Tuesday, March 03, 2026

Casa de Colibríes

At Home With Hummingbirds 

Michael Sedano 

Concha screamed in agony. The smaller boy heard her pain and understood immediately something awful had taken place. The older boy stood over the pile of green and brown feathers staring stupidly at what he'd accomplished. 

Concha gave him a look of pity and picked up the carcass. In a few seconds, Concha returned from inside carrying a hefty black book. The woman opened the Bible to some random page in the middle, laid down the dead bird and closed the book around it to dry. Concha told the small boy about la chuparrosa's magic and how she would keep the dried body for luck. 

It wasn't lucky for the hummingbird. The boy didn't understand that part. He knew about lucky rabbit's feet, but didn't understand that part, either. 

That’s the beginning of my attachment to hummingbirds. I am that smaller boy in the story, which occurs in Spanish at my grandmother’s house, sometime around 1949.


I can see Concha’s Biblia, how she brought it out into the sunlight. She had some flowers pressed in the pages of that book that proved to my eyes the efficacy of using books to dry stuff. 

Today, almost eighty years later, I have a photographer’s memory of hummingbirds. That is, I remember where I’ve seen them nectaring on one or another tree, shrub, or flowers, and I return with my longest lens, time and again. 



I stalk the Huntington Library and Los Angeles County Arboretum in search of good fotos. I talk to the gardeners—mostly in Spanish—asking where they’ve seen colibri in the area. The gardeners are from different places and they call the flying jewels chuparosa or picaflor, in addition to colibri. 

Chicano literature expresses high regard for hummingbirds. Luis Alberto Urrea’s gifted readers his Hummingbird’s Daughter (link), which isn’t about hummingbirds per se. My favorite literary hummingbird is Graciela Limon’s title character in Song of the Hummingbird. The character, Huitzitzilín, is named hummingbird in her native Mexica language, and has a mind faster than a speeding colibri as she torments the Inquisitor assigned to civilize her. 

I live well, after Alzheimer’s, and now, post-Eaton fire. My daughter bought a house where the yerba buena grows like a weed and mejor, a hedge of Cuphea ignea, cigar flower, firecracker flower, that hummingbirds love. I noticed that right away when I moved here las Fall.


Instead of walking miles and waiting half an hour or so for a glorious sight, I sit outside near my front door, lens pointed toward the hedge and wait. And wait. With enough patience, and a healthy dose of serendipity, these sparkling souls share themselves with a happy photographer.

While I enjoy the walkabout and all the other critters I get to see and photograph, I like the thought "cast down your buckets where you are." I'm not forced to look anywhere but here, I don't have to click my ruby slippers incanting "there's no place like home" but that's the way it is, for my hummers and me, there's no place like home.

Sunday, March 01, 2026

“Música Acuática” by Xánath Caraza

“Música Acuática” by Xánath Caraza

 

Xanath Caraza

What a pleasure to share my work. Last Thursday I was invited to read some of my poetry and one of the poems that I presented was “Música acuática / Water Musica”. I’m happy to share that on this occasion this poem was very well received by the audience. Hope you enjoy this poem along with a few photos of the event.

 

“Música Acuática” by Xánath Caraza

 

Música acuática sobre la superficie del lago

Gotas de sonidos naturales

Vibraciones de lluvia entre los pinos

Sonidos del bosque

Murmullos celestiales que perforan el lago

Tic, tic, tic, tic, tic, jiiish, jiiish

Círculos de plata en crescendo

Reflejo de nubes grises

Sinfonía de musgos y líquenes

Superficie de agua interrumpida por la música

Pasión sonora suave y abrumadora

Tic, tic, tic, tic, tic, jiiish, jiiish

Sonidos asaltando las fosas nasales

Sentidos exaltados al ritmo de la lluvia

Tic, tic, tic, tic, tic, jiiish, jiiish

Sinfonía acuática

Pintura musical

Lago impresionista

 

 

Xanath Caraza

Water Music

 

Water music on the surface of the lake

Drops of natural sounds

Vibrations of rain among pine trees

Sounds of the forest

Celestial whispering that pierces the lake

Tic, tic, tic, tic, tic, hiiish, hiiish

Circles of silver in crescendo

Reflection of gray clouds

Symphony of moss and lichen

Surface of water interrupted by music

Audible passion soft and exhausting

Tic, tic, tic, tic, tic, hiiiish, hiiiish

Sounds assaulting the nose

Senses running high to the rhythm of rain

Tic, tic, tic, tic, tic, hiiiiish, hiiiish

Aquatic symphony

Musical painting

Impressionist lake

 

