Thursday, July 16, 2026

El Mandado, an Enigma

                                                                                         

Josie and Andy, a long way from Mitic and Huejucar, Jalisco, 1947

     I must have been young, under five-years-of-age when I first heard the Spanish word “mandado,” vague, mysterious, never specific. I’m thinking about it now because I’ve reached the same age as my elders who would tell me they were going on “Un mandao,” some type of "mission" in my young mind.

     As I child, I spent a lot of time around my Spanish-speaking grandmother, aunts and uncles, many of them migrants from Mexico, or maybe “refugees” is a better word, since they fled the violence of the Mexican Revolution (1910-1920), the brutal tyranny of the Diaz regime, his corrupt authorities, and the soldiers, rebels, and bandits who raided ranches and villages, like Mitic (Mee-teek), my ancestors' ranch, taking whatever they pleased, including women. The church wasn’t much help. Mostly, its hierarchy sided with the government, seeing the rebels as Godless heathens and Porfirio Diaz as God’s representative on earth.

     They brought only what they could carry or stuff in suitcases. For my grandparents, it must have been a punishing slog, five-children in tow, the oldest barely ten-years-old. They traveled by coach, train, wagon, and on foot, stopping so my grandfather could find work, make a little money, and continue their trek to Los Angeles, where they had family in Santa Monica, a place they knew was near the coast and employers were hungry for cheap labor.

     My uncle, Yndalecio, “Andy” to us kids, used the word regularly. “Voy por un mandado,” he’d say, only he’d pronounce the word, “mandao,” swallowing the last syllable, like a Spaniard from Andalucia, those who rode with Cortez when he conquered the Aztec Empire and later flooded into the wilds of Nueva Galicia, which later became Zacatecas, Guanajuato, Aguascalientes, Michoacan, and Jalisco, Andy’s birthplace, home to many light skin, blue-eyed Mexicans.

     Sometimes, Andy would surprise me and take me with him, but usually he’d go alone, a short half mile walk from his home in Santa Monica, up to 14th Street and Olympic Boulevard, a small business section, with a market, barber shop, pool hall, bar, and café, where everybody spoke Spanish. I enjoyed when he stopped at Gallegos Market and let me pick a toy from a rack filled with plastic packages, inside cheap, colorful toys. He’d usually buy pan dulce, fresh corn tortillas, and whatever my aunt, Josie, told him she needed. Today, the location of the original Gallegos Market is an overpass above the I-10, or Santa Monica Freeway, today.

     If he told me I couldn’t go on his “Mandao,” I knew he was stopping by the pool hall for a beer and to talk to his friends.

                                                                                       

Both Mexican and American

     In the 1950s, my childless aunt, Maria Josefina, "Josie," to us kids, and uncle would offer my parents some much needed relief by stopping by to pick me up and take me home for the night. I was the oldest of five kids. You bet my mom jumped at the offer. Sometimes, I stayed a night or two, and often for the entire weekend. My aunt and uncle’s house became my sanctuary, where I was an “only child,” fawned over and given free reign of the old homestead.

     A young couple, looking for cheap rent, my parents lived in different Westside communities, but eventually bought a home in West Los Angeles, my dad’s hometown, bordering Santa Monica, which, in those days, was a beach resort, a cool respite for those escaping the inland heat, and a place whose dry climate drew many East Coast and Midwesterners to it beaches, looking to recuperate from various respiratory illnesses, like tuberculosis. 

     It’s where my mother’s parents', Eusebia and Nicolas Gonzalez, bought a home in the 1920s, near the town’s two brickyards, a major employer of Mexican labor, and where many workers toiled for years breathing in tiny particles of brick dust, and more than a few succumbed to “miner’s lung,” like my grandfather, Nicolas, once a rancher's son, who died in 1940 or so, his last years suffering from emphysema and coughing up bits of his deteriorating lungs.

