Thursday, April 10, 2025

We Are All the Children of Immigrants

          Note: A good time to retell and past story.
                                                                      
My mother (left) with her friend, Connie Saenz, a child of Oaxacan immigrants

     My mother and her older siblings were the children of Mexican immigrants, refugees fleeing the violence of the 1910 Mexican Revolution, crossing the border at El Paso, heading to Southern California and settling in Santa Monica, where people from Jalisco had been migrating since at least the 1820s when California still belonged to Mexico. Only my mother and her older sister, Toni, were born in in U.S., “natural born citizens,” politically and culturally different from their parents and older siblings. 
     There were no strict immigration laws between Mexico and the U.S. in the 1900s. People crossed both ways to visit relatives, shop, work, conduct business, and return home. The 1929 U.S. Immigration Act imposed a one-dollar entry fee on immigrants entering the U.S. which was later raised to eight-dollars, along with literacy and health tests, mainly aimed at limiting European and Asian immigrants whose hard work and knowledge of agriculture threatened American farmers. 
     At the El Paso border, American labor welcomed Mexican workers, who could avoid paying immigration fees by wading across the river and entering the other side, no big deal. There was no organized immigration enforcement service, but later, as Congress tightened immigration laws, crossing the border became more humiliating when immigrants, especially women, had to disrobe, so agents could spray them with kerosene to satisfy the health requirements. Still, American business interests urged them south.
     Up to the 1970s, it was still fairly easy to cross the border, either way. Agents watched to make sure no one was carrying anything obviously illegal or dangerous. I remember in high school kids returning from a weekend in Baja with their parents smuggling in firecrackers. If you brought back a cherry bomb or an M-80, you were king. The agents turned a blind eye. It was like that until Nixon’s trumped-up “War on Drugs,” tightening up immigration laws. U.S. agents asked to see personal identification, like driver’s licenses, green cards, MICA's, and temporary visitors' passes. Neither government wanted to really shut down the border, completely, since businesses on both sides raked in millions of dollars a month.
     Immigration did get tight in the 1930s, during the Great Depression, when politicians had no answers for Americans who questioned why the U.S. economy had tanked and there were no jobs. That's when American racism raised its ugly head and politicians figured it would be a good idea to blame foreigners for the financial crisis, even though economists said a country’s financial stability had little to do with immigration but more to do with reckless business decisions made by government officials and corporate heads. 
     To show they were addressing the problem, the American government deported hundreds of thousands of Mexicans workers, many who had made lives here and others who were U.S. citizens. It wasn't unusual to pack Mexicans into cattle cars, haul them by train into the desert, and dump them there. It's all well-documented in the book Decade of Betrayal, by Francisco Balderrama and Raymond Rodriguez, and in the song "Deportees" by Woody Guthrie, who sang about a plane loaded with Mexican farmworkers crashing and burning in Coalinga, CA., on their way to a deportation center in El Centro, California. Even though the media identified the pilots, they didn’t identify the passengers on board, hoping to hide the tragedy from the public. Some government official got the bright idea to bury the Mexican deportees in a mass grave some place in Fresno. 
     Families, like my mother’s, pretty much stayed in their barrio shanties, going out only to work in the brickyards, beanfields, and packing sheds, low-paying jobs Americans didn’t want, always fearful of getting caught up in immigration raids. 
     When I once asked my mother if her family ever talked about returning to Mexico, she said her father talked about it, but nobody else did. She said she never had the desire to visit. Her father still owned a portion of the family ranch in Jalisco, where her relatives still farmed the land near the town of San Gaspar de Los Reyes, in the village of Mitic. 
     My mother told me she recalled when she was about sixteen, and she had just been released from spending three years at Olive View Hospital, recuperating from tuberculosis, which she later learned had been misdiagnosed, her brother Chuy talked about visiting the family in Mexico. My mom said once home from the sanitorium, she made up for lost time, finishing high school, working at Saks Fifth Avenue in Beverly Hills, attending dances, and enjoying the movies in downtown Santa Monica. Her family in Mexico was the furthest thing from her mind. 