Su Müziği

 

Gölün yüzeyindeki su müziği

Doğal seslerin damlacıkları

Cam ağacı arasındaki yağmurun titreşimleri

Ormandaki sesler

Gökyüzünün fısıldaması gölleri deliyor

Tic, tic, tic, tic, tic, hiiish, hiiish

Gümüş daireler giderek artıyor

Gri bulutların yansıması

Yosunların ahengi

Müzik suyun yüzeyini titrettikçe

Yumuşakça ve çok yorgun bir ses

Tic, tic, tic, tic, tic, hiiiish, hiiiish

Sesler burnumuza saldırırken

Yağmurun ritmini daha çok duyuyoruz

Tic, tic, tic, tic, tic, hiiiiish, hiiiish

Suyun ahengi

Göldeki izlenimler

 

 

Xanath Caraza

Musique aquatique

 

Musique aquatique sur la surface du lac

Gouttes de sons naturels

Vibrations de pluie entre les pins

Bruits de la forêt

Murmures célestes qui percent le lac

Tic,tic,tic, tic, tic, jiiish, jiiish

Cercles d'argent en crescendo

Reflet de nuages gris

Symphonie des mousses  et lichens

Surface de l'eau interrompue par la musique

Passion sonore douce et écrasante

Tic,tic,tic, tic, tic, jiiis

Sons assaillant les narines

Sens exaltés au rythme de la pluie

Tic,tic,tic, tic, tic, jiiish, jiiish

Symphonie aquatique

Peinture musicale

Lac impressionniste

 

 

Música acuática & Water Music” by Xánath Caraza are included in Conjuro (Caraza X., Mammoth Publications, 2012). Translated into the Turkish by Eyyup Esen and into the French by Justine Temeyissa Patalé. Translated into the English by the author.

 

Música acuática” was recorded by Phonodia, University Ca’Foscari in Venice, Italy. 

 

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.

 

  

Friday, February 27, 2026

Poetry Connection: Following Santa Barbara's New Poet Laureate, George Yatchisin, Around Town

  

 

Santa Barbara Poet Laureate George Yatchisin

 

 Melinda Palacio, Santa Barbara Poet Laureate 2023-2025


Over two weeks in February, I followed Santa Barbara Poet Laureate, George Yatchisin, as he spoke to two very different book clubs, the Santa Barbara Women’s Book Club at Rockwood and the Montecito Poetry Club. The Women’s Book Club, led by Linda Alderman, is unique in that they don’t read a shared book ahead of their meeting. Unlike most book clubs, they invite an author to talk about their work and encourage them to bring books to sell. They asked George to offer a more general discussion on the role of a poet laureate. This topic never gets old. It’s interesting to see how many people don’t know what a poet laureate is or that the position exists in Santa Barbara.


George is the city’s 11th Poet Laureate. He charmed everyone at the Women’s Bookclub with his poetry and deep dive into the history of the laurels worn by Apollo and Poets Laureate. He brought a sample laurel crown to add to his explaination of the mythology surrounding the laurels. The wearing of the laurels are associated with the Greek God Apollo who was struck by one of Cupid’s golden love arrows. The nymph Daphne happened to be in his sight but Cupid didn’t use the same arrow on her. In praying for a solution to escape Apollo, she was transformed into a laurel tree. Since Apollo is associated with poetry, he declared the tree sacred and wears the laurels in her honor. Ancient traditions passed the tradition of wearing of laurels to heroes and poets. Someone asked the question, that I often hear as well, ‘Does every city and state have a poet laureate?’ You guessed correctly, the answer is No.


Santa Barbara didn’t have a poet laureate until 2005 with the installation of the inaugural position going to the late Barry Spacks. Sometimes, institutions appoint a poet laureate that is separate from the city poet laureate, such as former Independent intern, Leticia Hernández-Linares who is San Francisco’s library laureate. There’s also the example of former Santa Barbara resident, David Oliveira, who was recognized as Santa Barbara’s Millenial Poet from 1999-2000 for his promotion of poetry, for founding the Santa Barbara Poetry Series, and for co-founding Mille Grazie Press with Cynthia Anderson. David will make a return trip to Santa Barbara on March 27 when he reads at the Santa Barbara Public Library in the series he founded.


