty quickly if you’re going to like something. I understand how subjective it all is. One book I turned down now has 25 5-star reader reviews on Amazon. It just wasn’t right for us, but I’m sure the author is wondering why I passed.

And I understand why it’s not a good idea to give too much feedback if you’re going to reject a book. Just because I see flaws doesn’t mean someone else will. It’s better to let the author try elsewhere. 

I also understand better why authors need to be involved in marketing. I used to cringe at the idea of self-promotion. But now I can see that the author really is the best person to connect with readers. 

Overall, I’m very glad to have a broader perspective on all this. 

Catamaran Literary Reader and Tiferet: Two Very Fine Literary Magazines

AWP 2019 (Think No One Is Reading Literary Magazines Anymore?)

Five Techniques for a Journey to Einfühlung

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

The StandStand: One Highly Recommended Way to Keep on Writing While Standing

Box of the StandStand, just arrived

An eon ago, in a writing workshop, the then famous teacher whispered to this then whippersnapper the secret of writing books: Sitzfleisch. In other words, the ability to endure sitting in the chair for long periods of time. Well, some decades on, I may not have won the Nobel Prize (yet) but I am indeed talented at enduring daily marathons of sitting. This may be good for my writing (and all the podcasts), but dangerous for my health. My writing assistants haul me out for regular walks, and there’s a bit o’ yoga going on, but that is not enough. 

Back of the StandStand box

A standing desk to the rescue.

After some lickety-split googling on the subject, I settled on the StandStand. (For the record, I have no relationship with this company other than as a delighted customer.)

Finally, I have mine home in Mexico City and assembled. It’s a superb product. It’s made of bamboo and easy to assemble– so it’s light-weight, appealing to the touch, doesn’t allow my laptop to overheat, and it’s portable. Oh, and it was inexpensive, especially in comparison with some of the mechanically operated standing desks. 

Looks like I may have Standfleisch, too. (Is that a word?) Onward!

Up and at ’em with the StandStand!

2019 UPDATE:

Still delightedly using the StandStand. One of my writing assistants has taken over the chair.

P.S. You can now find many Madam Mayo posts for the workshop archived here.

Diction Drops and Spikes

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

Lord Kingsborough’s Antiquities of Mexico

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


The Solitario Dome

Inside The Solitario. Photo: C.M. Mayo, March 2015

For my Far West Texas book-in-progress and the Marfa Mondays Podcasting project, I am working on an interview with Texas historian Lonn Taylor, plus a short piece about the Solitario Dome of Big Bend Ranch State Park in Far West Texas, which is to say, US-Mexico border country. 

Meanwhile, a few items about the latter:

Chase Snodgrass’s flight over the Solitario:

Google Maps screenshot of the Solitario

Flora and Vegetation of the Solitario Dome
by Jean Evans Hardy, Iron Mountain Press, 2009
(Whoa, call the chiropracter, I brought this one home in my carry-on!)

Geology of the Solitario
by Charles E. Corry, et al. Geological Society of America Special Paper 250, 1990.

“Igneous Evolution of a Complex Laccolith-Caldera, the Solitario, Trans-Pecos, Texas: Implications for Calderas and Subjacent Plutons” 
by Christopher D. Henry, et al.Geological Society of America Bulletin, August 1997 (Super-crunchy PDF)

The Solitario: Sentinel of the Big Bend Ranch State Park”
Megan HicksThe Big Bend Paisano, Winter 2004/2005
(PDF)

“Geology at the Crossroads”
By Blaine R. Hall, Big Bend Ranch State Park
(PDF)

“Solitario: A Separate Place” and “Fresno Creek:” Desert Cloister”
Texas Monthly, April 1977

Entering the labyrinth of the Solitario via Los Portales (That’s my guide, Charlie Angell, he’s the best, check him out on Tripadvisor.com). Photo: C.M. Mayo, March 2015

>Listen in to all the Marfa Mondays Podcasts anytime. The most recent is “Tremendous Forms: Finding Composition in the Landscape,” an interview with Paul V. Chaplo, author of the magnificent Marfa Flights.

