Sunday, June 29, 2025

“El templo del jaguar / The Temple of the Jaguar” by Xánath Caraza

“El templo del jaguar / The Temple of the Jaguar” by Xánath Caraza

 


Balamkú, te ofrezco mi voz.

Frente a ti me encuentro

ancestral friso sagrado.

 

Balám recorre la piedra

bajo el negro cielo estrellado,

un rugido alerta al oído.

 

Los siglos nos reúnen,

los ojos derraman líquido

canto, florido pensamiento.

 

Mis manos te sienten

sin verte, vibra tu voz

de selva esmeralda.

 

Friso sagrado, vuelvo

a ti para entregarte

sílabas de agua.

 

El sendero de la selva

es humo de copal,

las antorchas se encienden.

 

Balám, guía mis pasos

para dejar mi dulce poesía

incrustada en las piedras rojas.

 

Los versos en la atmósfera

crean un puente de refulgente luz.

 

No hay líquido tiempo

ni ambarina lluvia

en las páginas de cálido viento.

 

Me entrego a la garganta de la selva,

la música de jade absorbe mi voz,

mi esencia en los diseños de piedra.

Xanath Caraza


The Temple of the Jaguar

 

Balamkú, I offer you my voice.

I find myself before you

sacred ancestral frieze.

 

Balam crosses the stone

beneath the starry black sky,

a roar alerts my ear.

 

Centuries unite us,

eyes spill liquid

song, flowery thought.

 

My hands feel you

without seeing you, your voice,

emerald jungle, vibrates.

 

Sacred frieze, I return

to you to hand you

syllables of water.

 

The path of the jungle

is copal smoke,

torches are lit.

 

Balam, guide my steps

to leave my sweet poetry

embedded in red rock.

 

Verses in the atmosphere

create a bridge of shimmering light.

 

There is no liquid time

or amber rain

on the pages of the warm wind.

 

I give myself to the throat of the jungle,

jade music absorbs my voice,

my essence in designs of stone.

 


“El templo del jaguar / The Temple of the Jaguar” está incluido en el poemario Balamkú (2019). Traducido al inglés por Sandra Kingery.

 

In 2020 Balamkú received second place for the Juan Felipe Herrera Best Book of Poetry Award by the International Latino Book Awards.

 

Balamkú (Es una zona maya del estado de Campeche en México) significa: el templo del jaguar

 

Friday, June 27, 2025

Restless Books




I recently focused on the trail blazing independent press Seven Stories. Today I turn my attention to Restless Books, another independent press doing all it can to ensure that international progressive writers are published and meaningful literature remains available for all readers.

Independent publishers are struggling to survive. They are under attack like so many other institutions that have become the target of the enemies of truth, human rights, and compassionate justice. Ilan Stavans, the Publisher for Restless Books, recently distributed a letter as part of Restless Books' fund-raising campaign. I've reprinted his letter below. For more information about the mission and history of Restless Books, visit the website at Restless Books.

________________________

Queridos Amigos,

A few short weeks ago, I wrote with an urgent appeal in response to the Trump administration’s defunding of the National Endowment for the Arts, the National Endowment for the Humanities, the Institute of Museum and Library Sciences, and more. The majority of independent literary presses and journals, community-focused arts organizations, individual artists and translators, and many others rely on funding from the NEA to do the work that they do, and Restless Books is one of those organizations. We depend on an annual grant of $30,000 from the NEA to publish our books each year; without that grant, those books are in jeopardy. Fewer books would be a victory for Trump, who thrives on chaos and retribution, and hopes to silence diverse writers. Now more than ever, I’m convinced these stories must be told—without federal dollars if necessary.

In sum, we need to raise $30,000 to guarantee that we can continue to operate as we would have before Trump took aim at the NEA. We are hoping to raise these funds by July 4. As of today, we have received an astounding $25,625. Thanks so much to those of you who donated — we could not do what we do without your support! If you have not yet donated, please consider doing so. Below are some of the projects you will be helping bring out into the world: Can you help?