     Her older brother, “Chuy,” was relentless, begging her then insisting. Chuy had lived on the family ranch in Mexico as a teenager but returned home after a couple of years. She respected her older brother. As she remembered, “We all worked, but my brother Chuy would leave home, go to other states, work, and send my mother his check, every week, to support the family.” 
     Her father, Nicolas Gonzalez, was in his forties when he contracted emphysema after working for years in Santa Monica’s brickyards and died. In those days, the old-timers didn’t wear masks or any type of protection. They worked in clouds of red dust all day with just cloths over their noses and mouths. They didn’t know they were breathing in tiny particles of brick. Over time, their lungs just disintegrated. They ended up choking to death, at least, that's the way my father told it. 
     My mother told me, chuckling, "Chuy, my brother, had lived in Mitic for a couple of years. He had a girlfriend there. I didn't know, then, but he didn't want my mom to know, and he was taking my mom with him to visit her relatives. I guess Chuy figured I could keep my mother distracted while he went to see his girlfriend. I think he had a baby, too. He might have even been married but nobody really knew. My brother was private." 
     Mitic was once a thriving community, until revolutions, revolts, and draughts devastated most of it, sending the people fleeing to San Juan, Aguascalientes, and the United States. Showing respect to her oldest brother, my mother finally agreed to accompany him and her mother to Mexico. She was fully Americanized and not a hint of Mexican ranch life in her. She wore slacks and blouses, Rita Haworth-style, at a time when ranch women in Mexico wore long, dark dresses down to their ankles. 
     She recalled when she first saw the ranch and met her relatives, "They were so poor. All they had to offer us were cooked beans and a little soup." My mother spoke as if she had been transported back to 1941, a teenager again. She said her mother decided to stay with her sister in San Juan de Los Lagos, while she chose to “rough it” and stay on the ranch with her father’s family. She met a young cousin, Patricia. The two quickly became friends. 
     The town of Mitic was nearly deserted, the dirt streets empty, and many of the adobe homes decaying. The ancient Indian village, historians trace back to before the conquest, had fallen onto difficult times, most of the men gone, looking for work in the States. She said, "I had to sleep on…not even a bed. It was like a cot, and it nearly rested on the dirt floor." 
     The house was made of adobe and in poor condition. At night when she tried to sleep, she could hear scampering in the house followed by banging noises. Sometime in the early morning, she opened her eyes and saw the face of a large rat staring back at her. The rats were everywhere. After one night, she told her mother, she could not stay in the house another night. "I felt so bad because I had planned on staying a few nights, but the next day I packed up and left." 
     It was a difficult departure. She and her cousin, Patricia, had gotten close in a short time. She said, "Patricia was about fifteen and very pretty…a beautiful girl." Patricia asked if my mother could stay for her confirmation and confided in her, saying she had nothing nice to wear for the ceremony. "It was hard," my mother told me. "I almost cried when I had to leave."
      She said the ranch was a big difference from her mother’s family, the Villalobos, who lived in San Juan de Los Lagos, middle-class, teachers, with modest homes in the city, whose kids played musical instruments and, at least, had enough to eat. “They were all very friendly but didn’t have much, either.”       On the way back home, they visited her mother’s other sister in Aguascalientes. "Those relatives who lived in Aguascalientes were very, very wealthy." My mother described how my grandmother's sister had married a banker. The family owned a house with many rooms, the floors covered in Saltillo stone, a courtyard and fountain, and maids to care for the children. They were polite and friendly but a bit reserved, and they were wealthier and more refined than any of the relatives who had migrated to the U.S. Wealthy Mexicans had no need to migrate to the U.S. 
     Once she arrived home, my mother excitedly told her mother she wanted to send Patricia a confirmation dress. From her closet, she picked the prettiest one she could find. She hoped the dress would fit. She and her cousin were about the same size. She wrapped the dress, placed it in a box, took it to the post office, and mailed it to Patricia, hoping to surprise her. 
     A few months passed. My mother heard nothing from Patricia or her parents. Then, after what seemed a long time, my mother received a letter from Patricia's parents. They wrote, telling my mother how much Patricia had loved the dress, but Patricia had taken ill not long after my mother’s departure. She grew worse, and she died. They thanked my mother for the dress and told her their daughter looked beautiful wearing the dress in her casket. 
     As she told me this, my mother’s eyes glazed over, her voice cracked when she said, "It was so sad."

