by Ernest Hogan
Is it too early for pandemic nostalgia? Please excuse me if it is. I’m a sci-fi vato, a mutant for whom the future never comes soon enough. I get high on future shock.
Also, I’m a futurista because I’m not allowed to exist in the present. Just ask whatever bureaucracy is watching over us right now.
The chaos of the last few years has had me running myself ragged keeping up with it transformations. Nothing like a global monkey-wrench smashing into everybody’s business to do that. Suddenly, the word surreal is in news reports. The pandemic did that.
Now we are under the delusion that it’s over, but Covid ain’t gone. It’s just going through some mellower mutations. Even though a lot of people want to forget it ever happened, there’s wisdom in the meme, “That which does not kill us, mutates and tries again.”
Note that you also see the word mutation in news reports these days.
Back in the thick of the lockdown, Guillermo Gómez-Peña started reporting on it on his radio show/podcast (the terms are becoming interchangeable–the internet is absorbing radio), Gómez-Peña’s Mex Files.
I tried to be a loyal listener at first but turned out I was an essential worker and ended up in a bandido bandana and an orange, glowing vest running stuff out to cars in the library parking lot instead of finishing my novel in the summer of 2020. I also learned about Zoom, thanks to Guillermo and his wife, Balitronica.
Recently, Facebook reminded me about Mex Files, so I binged what was on the website.
¡Guao!
Not only does it deliver the Mad Mex’s harrowing, transborder Covid experiences that outweird the latest science fiction, it provides an excellent introduction to his work and the incredible world of performance art.
How can I describe it?
There are similarities with my work–Gomez-Peña and I both arrived on this planet in 1955, him in Mexico City, me in L.A. we overlap over Chicano territory. He writes, and also performs, which takes him to interesting places. Art and politics cohabitate. It’s often funny but is more than satire. Alternate realities aren’t just described—they come to life, threaten to alter our world.
Sometimes it gets sci-fi (Chicano is a science fiction state of being) but is never restrained by the limits of the genre.
And it adapts well to different media, live performance, gallery and museum installations, film and video, and radio.
Sometimes it’s like bizarre comedy skits, other times it’s music that has been altered. Still other times, it’s honest accounts of fantastic experiences.
And it’s not all nonstop dystopian bring downs. Often there are flashes of the kind of utopias we could create if we could just let La Cultura ride free on new technologies.
Where does the sci-fi end and the real life begin? Or should I say magic realism? Or is magic realism from a high tech society indistinguishable from science fiction? Is it all performance art?
Our bizarre times are masterfully captured here. I know that a lot of folks just want to forget it. Some would erase all the memory, the history. But we need this knowledge.
You think the last few years were something? Just wait for the future. How long before 2020 is considered the good old days?
We need the wisdom of the Mad Mex to help us navigate the weirdness.
Ernest Hogan, the Father of Chicano Science Fiction has been in touch with Guillermo and Balitronica. Expect some wild stuff soon. He also highly recommends the documentary 100 Ways to Cross the Border.
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