Depending on the size of your generous support, Restless Books will shower you with all kinds of goodies:

Donate $75+ and receive a newly designed hot-off-the-presses “Reading is Resistance” tote bag PLUS a surprise galley of an upcoming book;
Donate $250+ and receive the above PLUS one year of membership to the Restless Readers Club;
Donate $1,000+ and receive all of the above PLUS acknowledgment on the copyright page of a forthcoming book of your choice;
Donate $2,500+ and receive all of the above PLUS acknowledgment on the dedication page of a forthcoming book of your choice;
And, if you donate $5,000 or more, you receive all of the above PLUS I will also take you out for dinner at a restaurant of your choice!

Later.
____________________________


Manuel Ramos writes crime fiction.


Thursday, June 26, 2025

Chicanonautica: Xicanxfuturism News and Other Strange Phenomena

 

by Ernest Hogan



Palabras del Pueblo and my “Gonzo Science Fiction, Chicano Style” class are over. I’ve got two stories, my reaction to the mass deportation that’s coming to your town soon, and a Chicano space opera, that need their final, annoying, nerve-wracking, goings-over to get them in shape to send them out to editors (I call it the literary pick and shovel work). Then . . . things began to happen . . .


That would make a great beginning for a sci-fi story–uh oh, I’m stuck in writing teacher mode . . .


The big news is the anthology, Xicanxfuturism: Grito for Tomorrow, will be split into two volumes. Turns out it was too big. Too much Xicanxfuturism going on. A renaissance, if I can steal a word from the Eurocentric sphere. It's probably for the best, each volume will be cheaper. 


We don’t want to overwhelm or intimidate the potential world-wide audience. Yes, I believe that. I have fans in England and Australia, my work has been translated into Greek, Portuguese, Russian, and Polish, and those are just the ones I’ve been able to track down.


I righteously dream of an intergalactic barrio!


The new plan is:


Codex I: Xicanxfuturism: Gritos for Tomorrow - Coming late August/September 2025


Codex II: Xicanxfuturism: Gritos for Tomorrow - Coming February 2026



My story “A Wild and Wooly Road Trip on Mars”--a new adventure of Pacho Cohen, Mariachi of Mars--will be in Codex II, but I will be promoting both volumes. You’re not going to want to miss this major cultural event!


And that ain’t all . . .


I’ve got some deals in the works that are related to Xicanxfuturism. They have to do with art, and I’m not going into any specifics yet. I hate it when people shoot their mouths about something they’ve got pending before it's all been nailed down. “My agent is talking to the studios about making my unsold, unfinished novel into a TV series . . .” Shut up and finish the damn novel, tell us about the deals later; if they don’t work out (and most of them don’t), make the story amusing.


As for other weird things out in the so-called real world . . .


I keep seeing people who look like they escaped form my stories: modern-day adelitas, ciberbandidos, civilians in camouflage, women watching telenovelas on their phone (on the bus), middle-aged punks in full regalia, an ex-con telecoordinating: “When you get it, make sure it’s stable . . .”


Another great sci-fi opening . . .


I keep getting texts from something that calls itself the Arizona Ministry of Communications . . .


Somehow, despite the wars and encroaching fascism, even though it may be sick, I find myself feeling optimistic. Why not? Without some positive vision to hope for, to fight for, what’s the point of living?


Ya gotta keep an eye on what’s coming. That’s what futurism is all about.


And Xicanx need futurisms, too.


I’m feeling good about sending out stories and finding a publisher for my novel Zyx; Or, Bring Me the Brain of Victor Theremin.


As we plummet into another summer of extreme heat warnings and executive orders . . .



Ernest Hogan is weaponizing his Ancient Chicano Sci-Fi Wisdom.


Wednesday, June 25, 2025

The Closest Thing to a Normal Life

Written by Michael Méndez Guevara.


ISBN: 979-8-89375-013-3
Publication Date: May 31, 2025
Format: Trade Paperback
Pages: 272
Imprint: Piñata Books
Ages: 14-18



This page-turner for mature young adults deals with tragedy, 

starting over and social issues relevant to today’s youth.



There’s nothing remotely normal about seventeen-year-old Ethan-Matthew Cruz Canton’s life. His parents, journalists in Spain, were killed in a terrorist attack and now he’s living with his grandparents in San Antonio, attending his father’s high school for senior year. Narrated in the young man’s perceptive, witty voice, the novel opens with his plan to keep his head down, make it until June and then follow his parents’ footsteps to Northwestern University’s journalism program. But his idea to keep a low profile is quickly blown out of the water.