Wednesday, April 09, 2025

Ecos migrantes

Escrito por Soudi Jiménez 

 

*Publisher: Editorial Traveler

*Language: Spanish

*Paperback: 236 pages

*ISBN-10: 8412748786

*ISBN-13: 978-8412748789

 


Esta obra es una poderosa colección de veintisiete relatos que combinan el rigor del periodismo con la riqueza de la experiencia humana. Reúne testimonios vibrantes de mujeres y hombres migrantes en Estados Unidos, cuyas voces emergen con un profundo valor histórico, sociológico, antropológico y cultural. Cada historia está narrada a través de géneros periodísticos distintos —noticia, reportaje y crónica—, lo que da vida a comunidades que resisten el racismo, mujeres que desafían el machismo y personas que enfrentan una travesía marcada por la xenofobia. Sin embargo, estos relatos no solo exponen desafíos: celebran también las contribuciones de los migrantes, quienes fortalecen su identidad, preservan su cultura, reavivan la memoria histórica y demuestran una resiliencia ejemplar. En sus páginas destacan las vivencias de personas provenientes de Guatemala, El Salvador, Honduras y México, que tejen un lazo con la comunidad latina y nos recuerdan que hablar de migración es hablar de humanidad. Estas historias, originalmente publicadas en la sección en español del diario Los Angeles Times, ofrecen una ventana única y conmovedora a las vidas de aquellos que transforman la adversidad en esperanza.


 



Oriundo de El Salvador, Soudi Jiménez se graduó de la Licenciatura en Periodismo en la UES. Antes de unirse a Los Angeles Times en Español trabajó en Megavisión (Canal 21) en la capital salvadoreña, Radio World International y Hoy Los Ángeles.







Tuesday, April 08, 2025

Hands Off! Festival On Colorado Blvd

Michael Sedano

There are no rude bridges along this stretch of Colorado Boulevard--the famed Route 66--where the Rose Parade marches along on January First. Here, embattled citizens stood, their flags to April's sunny weather unfurled. These thousands weren't alone; the crowd is  fired up knowing they're part of a national shout heard round the country: Hands Off!

Shoulder-to-shoulder throngs of people jostling at curbside shake placards at honking cars cruising the scene. Groups of cars move past with the regularity of traffic signals, many shouting affirmations, several holding signs or throwing hand signals. The people shout and scream with joyful anger.


Steady lines of excited people move in both directions on the sidewalk, phalanxed by people leaning against storefronts, perhaps taking a breather from the frenetic energy in the front rows, where motivation grows from a full agenda of issues.

Public Land. Our Bodies. Universities. USPS. Medicaid. Private Data. Our ballots. Our children's future. FDA. FEMA. EPA. Libraries. The Press. LGBTQ+ Rights. Free Speech. Our courts. Environment. Our energy. Our Sanity. Our jobs. Our wallets. SocialSecurity. 

The grievances addressed make diverse sources of public pain and suffering. The insults of the regime in power go on beyond the ability to couch one's feelings on a single placard. One protestor has a succinct view of why she and everyone else is here on the street today: 

I have too much outrage to fit on this sign.
Not all signs come with an ironic smile. There's a perceptible damper on the crowd when they see the ominous portrait in blood red labeled, Traitor. For some sign-makers, it's a no-holds-barred event where they let it all hang out.

Traitor
Our signs are useless: they don't read the Constitution 
Angry women will change the world
Fight back for the rule of law



What a stupid mess.
It's a warning not a manual!
Democracy not Dictatorship
Fight Ignorance not Immigrants 
Hands Off All Of It!
Protest and Patriotism define the history of this nation's ongoing struggle to reflect its foundation values and Constitution. Old Glory was hailed proudly in the gleaming sunlight carried by walkers, rampant from car windows, on the bicycle.



Democracy shouldn't be messy, and the Pasadena demonstration was as clean and orderly as one could imagine, given the chaos that leads to this community of voices. You can't tell a Republican from a Democrat from an Independent in a crowd speaking as with a single voice.

Hands Off!



It's not grasping for straws to see the coalescence of like-minded, high-spirited people coming together for these few hours in a community, because community matters. Acting as if what they're doing out here matters. Like it makes a difference. The subrosa anger smoldering beneath smiles and silly signs waits for something to ignite it. Not empty words filling a filibuster, not vandalizing someone's fancy car, not wrongfully deported souls; something. Someone.