      As a toddler, I spent much time at my grandmother’s home, a palace in my childhood mind, but pictures show more of worker's shanty at the top of the hill, on 22nd Street, just off Olympic Boulevard, surrounded by other shanties inhabited, mostly, by friends and relatives, the Sotos, Garcia's, Guajardos, and Romos, from Mitic and other ranches, not far from the San Juan de Los Lagos, a sacred center for pilgrims from all over Mexico. It was in Jalisco’s highlands, "Los Altos," the people called it, a real battle front during the Mexican Revolution and the Cristeros War, in the 1920s. Though they believed they were coming temporarily, to work and to weather the clouds of war, most never returned, their children integrating into American life, Mexico a world away.

     Marrying in their late forties, my aunt, Josie, and uncle, Andy, purchased a charming one-and-a-half-bedroom home, on 12th Street, a mile from my grandmother’s house and closer to the ocean. Some days, I could smell salt and fish in the air, to a kid with a wild imagination, more invigorating than pungent. Sundays, my aunt and I would walk to Ocean Park, see a movie, stroll along the boardwalk and stop at Top's, a greasy spoon, at the corner of Lincoln and Pico, to share one of the most delicious pastramis in town. We usually took the bus home, if we were too tired to walk.

     Back in the 40’s and 50s, they described Santa Monica as a worker’s paradise, a shared existence with the wealthy who lived farther north, the entire region tranquil and soothing. In those days, living close to the ocean wasn’t the big deal it is today, where people pay millions for a small plot of land near the beach. In the old days, living too close to the ocean meant being shoe-horned into a small cottage or frame home, suffering through cold, foggy, overcast days, in winter, and humid days in summer, the smell of mildew in closets, sometimes mold growing in corners.

     Laborers, like the Mexicans, Oklahoma and Arkansas dust-bowlers, Japanese, and smattering of African Americans, it was more about being close to the work site than close to the ocean. Back then, the land was less developed, miles of farmland, and there were shacks for the laborers scattered throughout different communities. After Abbot Kinney’s canal fiasco, the discovery of oil in Venice, oil derricks shot up everywhere, and property values crashed. Beatniks, bikers, and drunks took up residence along the boardwalks and arcades, the Westside's beach communities weren't so glamorous.

                                                                                         

My grandmother, Eusebia, holding me, a newborn

     My grandparents’ Santa Monica neighborhood was a true barrio, nearly all its residents Mexicans, not as integrated as other neighborhoods. The majority who lived there came from the old regions in Mexico, major centers of transportation and commerce, where the Camino Real originated, during the silver strikes of Zacatecas and Guanajuato in the 1600 -1700s, preceding California’s gold rush by centuries. Many Mexicans who came north were skilled cowboys, tradesmen, masons, carpenters, miners, ranchers, and railroad men. Some had been travelling back and forth from Mexico to Alta California and back for decades, following the trails of indigenous people who had made the journey generations earlier.

     In one journal, the Franciscan friar, Crespi, wrote about his expedition stopping to rest at an Indian encampment on a bluff about one league from the ocean, where a spring provided the villagers with fresh drinking water. Historians concluded the friar’s description sounded much like the spring that flowed on the campus of University High School. The friar wrote how the springs reminded him of the tears St. Monica shed for her wayward son, Augustine, “las lagrimas de Santa Monica.” The name stuck. The flow of water, now blocked, on the high school campus known as Indian Springs.

                                                                              *****

     Mandado is a complex word, with origins in the noun “manda,” which means a promise, a gift, to bequeath, or a religious vow. Then there’s the verb “mandar,” which is more of an order, a command, or decree. It can also connote “to dominate, to start, to deliver, as in a blow, or to throw, as in 'throw a stone.'” Cubans and Chileans use the word to say “leave” or “go away.” In Mexico, Argentina, and Uruguay it can mean to offer a drink, or to undertake an errand, as in my uncle’s case. 