As Ethan-Matthew deals with incessant questions about his hyphenated name and his grief, he looks forward to the only “normal” thing available: writing for the school newspaper. He was set to be the editor at his high school in Spain, but now his story ideas are being ignored! With the encouragement and help of his new friends, he starts an alternative online newspaper to cover the overlooked students and staff.  Things escalate, though, when he writes about a racist incident—instigated by the school’s mostly white, privileged student body—that turns violent!


Amidst all the drama, Ethan-Matthew suddenly and unexpectedly finds himself romantically involved with another boy, his cross-country teammate and best friend Reid. Author Michael Méndez Guevara, a former high school teacher, writes convincingly about the lives of young adults on the path to self-discovery. This refreshing, intelligent novel dealing with the loss of loved ones, prejudice and the clash of social mores is sure to capture the imagination of teen readers.




“With humor and undeniable charm, Michael Méndez Guevara navigates the complexities of grief and shows how our deepest relationships ultimately shape our understanding of ourselves and the world around us. The Closest Thing to a Normal Life reminds us what it means to find one’s place in the midst of chaos and change.”—Matt Mendez, author of The Broke Hearts and Barely Missing Everything


“Alarmed that your students are reluctant to pick up a book? Tempt them with the first pages of The Closest Thing to a Normal Life, and I predict they will be fighting to be the first to get their hands on your copy. The narrator takes readers on the roller coaster ride of his senior year—ups and downs that are testament to his gumption and resilience. Ethan-Matthew’s search for ‘normal’ is a contemporary odyssey.”—Carol Jago, associate director of the California Reading and Literature Project at UCLA, taught high school English for many years and is past president of the National Council of Teachers of English.


“High school is hard enough without having to start over in a place that was never supposed to be home, living a life that was never supposed to be yours. Ethan-Matthew Cruz Canton wasn’t planning on spending senior year in his dad’s childhood bedroom, dodging questions about his ‘interesting’ name and pretending he’s totally fine (spoiler alert: he’s not). After losing both parents at once, that’s exactly where he lands—stuck in a school where friendships go back to the sandbox. Just trying to survive the year would be hard enough, but then there’s an unexpected pull of new friendships, tangled emotions, and a connection that makes Ethan-Matthew question everything. Suddenly, he’s not just figuring out how to grieve‒he’s navigating the exhilarating, messy blur between friends and something more. The Closest Thing to a Normal Life is heartbreakingly real, laugh-out-loud funny, and packs a twist you won’t see coming. For anyone who’s felt like they don’t quite belong or wondered if joy is possible after loss‒this book is for you.”—Annie Jenson, host of The History Solarium Book Club



MICHAEL MÉNDEZ GUEVARA has worked as a high school English teacher, instructional coach and curriculum writer. He lives in San Antonio, Texas, where he works as an educational consultant. This is his first published book.






Tuesday, June 24, 2025

Review: Out of the Ashes, Familiar Voices

Review: Richard Vargas. The Screw City Poems. Colchester, IL: Roadside Press, 2025 (link)

Michael Sedano

There’s this thing about poetry books, or my poetry books at any rate. They grow in number; I buy, I’m given, I find stuff I like, and then acquire more. Bookshelves bow under weight of disorderly storage and barely controlled acquisition. Boxes of books hide in attic spaces.

Michael Sedano with a selection of books by Richard Vargas

Now and again, perhaps in search of something else, serendipity, or some unarticulated need—I pull a poetry book from its hiding place. I flip through the dog-ears, read, and wonder. Where a paper clip has embossed its form into the paper leaving reddish-brown rust I study the page for echoes. What is it about this poem that earns it that rust mark? “Ah, yes.”

And then the fire. 

All those dog-eared, paperclipped, pencil marked, notes to- think-about-later, pages, resting in treasured books , and books sitting on the to-be-read stack, all of those words, ash.

It would be easy to grow all mawkish over my lost and only remembered volumes, except I know life, and libraries, begin anew. 

One day, one volume at a time. It gets better.

It got better for me in a hurry when Richard Vargas mailed me a copy of his newest book, The Screw City Poems, a compendium of work spanning the poet’s career since 2005 and including work in progress.