Over at the Montecito Library, the format for the Montecito Poetry Club is very different. This group is made up of poets, four poets laureate were in attendance. Santa Barbara Librarian Jace Turner organizes this group. Packets of George’s poems were passed out. People sat in circle and there was more sharing and less of a lecture or presentation from the featured poet. This group is used to discussing favorite poets who are not in the room. It was a treat for them to be able to ask questions from the poet. George read some poems to the Rockwood group, but at the Montecito Poetry Club, George had the honor of hearing the audience read his poems to him and then ask questions about his process and inspiration. Jace set the tone by asking each person in the circle to describe what draws them to poetry. George was asked how he felt about language.


As someone who writes about food for the Independent, George discussed the taste of language in poetry: “I like how a poem feels in my mouth,” he said. He adds spice and flavor to his poems by infusing them with obscure or eclectic song lyrics. There’s much freedom and playfulness in his poems and he says that he tries to move around while he writes. In April, for Poetry Month, there will be plenty of opportunities to taste and sip poems. George and Gunpowder Press will release a food poetry anthology celebrating local food, drinks, restaurants, and agriculture. Also, George will curate the 12th Annual “Spirits in the Air: Potent Potable Poetry, April 15 at the Good Lion.


This week’s poem comes from Santa Barbara Poet Laureate, George Yatchisin.


An Air



Feathers are the things

with hope, for who doesn’t

brighten at a first glimpse

of birds, whether alight

or in flight, stealthily silent

or full-throated in song.



You can’t over-value them

in charm per pound,

in the lift they give,

not thinking about giving at all.

Even a simple house wren

prefers bugs to your bird feeder.



They’re unruffled we can’t

distinguish among their happy

host of dust-colored birds.

Just ask the cold-eyed hawk

or hungry cat what good

distinction does its feathered prey.



But beneath the lowest reach

of bushes, their clutch of cheerful 

cheeps hint at what we’ve missed.

Please, then, even off-key come

sing with me, something awkward,

unrehearsed, unadorned, but true.



George Yatchisin


*an earlier version of this article was published in the Independent


Thursday, February 26, 2026

Following the Calexico Comet to Cal

 Note: DEI is about stories, and ours are under attack, so I thought it would be a good time to repost this story, a story about the U.S. and its people, our people, our elders. by Daniel Cano

                                                                     

Following the Calexico Comet to UC Berkeley

     Recently, I came across some old black and white photos of my dad and his friends, Larry Baez, Freddie Santana, and my uncle Rufino Escarcega. In one photo, I see a car, maybe a 1952 or ’53 light colored Chevy. It could be my dad’s 1953 light-green Chevy. I don’t know for sure. On the driver’s door, someone painted the words: “CALEXICO, Comet ‘Primo’ UCLA.”

     Kneeling beside the driver’s door, I see Dario Sanchez, I think. It’s a small photo. Beside Dario, standing to the rear, it looks like my dad. Beside him in the foreground is Georgie Saenz, and behind Georgie is Richard Sanchez, Dario’s younger brother, all hearty UCLA fans, most of them veterans, and the first generation of Chicanos, proud Mexican Americans. They pose next to Primo’s name, UCLA’s star running and defensive back. Primo, short for Primitivo, his father’s name.

     I try to put it all into context. I wish my dad was here to tell me the story. I’m sure it’s 1954, the year UCLA won the National College Football Championship. My dad and his friends travelled to Berkeley to watch Primo and UCLA battle Cal. A couple of things…. Now, a road trip to Berkeley doesn’t seem much to us today. But in the early 1950s, without freeways or major highways, that was one hellava drive.

     To reach the San Fernando Valley from West L.A., you had to wind around the Santa Monica Mountains along the Sepulveda Pass, in a car with no power anything. To cross the Valley, you had to grind your way up Sepulveda Blvd, stopping at red lights through every little settlement in San Fernando, Sherman Oaks, Van Nuys, Reseda, Pacoima, Sylmar, etc. etc. 1954 was only twenty years after the great Okie migration west, which meant crossing the San Joaquin Valley was a major achievement, not just a weekend romp. There were few hotels, gas stations, restaurants, or facilities for travelers, especially if you were a dark-skin Mexican, forget about it.