The festival on Colorado occasioned genuine joy among thousands of people who got the word. That alone--communication and networked messages--offers a hopeful sign that the energy witnessed along the boulevard will reach these, and more ears, at some future day when something substantive arises, when masses of protesting dancing revelers can make a difference and get something done..

A ver.

Liberty and Justice for All
Chinga tu MAGA
Foxtrot Delta Tango



Stop President F Elon Now
Does this ass make my country look small?


Fight Fascism
F D T
c/s

Sunday, April 06, 2025

“Niebla verde / Green Fog” by Xánath Caraza

“Niebla verde / Green Fog” by Xánath Caraza

 

"Madre" by Juan Chawuk

 

Hombres de humo

de eternidad azul

de pensamientos fragmentados

 

Hombres que ya no sienten a la mujer susurrante

a la mujer de cuerpo celeste

a la mujer de constelaciones dulces

a la mujer que estimula la imaginación

 

En el corazón de las ciudades divididas

de las ciudades sin playa

de las ciudades sin nombre

llega la niebla verde

 

como olas gigantes

como el Saturno de Goya que devora

como el aliento de la serpiente

que da entrada a los hombres de humo

 

Fuerza arrasadora que bloquea

fuerza que no deja fluir los sentimientos

que no deja crecer las almas

de líderes de corazones puros

 

¿Dónde están los recuerdos de la espuma?

¿Dónde están los barullos de la calle?

¿Dónde están las manos salvajes creadoras?

¿Dónde están los pensamientos eternos?

¿Dónde están?

 

 

Xanath Caraza

Green Fog

 

by Xánath Caraza

 

Men of smoke

of blue eternity

of thoughts fragmented

 

Men who don’t feel the whispering woman anymore

the woman of celestial body

the woman of sweet constellations

the woman who stimulates imagination

 

In the heart of the divided cities

of the cities without a shore

of the cities without a name

green fog arrives

 

as giant waves

as Goya’s Saturn that devours

as the breath of the serpent

that lets the men of smoke come in

 

Crushing power that blocks

power that doesn’t allow feelings to flow

that doesn’t allow souls to grow

the souls of leaders with pure hearts

 

Where are the memories of the foam?

Where are the sounds of the street?

Where are the wild creative hands?

Where are the eternal thoughts?

Where are they?

 

 







“Niebla verde / Green Fog” is part of the collection Corazón de pintado by Xánath Caraza (Pandora lobo estepario productions, 2015)

 





Art by Juan Chawuk and cover art by José Jesús Chán Guzmán

Friday, April 04, 2025

Early Spring Events

 Looking for a destination that will educate or enlighten?  Maybe a piece of resistance?  Something literary? Cultural? Musica? Here are a few suggestions for Denver trippers.

_____________________________________















The Tequila Blues Festival features Los Lonely Boys, Eric Gales, Harper O'Neill, Levi Platero, and Jack Hadley and is hosted by Erica Brown. The TEQUILA BLUES Denver Blues Festival 2025 is a one-day blues music celebration featuring a diverse lineup of local and national talent. Set against the breathtaking backdrop of Red Rocks Amphitheater on Sunday, April 13, at 12:20 p.m.

Later.

_______________________


Manuel Ramos writes crime fiction.


Thursday, April 03, 2025

Chicanonautica: Xicanxfuturism Live in Phoenix

by Ernest Hogan



We interrupt your deprogramming for an important announcement. I will be appearing, live in the flesh, at 12:30 PM, April 13 at Palabras Bilingual Bookstore, 906 W. Roosevelt St. Unit 2 in Phoenix, Arizona.


Scott Russell Duncan, author of Old California Strikes Back and editor of  Xicanxfuturism: Gritos for Tomorrow will also be there.


Don’t let our gringo names fool you, we really are Dos Space Vatos.

We will be reading from our work, and talking about Xixanxfuturism as a needed alternative to Trumpfuturism and the rise of the techistadors.


I’ll have copies of Guerrilla Mural of a Siren’s Song: 15 Gonzo Science Fiction Stories, to sell and sign, and will be reading selections from “A Wild and Wooly Road Trip on Mars” from Xicanxfuturism. And “Uno! Dos! One-Two! Tres! Cuatro” from Guerrilla.


Now back to our regularly scheduled deprogramming. Don’t buy any recycled dystopias from sleazy con men . . .