I remember these poems. It’s as if all my poetry books have risen from the ashes of the Eaton Fire.

One of the better features of the collection is its twenty-seven selections from the out-of-print classic, McLife, whose title poems established the young Vargas as a powerful voice for anonymous working stiffs in lousy jobs.

With such a rich body of work to choose from, it's not entirely disappointing that Vargas didn’t include this that or another title, especially two from Guernica, revisited, “When You Beat Me, for Occupy,” and “Why I Feed the Birds.” Thanks to Jesus Treviño’s Latinopia, we can enjoy Richard Vargas reading those two wonderful poems.

Here's a link to the video: 

http://latinopia.com/latino-literature/latinopia-word-richard-garcia-guernica-revisited/

 

Here’s a link to Thelma Reyna’s incisive review of Leaving A Tip At the Blue Moon Motel.

https://labloga.blogspot.com/2023/08/return-of-backyard-floricanto-richard.html


I cannot hope to recreate my incinerated library nor recover anything material that was lost. That what memory’s for. With The Screw City Poems, Richard Vargas has ignited my memory--in the best way—of all of those books of his that burned. I’m glad to hold this slim volume in my hands with its selection of work from those books of mine that vanished in smoke. I read and dog-ear as if these poems are mine for the very first time and go, “Ah, yes…”

 

 

 

Sunday, June 22, 2025

Guest Columnist: Xánath Caraza. Latino Writers Collective en Chicago.

Xanath Caraza

By Xánath Caraza (see Xánath's bio following foto credits)

When I think of the word Chicago, immediately what comes to my mind is Sandra Cisneros, the Chicago Art Institute, the National Museum of Mexican Art, the Blue Men, and Carlos Cumpián. We, the Latino Writers Collective (LWC) of Kansas City, received an invitation for a collective reading in Chicago to promote our award winning fiction anthology, Cuentos del Centro: Stories from the Latino Heartland (Scapegoat Press, 2009), and we were so excited that we could not wait to arrive at the event.
--English language column continues below.

Cuando pienso en la palabra Chicago, lo que viene inmediatamente a mi mente es Sandra Cisneros, el Instituto de Arte de Chicago, el Museo Nacional de Arte Mexicano, los Hombres Azules y Carlos Cumpián. Nosotros, el Latino Writers Collective (LWC) de Kansas City, recibimos una invitación para una lectura colectiva en Chicago para promover nuestra antología ganadora de ficción, Cuentos del Centro: Stories from the Latino Heartland, (Scapegoat Press, 2009), y estábamos tan emocionados que no podíamos esperar para llegar al evento.

¡¡Chi-ca-go!! El Latino Writers Collective de la Ciudad de Kansas leyó en la Windy City en la noche del 5 de diciembre de 2009, de 6:30 a 9 en Latte en Lincoln, auspiciados por MARCH/Abrazo Press que es dirigida por el dinámico y afectuoso Carlos Cumpián.

Entre los miembros de LWC que asistieron al evento y que con gran entusiasmo leyeron para la audiencia de Chicago estuvieron José Faus, María Vazquez-Boyd, Christina Rodriguez, Ericka Cecilia, Gustavo Aybar, Gabriela Lemmons, Linda Rodriguez, Mario Duarte y Xánath Caraza. Sin embargo la noche fue más que una lectura. Fue el principio de nuevas amistades e intercambio de palabras y experiencias, porque tuvimos la oportunidad de escuchar a dos poetas locales de Chicago. También escuchamos las impactantes palabras de Cynthia Gallaher y la lectura llena de energía del mismo Carlos Cumpián.

¡¡Qué noche!! Un verdadero lujo para LWC. La atmósfera casera en Latte en Lincoln, el aterciopelado vino tinto para brindar y las presentaciones de Carlos Cumpián fueron parte de las delicadezas de esta ocasión. En las palabras de Carlos Cumpián: “Cuando Linda Rodriguez me presentó a LWC fue en la Conferencia de 2008 de Association of Writers and Writing Programs, a través de su antología ganadora de poesía, Primera Página: Poetry from the Latino Heartland (Scapegoat Press, 2008). Después ella me pidió leer, sólo leer un manuscrito. Estaba lleno de voces diversas del Midwest y encontré en sus cuentos mucha narrativa poética. Era un tesoro y las críticas lo han probado. Entonces, terminé por escribir el prólogo para Cuentos del Centro”.