     As I study the photograph, I think: man, UCLA football must have been a powerful draw to get them to make that journey. Then I remember, it wasn’t just UCLA football, it was Primo Villanueva, and the pride my dad and his friends had in the kid who came from a small border town down south. I mean, Primo played for one of the greatest football coaches to ever walk the sidelines, Red Sanders. What must it have been like for Primo, a minister’s son, a kid from a small farming town where racism was rampant and poverty was a way of life, to know a football icon wanted him to move to Los Angeles and play for his team, UCLA, in the heart of Los Angeles, Hollywood, bright lights, big city?

                                                                                           

One of the all-time greats, Primo Villanueva

     To many of us Chicanos in Los Angeles, even non-UCLA fans, Primo was king. He’d dominated high school football in Calexico, the Imperial Valley, and San Diego County. At UCLA, he became an idol to thousands of kids across Los Angeles and California, and at a time when Chicano kids needed someone to look up to. When the media flooded us in the ‘50s with images of Mexicans as rapists, murderers, thieves, and slackers, Primo showed the true side of our community, where the majority were law-abiding, hardworking folks contributing to the development of this country, striving to educate their kids, and give them a good life.

    Primo, as a running back, led UCLA’s offense with 886 yards. If that wasn’t enough, he also played defensive back, and helped take the Bruins to a national championship, an undefeated season, 9-0. The kid was barely 19. He held his own among UCLA’s superstars, powerhouse athletes like Jack Elena, Jim Salisbury, and Bob Davenport, names known in college football across the country. We aren’t talking about good athletes here. We are talking about the best in the country.

     My dad and his friends couldn’t stop talking about Primo during those years. Sometimes, I’d attend games with them, the only kid in the car, or my cousin Junior squeezing in, as they made their way each Saturday night to the Coliseum, an hour drive, easy, in those days, from West L.A. After the game, the fans rushed on to the field to touch or shake hands with the gargantuan players. One time, my dad pushed his way through the crowd, so I could gawk up at the Chicano in cleats and full pads towering over us. After the field had emptied, my dad and his friends waited for the players to walk up the ramp, out of the Coliseum, and into the adoring fans, shaking hands and giving autographs. I can still hear my dad and his friends yelling, as if they were kids, “Primo! Primo! Primo!” He’d always smile and wave at them. They never missed a home game.

     Coincidentally, my wife hails from Calexico, California. Her brothers played high school football, and, of course, I had to ask them if they knew Primo. Her oldest brother, who received a football and academic scholarship to Dartmouth, told me when he played for Calexico High School, the coach gave him Primo’s helmet, mainly because it was the largest. My father-in-law, who also played high school football in Calexico, told me that fans would caravan from Calexico each season to watch Primo play. He said that on one trip, he and his friends got into a bad car accident, but even that didn’t stop them from attending the game. They sat the Coliseum, wrapped in bandages, watching Primo pull out another victory.

     I have visited Calexico over the years disappointed that there is little recognition of Primo, or his younger brother Danny, a punter and field goal kicker, for UCLA, the Los Angeles Rams, and the Dallas Cowboys. I would have thought for sure the high school might be named after Primo, or if not, at least the high school football field, gym, even a swimming pool. After all, Primo was an All-American football star. But no, nothing, no mention of the man. Most public facilities are named after…who knows, ex principals, superintendents, parents of city council or school board members?

     Then I heard Primo Villanueva hadn’t even been inducted into the UCLA Football Hall of Fame. How could that be? What was I missing here, the Calexico Comet who led UCLA to its only national football championship? Then, I heard a rumor that nominees and inductees, or those who nominated them, were expected to donate or raise big bucks for the university, just like a buying a star on the Hollywood Walk of Fame, nothing comes for free, not even for excellence.

     What I do know is that Chicano(a)/Latino(a) Studies, and all fields of study, should not be solely about scholars digging into esoteric, antiquated intellectual issues. It should be about people, their stories, and their contributions to Chicano/Latino culture, whether academic, musical, film, literature, art, athletics, or any other human endeavor. Chicano Studies should uplift the community, as well as show the difficulties and obstacles we’ve faced. To me, forgotten names of men like Primo Villanueva, Art Aragon, and Leo Carrillo, and women like Dolores del Rio, Isela Vega, and Linda Ronstadt, through their life’s work, have earned a place in the academy. Students should know about them.

     For me, anyway, I will always consider Chicano Studies as having begun with my father’s stories, and those men and women of his generation who lived to tell them.