     When I returned from Vietnam, my mother told me, while I was away, she had flown to Mexico City to make a "manda," a pilgrimage, to visit the Virgin and pray for my safe return from the war. My mother never realized how her "manda" may have pulled me out of a few jams, true miracles.

     I wonder if in my uncle’s mind, when he said “mandado,” it could have meant so much more to him than it meant to me, an English dominant and Spanish deficient American kid. When he told me he was going on a “mandado,” and I couldn't go, to me, it meant he was off to see his friends at the barber shop or pool hall. After, he'd return with a bag of pan dulce, tortillas, maybe cotijo cheese, that smelled awful, or sometimes a rock-hard cylinder of chocolate he’d boil to make hot chocolate, which I’d take a knife to and cut off a slice to eat, like Hershey’s. Sometimes, our elders pass on rituals without even knowing it.     

                                                                                   

a funky neighborhood, even a smog check business

     Today, in the mornings, as I’ve retired and passed my uncle’s age, I've adopted his ritual. I go each morning for my own mandado, because of a car, my range farther than his. I might drive to a different part of town, Mar Vista, Palms, Venice, Rancho Park, Culver City, and Santa Monica, just to wander about. Often, though, like this evening, I walked along Venice Boulevard, two blocks from my home, past a motley assortment of storefronts, a smog/auto repair shop, a tattoo parlor, a hairstylist, art gallery, a Pho noodle shop, and a nondescript apartment complex. 

     On the next blocks there are Middle Eastern, Himalayan, East Indian, South American, and Mexican restaurants. Sometimes, I just walk, listen, gab, and gaze, but other times, like today, I was on a mandado, an errand, like my uncle Andy, and I stopped at the Camaguey Market for fruit, milk, and oatmeal. The checkout girls all know me.

     Originally a Cuban grocery store, Camaguey, what the local kids call, “Cama-gooey,” now caters to Latinos of all stripes, college students, Muslims, Hindus, and some Africans, exotic spices hanging on one rack. There’s a butcher in the back, carne asada, marinated, and ready to go. There are all kinds of fruits and vegetables, not just bananas but plantains, nopales, cut up in a bag or a de-spined leaf. Near the counter, there is a wall of ointments and salves, candles in glass imprinted with the Virgin Mary, and some stuff that might be used in Santeria ceremonies, and at the rear, two women cook Brazilian food.

     Next door to Camaguey, is the Venice Bakery and Restaurant, in business now thirty-plus years. I bought two bolillos, and a treat, today's special, fresh tamales. "I'll take uno de cada uno," I told the girl, who spoke both Spanish and English, fluently, so went back and forth between languages. The bakery carries warm breads, freshly squeezed juices, pan dulce and a Cuban desert, pastelitos de guayaba, tres leches, choco-flan, all sorts of cakes and muffins. The restaurant serves a fusion of Cuban, Mexican, and Central American cuisine. On weekends, it's hard to find a place to sit.

     When I moved into the neighborhood, in 2000, on my early mandaos, I noticed the Bakery was a meeting place for older Cuban exiles, who sat out front, seemingly, all morning, drinking coffee, slapping down dominoes, and talking vociferously about whatever was on their mind, sports, politics, even about Fidel and his brother, Raul. I wouldn’t doubt some of them had been at la bahia de los cochinos, the Bay of Pigs, in the early 60s. One or two might have even been Cuban spies, picking up whatever intel they could send back to Havana. No matter, they’re all gone, now replaced by a strong contingent of Mexicans and Central Americans, college students, and locals.

     So, when my uncle would tell me he was going on a “mandao,” he might or might not have meant an errand. It could have been more like a foot-cruise, since he didn’t really like driving and kept his light blue 1953 Chevy, spotless, in the garage. Maybe he'd take a wayward stroll, or an exploratory expedition into a different neighborhood, what my friend Michael Sedano calls, “A walkabout,” in the Aussie "outback" tradition.