Mientras termino los últimos toques a estas palabras de nuestra noche en Chicago, me asomo por la ventana para ver las luces de la ciudad; ahora sé que estoy en casa. Gracias Chicago y gracias Carlos Cumpián. Chicago, hasta la próxima.


Chi-ca-go!! The Latino Writers Collective from Kansas City read at the Windy City on the
evening of December 5, 2009 from 6:30-9 at Latte on Lincoln, hosted by MARCH/ Abrazo Press led by the dynamic and warm-hearted Carlos Cumpián.

Among the LWC members who attended the event and enthusiastically performed for the Chicago audience were José Faus, María Vazquez-Boyd, Christina Rodriguez, Ericka Cecilia, Gustavo Aybar, Gabriela Lemmons, Linda Rodriguez, Mario Duarte, and Xánath Caraza. However, the night was more than just a reading. It was the beginning of new friendships, and an exchange of words, and experiences, because as well we had the opportunity to listen to two local poets from Chicago. We also listened to the powerful words of Cynthia Gallaher and the energetic performance of Carlos Cumpián.

What a night!! A real treat for LWC. The cozy atmosphere at Latte on Lincoln, the velvety red wine for toasting and the introductions from Carlos Cumpián were part of the delicacies of the night. In the words of Carlos Cumpián: “When Linda Rodriguez introduced me to LWC, it was at the Association of Writers and Writing Programs Conference 2008, in Chicago, through their award winning poetry anthology, Primera Página: Poetry from the Latino Heartland (Scapegoat Press, 2008). Then she asked me to read, only read a manuscript. It was full of diverse voices from the Midwest and I found in their stories so much narrative poetry. It was a treasure, and the reviews have proved it. As a result, I ended up writing the foreword for Cuentos del Centro”.

As I’m finishing the last touches of these words of our evening in Chicago, I look through the window to see the city lights below; now I know I am home. Thank you Chicago, and thank you Carlos Cumpián. Chicago, we hope to return there soon.

Fotos:Stephen Holland-Wempe.

Top: con Carlos Cumpián.

Bottom: Mario Duarte, Xanath Caraza, Jose Faus, Maria Vasquez-Boyd, Ericka Cecilia and Gustavo Aybar.)


Biographical Statement: I’m a traveler, educator, poet, and short story writer. My original work and essays have been published in El Cid, Revista estudiantil del Capítulo Tau Iota de Sigma Delta Pi, La Sociedad Nacional Honoraria Hispánica, Utah Foreign Language Review, Present Magazine, and Latino Poetry Review. I have also been published in the following anthologies: Cuentos del Centro: Stories from the Latino Heartland, (Scapegoat Press, 2009), Primera Página: Poetry from the Latino Heartland (Scapegoat Press, 2008), and Más allá de las fronteras, (Ediciones Nuevo Espacio, 2004). I’m a member of the Board of Directors of the Latino Writers Collective, Kansas City, Missouri. I love hiking, Concheros, Baroque music, and a warm cup of oolong tea.




La Bloga welcomes and encourages guest columnists. If you have a book review, arts or cultural event, a significant reading experience, or something from your writer's notebook that you'd enjoy sharing with La Bloga, click here to discuss your proposal.

Michael Sedano's regular Tuesday column returns next week, December 14, with his review of Mexico City Noir.

“Escojo la luz / Διαλέγω το φως από” por Xánath Caraza

“Escojo la luz / Διαλέγω το φως από” por Xánath Caraza

 


Las lágrimas no dejan ver el mundo. Distorsionadas imágenes. El agua cambia la nitidez por borrosos espectros. La guerra no se ve con claridad, los filtros del agua impiden distinguir los detalles dolorosos. Monstruos en el rabillo del ojo acechan los paisajes perdidos en el glóbulo ocular. Ópticas difusas acompañadas de gemidos suplicantes. Los colores del mundo se expanden en la mente del lector. Escojo la luz.

 

El mundo

cambia

los detalles dolorosos.

En el glóbulo ocular

ópticas difusas

del lector.