Wednesday, February 25, 2026

Estela, Undrowning

Written by René Peña-Govea 


*Publisher: Quill Tree Books

*Publication date: March 3, 2026

*Language: English

*Print length: 368 pages

*ISBN-10: 0063429950

*ISBN-13: 978-0063429956

*Reading age: 14 years and up


In her raw and resonant debut novel, René Peña-Govea seamlessly interweaves prose and poetry to uplift the power of language, the courage to fight injustice, and the complex beauty of finding your people—perfect for fans of Elizabeth Acevedo’s The Poet X and Carolina Ixta’s Shut Up, This is Serious. 

Estela Morales is one of the only Latinas who tested into San Francisco’s most exclusive public high school. In her senior year, Estela just wants to keep her head down, eke out a passing grade from her racist Spanish teacher, and get into her dream college. 

But after placing second in the Latiné Heritage Poetry Contest behind a non-Latino student, Estela is thrust into citywide debates about merit, identity, and diversity.

Things only get messier when her family is threatened with eviction. As Estela’s friends organize against bigotry and her landlady increases the pressure, Estela is suffocating and finds release only in poetry and in a breathless new romance. When tensions finally reach their breaking point, Estela must find a way to undrown the community she loves—and herself.


Review

"In Peña-Govea’s arresting debut, Estela contends with complex questions regarding love and sexuality, identity, and how to use her voice to enact change, she comes to understand the value of imperfection and growth. It’s both a poignant reflection on young adulthood and a joyful celebration of adolescence that challenges stereotypes and engenders hope." - Publisher's Weekly- starred review

"Hand this to teens hungry for realistic fiction with rich, complex characters, and multifaceted drama." - The Bulletin of the Center for Children's Books- starred review

"Through a gorgeous blend of prose and verse, Peña-Govea delivers a timely and impactful story about personal growth and combating harmful systems of oppression that encourage self-hatred and racial in-fighting." - Booklist- starred reviews

"First-person narrator Estela’s intense, dramatic inner voice takes center stage, highlighting her angst and emotional extremes...The work asks poignant questions about bias, opportunity, and racial inequalities and explores techniques for supporting mental health." - Kirkus Reviews


René Peña-Govea is a Chicana writer, musician, and educator who was born and raised in San Francisco and still lives there with her family. She published her first poem and released her first album at age fifteen. Since then, she has been named an inaugural Bay Beats musician, a YBCA-100 Honoree, a Las Musas Hermana, a Brown-Handler Resident, and a Creative-in-Residence at the Ruby. René performs music with three generations of La Familia Peña-Govea and as René y Familia. Estela, Undrowning is her first novel. 






Tuesday, February 24, 2026

Memories, Moths, Enamoradas Pasadas

Nightime Walkabout: Visit With A Swarm of Unknown Moths
Michael Sedano


The night isn’t particularly dark on the concrete driveway entering the brightly lit mall parking lot. I’m walking, so I keep to the edge where a bed of dwarf lantana grow. Something, maybe a gum wrapper, maybe a critter, darts across the flowers into shadow.

I bend to gaze intently scanning the spot where movement has arrested my attention. I search around several plants, eyes primed to see a piece of paper that doesn’t exist. I straighten up surveying the bed at my feet where some natural magic shares this climactic moment of metamorphosis with me when these moths rise from the earth like silent chicharras, seeking nourishment from abundant lantana flowers.

I have no idea what moth this can be. When the moths stop to sip, their wings flutter in nonstop delight fully comprehending this nectar. Getting close and getting an iphone foto takes dozens of exposures, but at such wing velocities the iphone cannot catch a wing in space even with flash. By their wings will you know them, moths, I have no identification for these small souls.

I get to my car and a moth has posed itself on the windshield. Mira nomás.


Fast As You Can Wink An Eye

Michael Sedano  

 

She ripped my heart

Into tiny quivering pieces

scattered everywhere. 

A bloody mess.

The janitor complained

It’s not my job, man.

I gathered the shards

Myself

Thinking to put it back

The way it was, later.

 

Carolina haunted him with profound regret, and unrequited passion. Walking away straight-shouldered, she turns to smile over her bare freckled shoulder, hair wafting into a golden blur. The glint from her eye promises him everything he would ever want. But she is paper and gelatin and silver halides and a fifty-years old memory. He’d held the camera to his cheek watching her turn away. She had walked into the crowd and he’d never laid eyes upon Carolina again.