     He might have gone on an unplanned stop at a friend’s house for a sip of brandy. He may have just wanted to walk around the local park, Memorial Park. Maybe he just wanted to breathe in the cool, afternoon ocean air, and reminisce about the past, about the family he left behind in Mexico years earlier, a poor village of Huejucar, in Jalisco, where he returned only once to visit and vowed never to return. 

     I know it’s what I do as I walk, go for my mandao, reminisce about the past, maybe more than I’d like, but I don’t want to forget about the future, even if only for one more day, the end of the line not so far as it once was but just as bright, maybe brighter.

Chicanonautica: Looking for America in Aztlán

by Ernest Hogan



On the weekend of the 250th 4th of July celebration of the original No Kings Day, Emily and I took off to escape the friendly neighborhood afternoon-to-dawn fireworks orgy. Did the usual cherchez le weird and looking for America in the heart of Aztlán, finding some strange shit as we drove toward the Pocket Fire.


Sounds so cute and harmless. Aw. Let’s take it home . . .


In Prescott, crowds were there for the rodeo and parade. Flags were everywhere, black pickups and jeeps flew them full-sized. The fascist black, blue, and black version, too, sometimes painted on. 


And an ULTRA MAGA t-shirt.



Even the tourists were festooned with “patriotic” clothing, including Abbie Hoffman Special flag motifs.


I had a lot of wacky, incoherent dreams . . . At one point at the Hassayampa Inn, while Emily heard the sobbing of a ghost in the Art Deco hallways, I found myself in Nairobi buying a popular treat that looked like a white powder in big, transparent capsules . . . What dreamest thou, America?



On the 4th, we spent a quiet morning in Cottonwood’s Iron Horse Inn, relaxing in their Intergalactic Courtyard. Maybe the Surrealistic Burrito Western of My Dreams can have a sequence where a huge starship hovers over the courtyard and beams up a passenger . . .


Chilaquiles are like huevos rancheros, a good thing to order on the road because you never know what what you’ll get. After some fantastic chilaquiles at Creama (I prefer those of Bitzi Mama’s back in Glendale because they’re the way my mom made them, but these were good) a little old lady on a bench on Main Street told us, “You have to sit long enough on enough streets in enough towns to take it all in and you get an idea of how many trees are dying . . .”


A distortion of her will end up in either the sequel to the novel I’m having trouble selling or the Surrealistic Burrito Western or both, or maybe she deserves a story all her own.



Next day, after killing time among the plastic skeletons of Jerome, we drove to Sedona, into the smoke bank of the Pocket Fire that was blazing in Oak Creek Canyon. The 89A was cut off and the canyon evacuated. No crowds crowding Slide Rock. Sedona was quiet–not quite empty–for both a holiday and a Saturday. We could indulge in the illusion of having the place to ourselves.


By the afternoon, the smoke cleared, red rocks glowed again.



The crowd was different. More diverse. No more New Age White Spiritual Wonderland like back in the Nineties when I’d feel like I was there as part of an affirmative action program. These days they’d say DEI.


Somebody complained that there weren’t any good Mexican restaurants. I said, “Maybe they should let a few Mexicans move in.”


While waiting for pizza I scrolled into the picture of masked Patriot Front thugs surrounding that defiant Black woman on the DC Metro. When I looked it up later, I noticed that the press has gone back to capitalizing Black. Is there something in the air beside smoke?


A flyer caught my eye. For a local place called Don Diego Mexican Cuisine.



The words Mexican and cuisine just don’t sound right together to me, but I’m an old Chicano.


I shouldn’t be surprised that someone would insert Zorro into Sedona’s magical mystical ambiance, but there are problems. First of all, Zorro/Don Diego was a fictional character who first appeared in the novel The Curse of Capistrano that was first serialized in All-Story Magazine in 1919. In 1920 it was made into the silent film The Mark of Zorro and published as a book by that title in 1924. It was inspired by the legendary (his “reality” is widely debated) Joaquín Murrieta. The Mexican Joaquín was whitewashed into white Hispanic Zorro. Zorro was one of the inspirations for Batman–yes, the whole American superhero tradition has Chicano roots!