Marfa Mondays #2 Charles Angell in the Big Bend

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

Cartridges and Postcards from the US-Mexico Border of Yore

On the Trail of the Rock Art of the Lower Pecos

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

Lone Star Nation: How Texas Will Transform America by Richard Parker

How Texas Will Transform America
By Richard Parker
Pegasus, November 2014
pp. 352
ISBN-10: 1605986267
ISBN-13: 978-1605986265

Book Review by C.M. Mayo

Texas Exceptionalism (TE): I would give it the knee-jerk reject but for the fact that after more than 25 years of living in another country (Mexico), if I’ve learned anything, it’s that empathy for others’ notions of themselves, off-kilter as they may seem, is not only the more politic but oftentimes the wisest stance (because the other thing I’ve learned is that there’s always more to learn). Plus, as my birth certificate says, I’m a Daughter of the Lone Star State, so nudge its elbow and my ego is happy to hop along, at least a little ways, with that rootin’- tootin’ idea. But I was not raised in Texas and, to put it politely, I’ve yet to grok TE. The way I see it at present, yes, Texas is a special place full of proud and wonderful people, with a unique history and an awesome landscape, and once we look with open eyes, ears, intellect, and heart, so is just about every other place, from Baja California to Burma.

That said, though in Lone Star Nation: How Texas Will Transform America, Richard Parker serves up a heaping helping of gnaw-worthy TE, it is an elegantly-written and important book examining trends and challenges for Texas — Texas first, Parker argues— and the nation. 

“an elegantly-written and important book examining trends and challenges for Texas — Texas first, Parker argues— and the nation.”

Migration is changing Texas at warp-speed, and here, with an overview of the history of migration into the area, Parker makes the most vital contribution. 

It was the Fifth Migration, from the Rust Belt of the 1970s and 1980s, that brought northerners with their Republican-leaning politics; the Fourth, Southerners, many of them Yellow Dog Democrats, coming in to work in the oil and related industries in the early 20th century; and the Third, Southerners arriving in the 19th century to farm and ranch in what was originally Mexican territory, then an independent Republic, then a slave state, then a member of the Confederacy, then, vanquished, reabsorbed into the Union. (The Second and First Migrations telescope thousands of years of immigrations from elsewhere in indigenous North America and, originally, from Asia.) 

The current wave of migration, the Sixth, is bringing some 1,000 immigrants into the state each day, from Mexico, points further south, East Asia, South Asia, Europe, and all across the United States itself. And because of this, the over a century-long “Anglo” dominance is about to crumble.  Soon the idea of Texas itself may morph into something denizens of the 20th century might no longer recognize. 

J. Frank Dobie (1888-1964) was considered the first recognized and professional literary writer in the state. From the Wittliff Collections biography: “Many Texas writers openly credit Dobie with giving them the inspiration not only to be a writer but also to feel comfortable using their home state as a subject.”

Yet where did that idea of Texas— this great state for big men in cowboy boots—  and the related TE— come from? How did it become an image fixed in not only the Texan imagination, but the national and international? I would have ascribed it merely to a mash-up of anti-Mexican Texan and US-Mexican War propaganda, the tales of literary legend and folklorist J. Frank Dobie, Southern wounded pride, and splashy bucketfuls of Hollywood fantasy, until I came to Parker’s riveting detour into the history of the marketing of the World’s Fair of 1936. That fair, held the same year as Texas’ centennial, was celebrated with all get-out in Dallas. For its leading citizens, this was, Parker writes, 

“the opportunity to recast Texas:  No longer a broken-down Southern state of impoverished dirt farmers, but one with oil and industry— an inspiration if not a beacon to hungry Americans looking for opportunity in the midst of the Great Depression…. Copywriters, journalists, and artists were hired to tell tales of cowboys, oil, and industry in the years leading up to the World’s Fair.” 

But alas, this came with the racial nonsense of the time. Parker: 

“Gone was the Mexican vaquero, the African American, and the Native American, or at least they were relegated to the role of antagonist…. A centennial exposition [Theodore H. Price, a New York PR man] argued, would teach attendees that the cowboy story was really a story of racial triumph…” 

Giant, the 1956 movie based on Edna Ferber’s novel, starred Rock Hudson, Elizabeth Taylor and James Dean.

Some of Texas history is painful to read, painful as those punches Rock Hudson’s character, Bick Benedict, took at the end of Giant, in defending his Mexican-American daughter-in-law (from being refused service in a café because of the color of her skin). Parker doesn’t shy away from discussing some ugly and enduring racial problems in Texas, including in Austin, its capital and haven of liberalism, music, and righteously organic breakfast tacos.

At the time Lone Star Nation went to press in 2014, according to Parker, “nearly one in three people who call Texas home have arrived from elsewhere in the United States in the last year.” The gas and oil boom have since collapsed along with the price of oil, so I would expect those numbers to have dropped; nonetheless, as Parker stresses, the overwhelming majority of immigrants end up not in the oil fields, but the “triangle,” the area in and around Dallas, Austin-San Antonio, and Houston. The draw? “Better-paying jobs and bigger homes for less money.”