Ernest Hogan, the Father of Chicano Science Fiction, will also be teaching the latest mutation of his “Gonzo Science Fiction, Chicano Style” in June at the (online) Palabras del Pueblo Writing Workshop.



Wednesday, April 02, 2025

A Maleta Full of Treasures/ La Maleta de Tesoros


Written by Natalia Sylvester.

Illustrated by Juana Medina.

 


Publisher: Dial Books

Language: English

Hardcover: 32 pages

ISBN-10: 0593462424

ISBN-13: 978-0593462423

 

 

From an award-winning author and illustrator, a warm, gentle ode to cherished visits from grandparents and the people and places that make us who we are even if we haven’t met them yet.

 

It’s been three years since Abuela’s last visit, and Dulce revels in every tiny detail—from Abuela’s maletas full of candies in crinkly wrappers and gifts from primos to the sweet, earthy smell of Peru that floats out of Abuela’s room and down the hall. But Abuela’s visit can’t last forever, and all too soon she’s packing her suitcases again. Then Dulce has an idea: maybe there are things she can gather for her cousins and send with Abuela to remind them of the U.S. relatives they’ve never met. And despite having to say goodbye, Abuela has one more surprise for Dulce—something to help her remember that home isn’t just a place, but the deep-rooted love they share no matter the distance.

 




Review

 

Pura Belpré Illustrator Honor Award

ALSC Notable Children's Book

Anna Dewey Read Together Award Finalist

Cooperative Children’s Book Center Choices 2025 List

 

"Medina perfectly captures the warmth of this family with her adorable, charismatic art . . . This book has charming themes of family and connecting to family culture, even if its far away. Distance does not diminish the love of family. This is a wonderful book that will be highly relatable to many families. A must-have for any picture book collection." —School Library Journal, starred review

 

"[A] beautiful and poignant homage . . . Sylvester weaves an emotional storyline that explores, through the loving, long-distance relationship, the nuances of being first-generation and longing for a land youve never visited but always heard about . . .  In its vibrant, warm palette, Medina’s cozy style of illustration brings to life Abuela and the magic of her maletas while capturing the bittersweetness of alternating joy and sadness that such an anticipated visit causes." —Booklist, starred review

 

"Medina’s thick-lined cartoon images are drawn with simplicity yet are deeply expressive; the protagonist’s emotions are palpable . . . this tale of bridging gaps is sure to especially resonate with immigrant families, as well as those who find themselves far from their roots. A cozy story of family treasures that sustain connections across the miles." —Kirkus

 

 

Natalia Sylvester is an award-winning author of the young adult novels Breathe and Count Back from Ten and Running and the adult novels Everyone Knows You Go Home and Chasing the Sun. Born in Lima, Peru, she grew up in Miami, Central Florida, and South Texas, and received her BFA from the University of Miami. A Maleta Full of Treasures is her first picture book.

 

Juana Medina is the creator of the Pura Belpré award-winning chapter book Juana & Lucas and many other titles and has illustrated numerous picture books, including ‘Twas the Night Before Pride and Smick! Born and raised in Bogotá, Colombia, Juana Medina now lives with her family in the Washington D.C. area.






Tuesday, April 01, 2025

Never Forgotten Gone Forever

Michael Sedano


Uphill from where I’ve stopped to stare, a skip loader scrapes its yellow claw across the cement slab that, today, is what remains of where I used to live. A dream house built upon the legacy of an earlier dream house. A family story to warm the heart.

When Barbara died, I went to live with my daughter and granddaughter in this Edenic place. My daughter dubbed it “McDonald’s Urban Farm” and she meant it. She grew prize vegetables, fertilized the crops with the poop from her herd of pygmy goats and two free-range jaulas of laying hens producing dozens of easter egg colored eggs daily, a duck, and a few heirloom turkeys that never made it to a dinner table.

The Eaton Fire took it to the ground in a monstrous catastrophe that ravaged thousands of homes across miles of neighborhoods. We are not alone. An entire community disappeared in that firestorm.

Most of the goats survived. None of the poultry. We’re not sure what happened to the coyotes, the bear, the mountain lions that constantly challenged the security of the barn and jaulas. The horses down the street were evacuated before the entire street burned down.

After a preliminary visit, I abandoned hope of recovering stuff I held precious while I could hold them. I hoped maybe silver bells and bronze sculpture, no hope for my paintings and prints. But I submerged those hopes like I muted my feelings over the years of living with dementia. I reasoned what is gone is gone forever, something I understand with intimate profundity, sabes?