Historical accounts say that California Ranger Harry Love decapitated Joaquín in 1853, and went on to display the head. The original Zorro novel takes place in the 1820s. Sedona was founded in 1902. The timeline doesn’t work out.



Unless Joaquín/Zorro is a time traveler . . . Hmm . . .


I guess it’s better than when there weren’t any good Mexican restaurants in town.


The wind changed in the morning, bringing the smoke back.


When we got home, a huge drone was patrolling the area.



Ernest Hogan’s books are temporarily unavailable on Amazon due to corporate peculiarities. Watch here and his social media for updates.

 AND: I screwed up, did two Mondo Ernestos in a row and threw myself off schedule. A big apology  to Daniel Cano for stepping on his post for today. I'll do another Chicanonautica next week, and get myself back in the groove.

It's a wacko summer . . .  

Wednesday, July 15, 2026

A Song of Frutas— Un pregón de frutas

Written by Margarita Engle.

Illustrated by Sara Palacios. 



Publisher: Atheneum Books for Young Readers

Print length: 40 pages

ISBN-10: 1534444890

ISBN-13: 978-1534444898

Reading age: 4 - 8 years

Grade level: Preschool - 3



From Pura Belpré Award–winning author Margarita Engle comes a lively, rhythmic picture book about a little girl visiting her grandfather who is a pregonero—a singing street vendor in Cuba—and helping him sell his frutas.



When we visit mi abuelo, I help him sell

frutas, singing the names of each fruit

as we walk, our footsteps like drumbeats,

our hands like maracas, shaking…



The little girl loves visiting her grandfather in Cuba and singing his special songs to sell all kinds of fruit: mango, limón, naranja, piña, and more! Even when they’re apart, grandfather and granddaughter can share rhymes between their countries like un abrazo—a hug—made of words carried on letters that soar across the distance like songbirds.




Un pregón de frutas




Cuando visitamos a abuelo, lo ayudo a vender frutas,

pregonando los nombres de cada una

mientras caminamos: nuestros pasos repican como tambores,

nuestras manos, cual maracas, que suenan

agitan los brillantes colores de las frutas…


Vivo lejos de abuelo,

pero podemos cantar rimas

de ida y vuelta entre nuestros dos países,

nuestros versos en papel vuelan como aves cantoras,

cada sílaba un abrazo

hecho de palabras.




Review


"Palacios' beautiful artwork renders the city in rich, saturated colors with bustling crowds of people set against brightly hued buildings . . . Engle deftly weaves Spanglish through the conversational text . . . an author's note [enhances] the experience of this heartfelt read. . . " -- Booklist, Starred Review


"Palacios’ vibrant illustrations beautifully capture the joy and liveliness of the event. . . A joyful celebration of Cuban tradition and family ties." -- Kirkus Reviews, Starred Review


"Palacios gives a visual richness to the spreads, portraying streets teeming with people of various skin tones talking, dancing, and buying. . . Engle’s mix of Spanish and English flows easily off the pages.”   -- Publishers Weekly, Starred Review


"Engle’s text is rich in sensory details . . . Palacios’s digital illustrations are characterized by soft lines and warm colors that augment the positive mood throughout. . . Fond reminiscences and a nuanced cultural depiction make for another warm ode to Engle’s beloved isla." -- Horn Book Magazine




Margarita Engle is the Cuban American author of many books including the verse novels Rima’s Rebellion; Your Heart, My Sky; With a Star in My Hand; The Surrender Tree, a Newbery Honor winner; The Lightning Dreamer; and Wild Dreamers, a Pura Belpré Young Adult Author Honor book. Her verse memoirs include Soaring Earth and Enchanted Air, which received the Pura Belpré Award, a Walter Dean Myers Award Honor, and was a finalist for the YALSA Award for Excellence in Nonfiction, among others. Her picture books include Drum Dream Girl, Dancing Hands, and The Flying Girl. Visit her at MargaritaEngle.com.