Parker argues that better jobs are a function of education, and that therefore one of the challenges Texas faces is adequately funding its schools and universities while keeping tuition at affordable levels, especially for the working class and recent immigrants. But the political will may not be there; neither has it been adequate to cope with water shortages, both current and looming. 

Parker’s political analysis is seasoned but unabashedly biased. My dad, a California Republican, would have called it “Beltway Liberalism,” and indeed, until returning to Texas, Parker, a journalist, was based in the Washington DC metropolitan area. I happen to agree with much of what Parker argues, but as someone trying to get my mind around Texas, I would have appreciated his making more of an effort to explore, if not with sympathy then at least empathy, the various strains of conservatism. 

To illustrate the trends and challenges for Texas, Parker offers two scenarios for 2050: one in which Texas has not invested in education, nor maintained a representative democracy, nor addressed environmental issues, and so degenerated into a nearly abandoned ruin (think: Detroit meets Caracas meets the Gobi Desert); in the other, challenges addressed, Texas is a super-charging China-crushin’ hipster Juggernaut. My own guess is that the Texas of our very old age will fall somewhere in between, vary wildly from one region to another, and be more dependent on developments south of the border than the author or, for that matter, most futurists, consider. 

On this last point, in discussing the tidal wave of migration from Mexico, Parker mentions the Woodlands, a once upscale Anglo suburb outside of Houston, still upscale, but now predominantly Mexican. I would have liked to have learned more about this slice of the sociological pie, for in my recent travels in Texas, and from what I hear in Mexico, I’ve also noticed that a large number of well-off Mexicans have been moving to Houston, San Antonio, and Austin. I’m talking about Mexicans who speak fluent English, play tennis and golf, and have studied and traveled abroad in, say, New York, Vancouver, Paris. There’s a bigger story there, for many of them are the wives and children, but not so many husbands, who spend weekdays at their offices in Monterrey, Guadalajara, or, say, Mexico City. These families have not come to Texas for the jobs, nor the wonders of that great state (whose loss still makes many Mexicans bristle), but primarily for their safety—  and, in many cases, for business opportunities. Should security improve in Mexico, I would expect many of these families to return and quickly. Whether that is likely or not is another question.

In sum, Lone Star Nation: How Texas Will Transform America is a rich, vivacious read that provides a sturdy framework to think about the past, present, and prospects of a state that is as much a place as it is, in the words of John Steinbeck, “a mystique approximating a religion.” And if the author is a true blue believer in TE, well hell, bless him. Highly recommended.

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

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

Q & A: Carolina Castillo Crimm on De León: A Tejano Family History

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

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

He was Maximilian’s Court Painter, a leading figure in 19th century Mexican painting, and one of the important influences on Diego Rivera, yet few people have heard of Santiago Rebull— until now.

Santiago Rebull: The Outlines of a Story, at the Museum of the Diego Rivera Mural in Mexico City. Through February 15, 2015

If you’re anywhere near Mexico City, come in and visit the Santiago Rebull show at the Museo Mural Diego Rivera. >> More information here. << For those aficionados of the history of the French Intervention, and in particular the brief reign of Maximilian von Habsburg as Emperor of Mexico, this is an especially important show not to miss, for Rebull was Maximilian’s Court Painter and, interestingly, one of the few individuals close to the monarchy who managed to remain in Mexico and even thrive in subsequent decades under the Republic. Herewith, my interview with the show’s curator, Mexican historian Alan Rojas Orzechowski.

Santiago Rebull, Self-portrait, 1852

C.M. MAYO: What gave you the idea for the show?

ALAN ROJAS ORZECHOWSKI: The exhibitionSantiago Rebull: Los contornos de una historia (Santiago Rebull: The Outlines of a Story) presented in the Museo Mural Diego Rivera is our own way to pay homage to one of the most creative minds of the Academic Movement in Mexico, an illustrious painter and educator who molded the minds of pupils such as Roberto Montenegro, Ángel Zárraga and Diego Rivera.

As an outstanding teacher, he taught Diego Rivera as a young student in the San Carlos Academy of Arts. Rivera in return, always considered him as a mentor and guide, respecting him as both, as an instructor and fellow artist. Exploiting this connection, the Museo Mural Diego Rivera and external curator Magaly Hernández, thought suitable to present an exhibition which honored Rebull’s artwork, underlining his influence on Rivera and his generation.


C.M. MAYO: How did Santiago Rebull, so close to Maximilian, manage to remain in Mexico and continue working as a successful artist for decades afterwards?