 

Xanath Caraza


Διαλέγω το φως από την Σάναθ Καράσα

 

Ο κόσμος από τα δάκρυα δεν φαίνεται. Εικόνες παραμορφωμένες. Το νερό αλλάζει την ευκρίνεια με φάσματα θολά. Ο πόλεμος δεν φαίνεται καθαρά, τα φίλτρα του νερού μας εμποδίζουν να διακρίνουμε τις οδυνηρές λεπτομέρειες. Τέρατα στη γωνία του ματιού παραφυλάνε  τα τοπία που χάνονται στο βολβό του ματιού. Οπτικές διάχυτες που συνοδεύονται από βογγητά ικεσίας. Τα χρώματα του κόσμου εξαπλώνονται στο μυαλό του αναγνώστη. Διαλέγω το φως.

 

   Ο κόσμος

    αλλάζει

τις οδυνηρές λεπτομέρειες.

      Στο βολβό του ματιού

οπτικές διάχυτες

του αναγνώστη.

 

 

Imagen de Lissette Solorzano

Este poema es parte del manuscrito Escojo la luz por Xánath Caraza.

 

Imagen de Lissette Solorzano

de la serie “El gran jardín”, 2021-2024

Ciudad de la Habana, Cuba

 

Traducido al griego por Natasa Lambrou, Dra. UMU

Ciudad de Atenas, Grecia

 

Εικόνα της Lissette Solorzano

από την σειρά «Ο μεγάλος κήπος», 2021-2024

Λα Αβάνα, Κούβα

Μετάφραση στα Ελληνικά από την Δρ. Νατάσα Λάμπρου

Πόλη των Αθηνών, Ελλάδα
Ιούλιος του 2024

 

  

Thursday, June 19, 2025

Where Tradition Comes to Die

by Daniel Cano

                                                                                 

Tradition and Ritual in Chiapas, Real or Imagined

     How far should we go to carry on the traditions of our elders? When my mother taught me lessons about life, she’d often tell me that was how she learned them from her mother. As the second generation in the U.S., both my parents inherited many traditions from their Mexican parents, but they also began moving away from other traditions. Is the United States the land where traditions come to die?

     My grandparents were born in Mexico, in villages they can trace back hundreds of years, before the Spanish arrived. Reluctantly, they crossed the border into the United States, a long trip in 1920, refugees escaping violence and poverty of the Mexican Revolution. It was a difficult decision leaving behind their families, friends, land and culture. On the day of their departure, as they loaded their kids onto a horsedrawn wagon, my grandparents probably realized it would be the last time they'd ever see their parents again. That couldn't have been easy.

     Their destination was Los Angeles, a foreign land near the Pacific Coast, where they joined other paisanos and relatives who had, over the years, made the same journey, some going as far back as when Mexico still owned California.

     Once my parents’ families were settled in the new land, the children started school, learned English, found work, and began seeing themselves as Americans. When they reached adulthood, my parents’ older siblings, those born in Mexico, spoke with no discernable Spanish accent when speaking English. Their teachers did a good job trading one language for another. If anything, my father’s brothers spoke with more an American working-class drawl. When I came along, everyone spoke to me in Spanish, mostly baby-talk. Once I was ready for kindergarten, I only heard English, except when speaking to my grandparents.

     As a kid in the suburbs of Santa Monica and West Los Angeles, I had a mix of friends, Anglos, Japanese, and other Mexican kids. Like the generations before us, we saw ourselves as Americans, even though, deep down, we had Mexican roots. By the 1950s, we’d been sufficiently acculturated, and except for the carefully orchestrated Bracero program, there was little immigration from Mexico in those years. I only knew of two families who migrated from Mexico. Our customs were rock ‘n roll, hamburgers, and American athletics, more than anything else. None of us, as teenagers, played soccer or listened to Mexican music, but we did eat Mexican food, a lot of it.

     We celebrated religious traditions, baptisms and confirmations, but no rituals outside the church. Inside those sacred walls, we were bombarded with rituals, the mysterious Latin language, the incense, the communion wafers, water sprinkled on our heads, standing and kneeling, First Fridays, Sundays, and of course, Christmas and Easter. Even though they made sure we attended Sunday mass, my parents usually stayed home.