Sara Palacios is the recipient of a Pura Belpré Illustrator Honor for Marisol McDonald Doesn’t Match and the illustrator of several other picture books, including A Song of Frutas, The Flying Girl,and Martina Has Too Many Tías. Sara graduated with a degree in graphic design and went on to earn BFA and MFA degrees in illustration from the Academy of Art in San Francisco. A native of Mexico, Sara now lives in San Francisco. Visit her at SaraPalaciosIllustrations.com.







Tuesday, July 14, 2026

One to Ten, How Much Does It Hurt?

 Pain Happens
Michael Sedano

July 2014, a week after the Fourth, I lie feverish, in pain, not acceding to Barbara’s demands she drive me to the emergency room. I am enjoying jubilant sounds out there, kids romping in our swimming pool. Pain comes and goes from bad to extreme. One to ten what number? Eleven. That kind of pain. I’m not convinced I’m dying until a physician, who’d been watching the kids, pushes on my abdomen and I grimace and groan. New pain atop pain i'd been holding back, convinces me.

I wake with a few punctures in my belly and waist—robo surgery, I’m told—and a plastic bag attached to my left side. A young man carbuncular, the surgeon, swaggers into the recovery room informing me he’s cured my diverticulitis. He pauses then delivers his punchline, the surgeon brags he's removed two feet of intestine. ba da boom.

I didn’t know I had diverticulitis until he tells me I don’t have it now. Peritonitis made the surgery a challenge he continues, he couldn't see too well through all the muck. Quite a challenge as it develops. 

Three days later, I turn grey and get a code blue ride to the surgical suite. Doctor comedian nicked the spleen and it is consuming itself. I’m bleeding to death. Now the surgeon slices me from sternum to abdomen to fix his fix. Who would have known the young man to have had so much blood in him?

I died during that surgery, splenectomy, but I get sent back from the other side by the ancestors telling me to get out of line. I wrote about it when the Dilaudid had worn off, in this La Bloga-Tuesday column (link).

July 2014 was as consequential a month as I’ve lived (other than August, when I was born, and married, and returned from overseas). I’d died and come back in July 2014. 

Science calls it an NDE, near death experience, but science doesn’t respect cucui, the spirits, and thinks brain chemistry, DMT, cooks up those visions and messages, “delusional ideation,” researchers call what happened to me.

Twenty-one days in the hospital teaches me to understand physical pain. I while away the hours locating the source of pain deep inside. This allows me to brace for the next wave of explosive pain so it won’t kill me again. Waves of pain blind me and I writhe into deeper agony, groaning into the empty hospital room with the world happening beyond the curtain.

This week marks my twelfth year back on this side of the curtain. I was ready to remain over there with the welcoming spirits who’d assembled. I know now why the ancestors sent me back: Barbara needed me.

Physical pain from one to ten has no counterpart for existential pain—in 2018 Barbara’s dementia of the Alzheimer’s type diagnosis delivers me into a new career as a caregiver. The disease arrives hard and quickly accelerates how she changes. What the books foretold happened one after another with relentless inevitability.

Alzheimer’s produces unrelenting all-enveloping pain in my heart and thoughts. I turn off emotion. This is now my life and I live it every moment of every day. COVID drives us to shelter in place for the rest of our lives. Barbara transitions in February 2023.

Living with Alzheimer's dementia changes both people. Only now do I possess the wholeness to write Barbara’s and my story of living with Alzheimer’s, and my new story, after Alzheimer’s.

We had only time.