The day of this foto I finally succumbed to the aching longing to sift through the rubble of my stuff. 

The drive to my former home takes me through devastated terrain, vast tracts of residential blocks now barren landscapes marked by towering fireplaces without homes to warm, front gates opening to nothing. Brown carcasses of automobiles litter remains of driveways and garages. EPA  hands painted a legend “Not EV” across scorched scrap metal heaps.

Turning into the driveway where I used to live, I see the Granada tree’s green leaves. There will be a crop next year. One Aguacate tree survives, its companion a charcoal sculpture. The clean-up crew set up a shelter next to withered orange and toronja trees. The massive Coast Live Oak sports green high up, the fire passed under its canopy. There is life, there is hope, there is rubble.

What did I miss the most? What vain hope of finding a treasure under the ashes?

Computers, cameras, negatives, slides, hard drives, repositories of memories, familia, and experiences. Those artifacts from my parents’ home I carried here; my Dad’s WWII memorabilia, my Mom’s box of pennies.

The Go board Barbara hand-carried from Tokyo because we bought the antique the last few hours of my R&R. My jacks set. My Güiros. The wedding china. the...the...

I had that piano since third grade. And all that sheet music and Ur texts wouldn't have survived, nor the vinyl.

Every stitch of clothing I owned.

I lost everything and have everything I need now. After being motel nomads for two months—I moved six times—I have settled for a year in the same place. My amazing daughter found a three bedroom house and the family is together once again.

I’m not sentenced to restaurant food. I have a kitchen with gas and a few essential pots, pans, and sharp knives.

Thanks to generous friends I have several changes of warm clothes and towels. I have a warm bed, a rudimentary garden in pots, and nothing but Time.

What I do not have is my home and there’s not a darn thing I, nor anyone, can do about that. It is what it is.



 

Monday, March 31, 2025

Lissette Solorzano, directora de la Fonoteca de Cuba por Xánath Caraza

Lissette Solorzano, directora de la Fonoteca de Cuba por Xánath Caraza

 


Lissette Solorzano, Cuba, 1969, ha sido nombrada directora de la Fonoteca de Cuba. Lissette, fotógrafa documental, ha visto su obra incluida en un gran número de publicaciones y participado en múltiples exhibiciones y residencias artísticas a nivel mundial. Aprovecho este espacio para felicitarla. He tenido el placer de conocer personalmente y de trabajar con Lissette. Tuve la fortuna de tenerla como invitada en un par de mis clases. Así mismo la imagen de portada de uno de mis libros, Corta la piel (FlowerSong Press, 2020), es de ella. También hemos colaborado con otros de mis poemas y sus imágenes. Aquí un enlace para “Escojo la luz” publicado el 8 de julio de 2024 con una imagen de Lissette.

 

Lissette Solórzano es artista visual. Cursó estudios en Instituto Superior de Diseño Industrial (ISDI). En el año 2000 participa en varios talleres con la universidad de fotografía de Maine. Durante el 2011-2012 realizó su maestría en Microsoft en la Universidad Cristóbal Colón, Veracruz, México. Obtiene una residencia artística en Estados Unidos con la Galería de Arte Contemporáneo Cara and Cabezas (2010). Entre las publicaciones más destacadas que incluyen sus obras está el catálogo Act of Sight (2022) (Colección Fotográfica de la Familia Tsiaras); el libro de colección de fotografía cubana contemporánea: The Light in Cuban Eyes (2015); Our Mothers (1996); Artes Plásticas de los 90´s y Reflexiones: el Sensacionalismo del Arte de Cuba. Sus trabajos forman parte de diversas colecciones públicas y privadas como: Casa de las Américas; Fototeca de Cuba; Centro de Estudios Cubanos de NY; Universidad de Harvard; Museo de las Américas en Denver; The Gallery (Milán y Washington DC); Museo de Arte de Brevard; Colección de la Familia Plonsker; Museo Nacional de Arte en Filipinas; Centro Nacional de Fotografía en Venezuela; Jenkins Johnson Gallery NY - San Fancisco; Colby College Museum of Art; Colección de Arte de la Familia Tsiaras; Museum of Fine Art Houston y la Universidad Internacional de la Florida (FIU). Ha recibido importantes premios dentro y fuera de la Isla entre los que destacan: Premio Especial a la mejor Obra individual, Osten Bienal Skopje 2024 Primer Premio de Fotografía 11 Edición “Lorenzo il Magnifico” en la Bienal de Florencia, 2017; Premio Nacional de Curaduría por la obra “La Ciudad de las Columnas”, La Habana, Cuba, 2005; Premio Tina Modotti de la prensa cubana, La Habana, Cuba, 1995; y mención con la obra “Fantasmas Efímeros” en el Premio Ensayo Fotográfico, Casa de las Américas, La Habana, Cuba, 1994. También es miembro de la Unión de Escritores y Artistas de Cuba (UNEAC).