     I don’t remember any Chicano families celebrating Cinco de Mayo, quinceaneras, or even Mexican Independence Day, the 16th of September, the most popular celebration of my parents’ generation. Nobody sent their kids to learn Mexican folklorico dances. Nobody had ever heard of Aztec dancers or the burning of incense, not even among the elders of my grandparents’ generation. Even gone was the annual celebration of barbecuing a pig in an underground fire pit, too much damn work.  

     Come to think of it, my grandmother, Eusebia, raised on a ranch in Jalisco, dropped many family traditions. When my grandfather died, she dressed in black for only a short time then returned to wearing colorful printed dresses, a would-be scandal in her Mexican village of Las Palmas. The family matriarch attended mass on Sunday only when she felt like it. She’d stay home and cook for anyone coming to visit then sit down and watch her wild animal shows on television.

     By then the family had separated, two of my aunts had moved to the eastside with their husbands and families. My eldest uncles, Joe and Chuy, would sometimes stop by my grandmother’s home on Sunday afternoons to visit, but they too had their own families and couldn't make it every Sunday. Once a year, the Gonzalez clan would gather for a reunion at a neighborhood park. My dad’s Cano clan had already shed any semblance of customs, traditions, and rituals. Attending the UCLA, USC football game became the most important tradition in town, that and waiting for don Viviano to push his pan dulce cart to the neighborhood park each day in summer.

     Even today, other than celebrating birthdays or some religious ceremony, my family, like many American families, has kind of skimped out on traditions and rituals, too time-consuming and lot of work. Usually, the women catch the worst of traditions – because of the food. When men create traditions, they often want a big meal to go along with the ceremony, but it’s the women, usually, who end up at the store buying the groceries then into the kitchen to cook, out in the dining room to serve the meal then back into the kitchen to clean up, while the men sit in front of the televisions in another room and let out a roar when their favorite team has scored.

     Maybe it’s just that I am not much of a traditionalist. After three years in the army, I had my fill of tradition and ritual. So much of what goes on in the military is symbolic, ritual, and tradition, even killing other human beings. We’ve created our own mass sacrifices, so we shouldn’t complain about past indigenous groups making human offerings to the sun. The military does it all the time, and each year, it develops more efficient ways of killing their enemies.

     When I hear the younger generation rail about the importance of tradition, I’m not so sure I agree. Traditions and rituals, to me, are very conservative traits. They have their place in small societies, where people really do need to depend on each other to survive. I remember the book Woman Warrior, by Maxine Hong Kingston, where, in rural China, a woman who has committed adultery drowns herself in the village well. They say her female animalistic desires brought shame on not only her family but on the entire village, so, as the myth goes, the gods will not be happy with her or the village until she is punished. None of the villagers wants to suffer days of draught, floods, or locusts. To appease the gods, the villagers punish the woman and her family. However, nobody knows if she really did commit adultery or was raped by an influential man of the village, and she must never utter his name. Either way, she gets her revenge by contaminating the village’s drinking water with her dead body.

     Right, I’m not so sure about tradition, dances, and rituals. If you want to celebrate with a bit party good, go for it, but don’t say it’s tradition. Personally, I think tradition is overrated. Aztec dancers and incense burning does nothing for my soul. Don’t get me wrong. I enjoy the entertainment but don't feel much psychic purification. Besides, incense makes me congested.

     When my granddaughter recently told me she wanted to have a big party to celebrate her daughter’s first birthday. I told her good but not to work so hard at it. She’s already under a lot of stress. She said it’s about tradition. Well, when my mom hit a certain age, she had no problem parting ways with tradition. I told my kids and grandkids to start their own traditions.

     It reminded me of a story I heard about a mother who cut off a couple of inches from either end of a ham before putting it into the cooking pan. When her husband asked why she cut off the ends of the ham, she answered, “Because that’s how my mom always cooked her ham.” 

     One day Grandma came to the house and the husband asked why she cut off both ends of the ham before cooking it. Grandma answered, “Because that’s how my mom always cooked her ham.” One day Great-Grandma showed up for dinner, and the husband asked her why she cut the ham at either end before cooking it. Great-Grandma answered, “Because we were so poor, I couldn't afford a cooking pan big enough to hold the ham, so I’d cut it off at both ends to make it fit.”

     This story has been told in so many ways for so many reasons and lessons. For today, I think it’s appropriate when we consider “traditions” and how they are created.