Alzheimer’s happened to Barbara. She experiences it alone, by herself, I cannot share that, nor bear it in her place. Behaviors so essential to her personhood change. How painful when I recognize the absence of something as fundamental as a smile. When did I see her final smile? Why didn’t I notice? The pain of regret doesn’t diminish, only memory puts regrets in their place, deep inside where pain comes from.

In 2014 I cross to the Other Side and return. In 2018 Barbara and I begin living with Alzheimer’s dementia. I get sent back because Barbara would need me. When we’d wed on my birthday in 1968, we vowed to one another, “all the days of our lives.” 

There is no pain in joyful memories.

Sunday, July 12, 2026

“Anoche soñé con la niebla / Last Night I Dreamt About the Fog” by Xánath Caraza

“Anoche soñé con la niebla / Last Night I Dreamt About the Fog” by Xánath Caraza

 

Xanath Caraza

Anoche soñé con la niebla.

Se me metió en la memoria.

Atravesó mis recuerdos

llenándolos de luciérnagas rojas.

Se me acercaron mariposas azules

Espíritus de agitado vuelo entre la bruma.

 

Soñé con el chipichipi nacarado.

Me llamaba desde lejos.

Caminé por callejones empedrados

humedecidos por la lluvia.

Soñé la montaña de cumbre nevada

con estrellas desgarrándose del cielo.

 

Recuerdos perdidos de la infancia

Suspiré en voz alta

El aire se llenó de cocuyos verdes

que me guiaron en la noche.

Sentí el aroma a café por las calles

y reviví una tarde fría de invierno.

Caminé entre galerías de arte

 

Hundí mis manos entre minúsculas jacarandas

y el violeta se tatuó sobre mi pecho.

Aspiré la niebla de mi sueño

y un beso extraviado golpeó mi memoria.

 

Anoche soñé con la niebla

Arrullada por tus versos.

Seguí el camino que marcaba

que me guió entre torrentes de agua.

Me dejó entre papel picado

y olor a tierra mojada.

 

Con palabras que flotaban en el aire

fundiéndose entre ámbares y turquesas,

una canción se advirtió en la distancia

para los de alma de pirata.

Anoche soñé con la niebla.

Me llamaba desde lejos.

 

Xanath Caraza

Last Night I Dreamt About the Fog

 

Last night I dreamt about the fog

It came into my memory

It traversed my recollections

Filling them with red fireflies

Blue butterflies approached me

Possessed spirits fluttering in the mist

 

Mother of pearl I dreamt about drizzle

It was hailing me from afar

I strolled down cobblestoned alleyways

Moistened by the rain

I dreamt about the snow-capped mountain

With stars ripping down out of the sky

 

Lost memories of my childhood

Aloud I sighed

The air filled with green fireflies

Guiding me in the night

I took in the aroma of coffee in the streets

And relived a cold winter’s afternoon

I walked in, out of and between art galleries

 

I submerge my hands into tiny flowers of jacaranda

And the color of violet is tattooed on my chest

I breathed in the fog of my dream

And a lost kiss found me

 

Last night I dreamt about the fog

Lulled by your verses

I followed the fog’s path

Through torrents of water

It left me wrapped in cut paper

And the smell of wet earth

 

Words floated through the air

Melting between stones of amber and turquoise

A song called from afar

For those with a soul of pirate

 

Last night I dreamt about the fog

It came into my memory

 

“Anoche soñé con la Niebla / Last Night I Dreamt About the Fog” were originally published in my bilingual book of poetry Conjuro (2012).

 

Xanath Caraza

Conjuro received Second place in the ‘Best Poetry Book in Spanish’ category of the 2013 International Latino Book Awards.  In 2013 Conjuro also received Honorable mention in the ‘Best First Book in Spanish, Mariposa Award’ category of the 2013 International Latino Book Awards. Conjuro was an award-winning finalist in the 'Fiction: Multicultural' category of the 2013 International Book Awards.

 

Xanath Caraza