 


Thursday, March 27, 2025

I Tried, I Really Did or Thanks to Second Chances

            by Daniel Cano

                                                                     

Books and Music, A Life in Education

      It was the first week of classes at the local city college, Santa Monica, a place many of us from working-class families passed on our way to the beach or to downtown Santa Monica to stock up on school clothes at J.C. Penny or Sears. I don’t remember stepping foot on campus, except to go swimming in the college pool or attend a football game. Most of the students enrolled at the college lived in the wealthier enclaves, like the Palisades, Brentwood, or the tonier parts of West L.A. and Culver City.

     My dad told me he only knew of one person who attended the local college, his friend, Mario Vasquez, who attended in the early 1940s. Mario had been an outstanding football running back at University High School, in West L.A., and the SM J.C. football coach recruited Mario to play for the Corsairs. Later, Mario attended barber college and cut the town's hair at his shop on Santa Monica Boulevard.

     Even though I attended Catholic high school, the good brothers of St. Patrick didn’t encourage students, like me, to think about college. By the tenth grade, we knew which kids they were prepping for entry into the ivy walls. I guess the brothers assumed the rest of us would become manual laborers like our fathers. There’s the irony. Our parents sent us to parochial school so we wouldn’t have to work as hard they did, so we'd do something better.

     Truth be told, I only enrolled in college when I heard the Army was offering a three-month “early out” and a monthly stipend on the G.I. Bill. Oh, sure, my parents always talked about me going to college, but they never understood the process or what it took to get us there. I guess that’s why they paid the school and trusted the brothers would take care of it.

     Growing up, I only knew my family as workers, landscapers, gardeners, construction, etc. I never saw myself as college material. All I cared about were music and sports. When I showed no inclination to college, my mother decided to send me to barber college, where I received my California’s Barber License after high school, the youngest student in the class. My mother told me it was something to “fall back on.”

     Bored and itching for adventure, I put the barber’s license away and joined the Army. After nearly three years serving Uncle Sam, I matured, reached the rank of sergeant, and was discharged, figuring I’d give college a try. I hadn’t been a bad student in high school, just nothing to brag about, mainly, due to my own lack of initiative. Put a guitar in my hand, and I’d practice for hours, a book – not so much.

     Those first days on campus, I was swimming in a sea of strange faces, a lot of guys and girls with bleach blonde hair in 1969. In most of my classes, I was the only Mexican. I pretty much stayed to myself, until one day, I ran into a guy I knew, Frank Juarez, a Chicano from Santa Monica. We were both glad to see each other. Frank was also a veteran, discharged from the Marines, so we developed a bond, brothers in arms.

     Frank was much more extroverted than I, and he introduced me to his friends from the neighborhood attending classes, not the typical scholars, some rough around the edges, even a few “cholos” who traded in khakis, white t-shirts, and Pendletons for huaraches, jeans, guayaberas, and sarapes, mostly in college to avoid the draft, like a lot of male students back then.

     Frank and his friends rounded up all the Mexicans they could find on campus and invited them to a meeting. There were maybe twenty or twenty-five of us. We were the first generation of Mexican college students from the community on campus, non-traditional students, using today’s political jargon, and we referred to ourselves as “Chicanos and Chicanas.” It wasn’t a term I’d ever used. I’d heard my dad call someone a Chicano. Some Tejanos in the Army referred to each other as Chicanos, but it had a different ring to it, more slang, as in “dude.” It wasn’t a commonly used term and had no political connotation like it did later when college students adopted it.