ALAN ROJAS ORZECHOWSKI: I personally think that it was his undeniable talent as an artist which enabled him to continue teaching in San Carlos Academy during three more decades.

In the immediate years after Maximilian’s fall he did receive severe reproaches from fellow artists and local newspapers as a monarchist and “afrancesado” (pro-French), but he carried on painting members of the political, economic and cultural elite. As a testament of this, the portraits of Presidents Benito Juárez and Porfirio Díaz are shown in the exhibition. Both pieces are dated in the 1870s, less than a decade after the monarch´s disgrace.

He retained his position as a teacher in San Carlos and also imparted drawing lessons to female pupils in the Colegio de Vizcaínas which was the only female and secular school in Mexico throughout the XVIII and XIX centuries. Along with his academic career, he remained a prolific painter, authoring remarkable pieces such as La muerte de Marat (Marat’s Death) and several portraits.

Santiago Rebull, La muerte de Marat, 1875


C.M. MAYO: What has been the reaction from art historians and historians of the Second Empire?

ALAN ROJAS ORZECHOWSKI: The Academic reaction towards the Second Empire, from both, historians and art historians, has changed through time. During the first half of the XX Century, the posture was very much aligned to the official history, characterized by a nationalist stance in which Maximilian was portrayed as an invader and many of his actions as an imposition to Mexicans.

Nevertheless, this has shifted to a fascination for both, Maximilian and Charlotte, partly thanks to literature. En example of this, the book Noticias del Imperio(News from the Empire) by Fernando del Paso or The Last Prince of the Mexican Empire by C.M. Mayo. 

Historians have now a much more benevolent gaze to the Second Empire, emphasizing on Maximilian’s liberal measures that assisted the indigenous groups and regulated Ecclesiastic influence on civilians—which certainly made him unpopular with his original supporters.Art historians tend to be cautious with their judgments, stressing the continuity on San Carlos Academy trough its curriculum, academic cluster and board, all of them dramatically modified with the Republic’s restoration.

For instance, Eduardo Báez Macías, in his volume History of the National School of Fine Arts (Old San Carlos Academy), mentions Maximilian’s patronizing attitude towards Mexican art, believing it to be provincial to what he was used to in Europe.  

My personal view is the opposite. Maximilian was a very intelligent ruler, he was aware of the necessity of his government’s legitimacy, and knew that the main way to achieved it was through art and Court protocol. In the first case, he arose from the liberal vs. conservative´s discussion over national heroes and entrusted several talented young artists to create a portrait gallery of the libertadores, including characters such as Hidalgo and Iturbide along. Also, in several Imperial projects he preferred to employ talented Mexican students over well-known established European teachers as Eugenio Landesio or Pelegrín Clavé.

C.M. MAYO: Which of all the 68 pieces do you consider the most essential for understanding Rebull and his place in Mexican art?

ALAN ROJAS ORZECHOWSKI: Santiago Rebull is one of the most relevant XIX century painters in Mexico’s history. He is a fundamental artist of the Academicism generation, and keystone to understanding the shift in the Art Scene towards the Vanguards and the Mexican Painting School of XX century, since he was an inexhaustible teacher to many of its participants. 

One of Santiago Rebull’s anchor pieces is La muerte de Abel (Abel’s Death). It was painted in 1851 and earned him a scholarship to travel to Rome.

Santiago Rebull, La muerte de Abel, 1851

He there attended the San Lucas Academy, a conservative catholic art school that followed the principles of the Nazarene Movement, specially influenced by the German painter Johann Friedrich Overbeck. Rebull studied under the guidance of Academic artist Thomaso Consoni, who molded and perfected his technique through a careful series of exercises consisting on copying masterpieces from Renaissance maestros. Therefore, La muerte de Abel best represents the Academic ideals of trace, color use and proportions so faithfully followed by Rebull. 


C.M. MAYO: Was it difficult to find these 68 pieces, and were there any you couldn’t get for the show that you wish you had?

ALAN ROJAS ORZECHOWSKI: Unfortunately there was a piece we were unable to obtain, El sacrificio de Isaac (Isaac’s Sacrifice) painted in 1858 during his sojourn in Italy and displayed in the Centennial Exposition of Philadelphia and later shown in New Orleans. The image is almost 118 inches tall and it’s a flawless sample of Rebull´s work during this formative voyage under Consoni’s guidance. Alas, it was a crucial piece in the National Museum of Art (MUNAL), therefore, they were unable to lend it.