 

Until now. The novelty of being in Edison NJ wears off quickly. Yesterday, to conclude the day’s business routine, his local hosts insist on taking Mr. De las Costillas sightseeing. The blimp. Edison’s labs. The Raritan Canal. White Castle burgers stuns him as the epitome of everything evil about fast food, but Miguel keeps that to himself. The locals are delighted to introduce the big shot from the coast to sliders.

 

It is the final night of the annual three-week swing and Costillas finally gets to be on his own. Relieved at the absence of ritualized company dinners, Miguel walks in a bouncy quick time, excited at the prospect of dinner in a diner. A shiny aluminum railcar diner, just like in old movies or corny teevee situation comedies. Even better, it’s called Carolina’s Place. 

 

De las Costillas mentally leaps in the air to click his heels to read “Blue Plate Special” on the chalkboard. The menu goes on for pages. Burgers, knishes, pirogi, cabbage soup, borscht, steak, fish, spaghetti. Miguel orders the blue plate special, meat loaf and all the trimmings. When he tops off the meal with a slice of custard pie, he tells Mary how delicious this custard pie tastes, like home.

 

Mary laughs and tells Miguel frankly she can’t stomach that slimy shit in her mouth, pardon my french. But the owner insists they keep custard pie on the menu. It doesn’t sell. Mary tells him I gotta tell boss lady about this. And with that Mary wheels around and pushes her way into the back.

 

The piecrust has a hard shell of granulated sugar along the rim. The side of Miguel’s fork cracks into the crispiness and glides through dense orange pudding. Perfumes of cardamom, nutmeg, and canela tantalize his nostrils and quivering tastebuds. Miguel’s fork trembles remembering another custard pie.

 

His mouth fills with flavor when he crushes the morsel with his tongue. The custard has baked just to the point of perfection; light, solid, creamy smoothness. He thinks of the smile over Carolina’s shoulder, the fine hairs of her cheek fuzz glowing in the afternoon light, her eyes at once distant and urgent. Miguel draws a long slow breath through parted lips across the flan still resting in his mouth. He closes his eyes to concentrate on sensing this aroma filling his sinus as he exhales. He remembers the moment he’d called, “Carolina, soma pa’ca! look over here!”

 

When Miguel de las Costillas opens his eyes he is looking into a woman’s eyes. He knows her and he slowly angles his head to look at her from a different perspective. She looks at him intently, then suspiciously. “How’d you find me?” Her voice still carries that sweet timbre that had rested unheard in his memory for fifty years. Fifty years of cigarettes—she reeks of tobacco—ravaged it, but the woman speaks with Carolina’s voice.

 

“Hi, Carolina” is all he says. Then he adds, “Happy birthday, 50 times over.” It has been that long. Carolina sits.

 

Miguel takes another bite of custard pie, savors it, and takes another bite. He remembers watching a 16-year old Carolina bustling in her mother’s kitchen, whipping up a custard pie. That girl had spirit. He played “Billy Boy” on the piano and made up a lyric about custard pie. She had laughed and danced and sang along, and baked a custard pie fast as young Miguel could blink an eye.

 

Carolina’s biography serves up a litany of woes and five husbands. Hard luck turns into elation. But that doesn’t work out, and more hard luck. Only three kids, thankfully, who have troubles of their own. Lou, the last husband before she gave up men, had beaten the shit out of her but when he died he left her this diner and the parking lot. She is not eking by, doing all right, getting there. 

 

Does he want to, you know? Miguel holds her eyes with regret and she begins to sing “It’s Been a Long, Long Time.” 

 

It was their song. He played the sheet music, she sang. Singing had been her tease. She would lean over him to read the words, squeezing him with both arms. Or she snuggled against him on the piano bench, an arm around his waist, leaning into him to turn the page with her right hand, occasionally sliding her nose into his neck. She drove him wild, a long, long time ago.

 

Costillas wishes he could photograph the empty darkened diner, shades half drawn, their corner booth in a pool of light. Two figures sit across from each other, their faces moving into and out of the overhead bulb like nighthawks turning in the gyre. The muted green walls scream out to be photographed. 

 

She sings the entire song and by the final measure she has reached her hands across to him. He takes both hands and caresses them. She begins to lose the melody and energy, her voice fades until she whispers haltingly “… long, long, time.”