     As kids, we were simply Mexicans, the White kids Americans, and the Japanese just Japanese. In West L.A., where I was raised, there was only one black kid, James Walker, and he was just James, no need for a collective moniker. Anyway, that’s how it was and had always been. I recalled times when the word “Mexican” was as much a racial slur as an identifier, depending on the tone when someone said it. Mexican American always sounded so clunky and was abstract. How can somebody be two things?

     The students in the meeting began referring to the group gathered there as members of MEChA. I had a vague idea of the acronym, something about Chicanos and Aztlan, the Aztecs mythical homeland. I guess, in my mind, I was still a soldier thinking soldierly things, trying to break free of the military’s psychic chains and transition into a college student, whatever that was. I really had no idea.

     At the MEChA meeting, wild-haired guys wearing round wire-rimmed glasses filled the desks and spoke in an awkward Chicano academese. Frank and I didn’t talk about the military or Vietnam, that I remember, shy, or ashamed, of revealing our place as veterans since college kids railed against the war and anyone who fought in it. I think all of us Chicano kids were “outliers,” using Malcolm Gladwell’s term. We didn't know it, but we were opening doors for others, hopefully, our younger siblings.

     I admit, it was hard fitting in, even among other Chicanos. I didn’t feel I belonged, and even though I wasn’t college bound in high school, I still took core academic classes and worked hard enough to maintain B and C grades, except for a D in geometry. The brothers had us reading, writing and discussing esoteric topics, like the existence of God and our place in the universe. Like all good Catholic school kids, we studied and analyzed bible stories and dabbled in Latin. When I graduated, I set a benchmark for my younger siblings. Doesn't sound like much, today, when so many have college degrees.

     My father, an avid reader, never finished school, dropping out of high school to work, the same with his four siblings. My mother graduated from Santa Monica High School in 1942 and had no doubt her children would all graduate high school, and hopefully attend college, or at least work at clean, well-paying jobs. I can still hear the excitement in her voice when I called her from Fort Bragg, NC, and told her the Army had given me an “Early Out,” to enroll at SMCC. The year I'd spent in Vietnam had taken a toll on her.

     I had no idea what to expect in the MEChA meeting, I mean like why I was there or what they were up to, so I sat back and listened. It started off like any other meeting, what they call “housekeeping,” updates about financial aid and visits to universities. I could sense something brewing. Some students took the lead and, in my opinion, monopolized the discussion. Others started tossing out topics, like ideas and projects, arguing passionately, as the rest watched. I could see, right off, a couple of the “talkers” liked hearing themselves talk and took themselves way too seriously.

      I’d just spent almost three years watching and listening to some of the best “talkers” from across the country, black guys from Chicago, New York, and Philly, Chicanos from East L.A., Albuquerque, and San Antonio, and white guys from Boston, Atlanta, and Birmingham, each guy who could hold our attention during the longest all-night gab sessions. Whether they were telling the truth or not, who knew? Entertainment and insight were much more important than truth.

     Two MEChA gallos nearly came to blows. One wanted to stage a mass protest and force the administration to put burritos into all the vending machines. Another wanted to raise funds to bring El Chicano to play a concert on campus. A few, the more serious students, said we should join the anti-war protests across the country, or maybe rile up high school students for another “Blowout.” Somebody else was worried about getting arrested and kicked out of school.  

     Well, I wasn’t about to get arrested, not over burritos, anti-war marches, or blowouts. Two years earlier, after the murder of MLK, I’d patrolled the area around Howard University as Washington D.C. burned. Through the smoke, I saw the capitol, a strange sight among the charred buildings, ashes, and madness.

    I tried that semester, and the next. I really did. My head wasn’t in it, none of it, especially the studying. I thought the lectures were boring. I mean, how long can one person listen to another talk? When I realized my heart wasn’t in it either, it was too late. Two semesters had passed, and I, maybe, passed two courses.

     I quit before they kicked me out. Besides, I was smart enough to realize, I didn’t want to hang around and use up all of my G.I. Bill. I might want to return, one day, who knows, take it all more seriously, which I did, two years later, earning all A grades in every class I’d failed. 

     Eventually I transferred to a state college, Dominguez Hills, perfect for a married, older student, with kids, and a world of experience behind him. I received a fellowship to study in Spain for a year, and beyond my wildest dreams, enter the profession I once considered the bane of my existence. Books became my constant companions. I taught community college classes for the next thirty or so years, loving every semester, hoping my students would learn from my past experiences.