Santiago Rebull, El sacrificio de Isaac, 1859

It was relatively unproblematic to secure the greater part of the assortment since it belongs to the painter’s descendants, most of them eager to promote their ancestor’s work. The rest of the pieces were graciously provided by significant institutions such as the San Carlos Academy, the National Museum of Art and the Colegio de Vizcaínas.

C.M. MAYO: Was the museum at Il Castillo di Miramar involved in any way? The original of Rebull’s portrait of the Emperor Maximilian was sent there, is that right?

ALAN ROJAS ORZECHOWSKI: The original full length portrait of Maximilian was painted by Santiago Rebull in 1865. The Emperor took such pleasure on it that resulted on the appointment of Rebull as court painter; he was also awarded the Order of Guadalupe, the Empire’s uppermost honor. The monarch relocated the painting in Miramar Castle in Trieste, Italy that same year. Nonetheless he commissioned Joaquín Ramírez, another Academic painter to produce an exact copy of his portrait. Currently, the latter is part of the National Institute of Fine Arts collection and it’s shown at Chapultepec Castle. We exhibit a contemporary reproduction of Ramírez painting.

Joaquín Ramírez, Portrait of Emperor Maximilian I, ca. 1866. 

C.M. MAYO: The decorative bacchantes that Rebull painted for Chapultepec Castle– were these Maximilian’s idea or the artist’s? What do you think was the message of such decorative paintings?

ALAN ROJAS ORZECHOWSKI: The decorative bacchantes of Miravalle (Chapultepec) Castle were the Emperor’s idea but Rebull only painted four of them during Maximilian’s reign since the remaining two were created later, during President Porfirio Díaz administration when he occupied the castle as his summer residence.

The message behind the bacchantes is clear: the ideal of graciousness that courtesan life implied. Maximilian was convinced that through art and elaborate court rituals his regime would gain the legitimacy and acceptance of Mexican elites. The creation of new titles, honors and reinstated old colonial titles were strategies followed by the sovereign. Thus, art and protocol were undeniably intertwined in the imperial residences.

Santiago Rebull, Bacante para la terraza del Alcázar de Chapultepec, 1894

In the words of art historian Justino Fernández “Rebull planned six bacchantes figures […] the romanticism of the epoch finds here one of its classical expressions, these women, or better said, demigoddesses, highly idealized, wear the magnificence of their figure, in a movement attitude.” *
*Justino Fernández. El arte del siglo XIX en México, Mexico, Imprenta Universitaria, 1967,  p. 77.


C.M. MAYO: What do you consider Rebull’s most essential achievements as an artist?

ALAN ROJAS ORZECHOWSKI: His personal career is bound to the history of San Carlos Academy; we may consider him as a founding painter of Mexican art of the first decades of independence, when the elite and middle classes were shaping an identity of their own, which they found in the expressions of Academicism and Neoclassic Art. 

He perfected his education with the European sojourn—not remaining solely in Rome, but traveling extensively through Spain—and returned with a refined paintbrush imbibed by Purism and Nazarene precepts.

The preparative drawings are a testament of Rebull’s expertise of trace and copying, the two cornerstone of a XIX century Academic education. Upon his return he grew as a prolific portraitist, the most important being that of Emperor Maximilian.

But his talent was enjoyed not only by royals; both Presidents Benito Juárez and Porfirio Díaz were also depicted by the artist. The latter, is embodied as a young aspiring president, unlike later representations where an elderly and heavily ornamented military men is shown. Furthermore, common and quotidian characters were also portrayed by him.

Santiago Rebull, Portrait of Porfirio Díaz, 1872
Santiago Rebull, Portrait of an unknown man, undated

C.M. MAYO: Why is the show in the Museo de Diego Rivera? Can you talk a little about Rebull’s influence on Diego Rivera?

ALAN ROJAS ORZECHOWSKI: Since the Museo Mural Diego Rivera has the commitment of preserving Diego Rivera’s legacy, promoting the artistic expressions created during the XX century and especially those influenced by Rivera himself, we thought there was a great breach with his predecessors. Who were they? Who particularly influenced him?

Rivera was educated at the San Carlos Academy of Arts in Mexico City where he was an accomplished student, tutored by the great artists of the XIX century Academic movement. He received a refined instruction from painters such as José Salomé Pina, José María Velasco and Santiago Rebull. Diego always felt in debt towards the latter, recognizing him as his mentor.

Santiago Rebull, Profeta Elymar, 1853
Diego Rivera, Cabeza masculina, 1900

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

A Conversation with M.M. McAllen about Maximilian and Carlota

Five Techniques for a Journey to Einfühlung

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