Friday, May 22, 2020

The Relevance (?) of Crime Fiction Escapist Literature in Twenty-first Century USA (Redux)







Back in 2018 I wrote an essay for La Bloga entitled The Relevance (?) of Crime Fiction Escapist Literature in Twenty-first Century USA.  That was less than two years ago but a lot has changed since then, so I thought I would revisit (more or less) the topic against the current backdrop of a deadly worldwide pandemic, stay-at-home orders, anti-lockdown protests, and mask culture. 

In my original essay, I was most concerned with the relevance of “genre fiction” when the democratic form of government of the United States faced serious, consistent, and dangerous threats from the man elected to lead that government.  I struggled with the question of why write fiction when more immediate concerns presented themselves.  I wanted to understand the role of the fiction writer in a time of crisis.  You can read where I landed with the answer to my question at this link.

Today, the same dangers to democracy still thrive and have, in fact, intensified.  Trump routinely removes or isolates anyone he perceives as a threat (or a rival in popularity) such as various Inspectors General, whistleblowers, and heads of agencies.  He continues to lash out at the press, and, apparently, he has no respect for or understanding of the concept of freedom of the press.   He continues to stir up extreme elements in his support base, which has resulted in acts of violence against people of color.  At the same time, he has created other dangerous situations by ignoring facts, science, and experts when he speaks on a variety of topics for which he is unqualified. He does all this without punishment or consequences.  I could go on and on, but the point is simply that the insecurity about the future that existed in 2018 continues at a higher and more urgent pace. 

And now we have the coronavirus.  The health crisis of 2020 has impacted all of us in a variety of ways, often unique to our situations.  But I believe that my reactions as a writer to the pandemic may be shared by other writers.  I can’t say for sure because I haven’t talked with writers about the effect of the crisis on their writing.
  
I’m about two-thirds done with writing another novel.  The book is part of my continuing story about Gus Corral, the character who was the lead in my last three novels:  Desperado, My Bad, and The Golden Havana Night.  I started the fourth book in the series long before I’d heard the word coronavirus.  I’ve trudged along with the story, letting it grow and spread organically, by the seat of my pants, as people say.  As the pandemic rapidly expanded, I ignored the health crisis in my plotting.  Nowhere in the manuscript is there any reference to the virus, social distancing, or wearing masks.  People still shake hands, hug, eat in restaurants, drink in bars, have sex with strangers, and generally carry on as though it was 2019. 

But lately I’ve had an uneasiness about how my story is developing.  If the book is accepted by my publisher, it won’t appear until 2021, and maybe later depending on when I finish it.  By then, will the world have recovered from the pandemic?  Will we be back to “normal?”  Or, more likely, a new normal?  Perhaps COVID-19 is a great teacher and we are able students who will use the lessons of the pandemic to deal with climate change, health care for all, and economic equality.   Or will the situation be worse?  Will the disease still rage across the globe, with millions of casualties, the world economy wrecked, a dystopian existence forced on all of us? 

Against any of these outcomes, will there be an audience for a book that never mentions the most crucial health crisis in a hundred years?  Will readers react negatively to a main character who doesn’t worry about the risks in trips to the grocery store, or whether dinner will be curbside or delivery?

Maybe I should go through my manuscript and add references to the pandemic to make the book more relevant?  Will I then be accused of pandering to the pandemic?  I could decide that the book takes place pre-pandemic.  Or will that make the book irrelevant?  Do I really need all this brain damage while I’m trying to finish my book?

Too many questions.  I don’t want to deal with them.  But of course, I must.

I remember that similar concerns were voiced after the 9/11 attack.  Some writers wrote novels against the backdrop of 9/11; others ignored the attack; still others made the attack a primary feature of their work.  Some readers were grateful for stories not about 9/11 --  they appreciated a break from the reality of 9/11.  Maybe readers will want a break from the coronavirus saga.  Maybe.   
  
Bottom line:  I think what bothers me the most is the same concern I had when I wrote my original essay.  Is there a place for escapist fiction when the world appears to be teetering on the edge of the abyss?  Or is writing such fiction, at this time, self-indulgent?  Do I have a responsibility to write about the crisis?  Do all writers? 

You will know how I answer these questions when my book is published.  Until then, stay safe, be vigilant.

Later.

___________________

Manuel Ramos writes crime fiction. He is working on a new Gus Corral novel.

Thursday, May 21, 2020

Chicanonautica: Zooming into Susto Futuro



Along with COVID-19, there is another pandemic sweeping across the planet. A new technology is coming for us, sneaking into our lives. Maybe it'll take over if we don't watch out.


I'm talking about the internet video meeting. I know, a lot of you have been doing it for a while. I'm old and don't keep up with all the latest chingaderas, like computers, the interwebs, smart phones. I tend to get into them after it's become impossible to live in the latest version of society without them.


Somehow I never get consulted when a new version of society is installed. It's usually—BLAM!--your life is different now, get used to it. I keep getting future shock, or maybe these days we should call it Susto Futuro.



So there I was, minding my own business, sheltering in place, staying home, trying to finish my novel, when I hear from Balitronica Gomez, wife of the performance artist Guillermo Gómez-Peña. He was going to do a “Creative Conversation to Save America” for something called Dreamocracy in America, “a take-no-prisoners time-traveling transdisciplinary tour of America that picks up Alexis de Tocqueville’s journey into the American character where he left off” led by Victor Payan and Pocha Peña. I would have to download something called Zoom.


I had heard about Zoom. Schools were using it, along with business people in the lockdown. I didn't think I needed it, but in this case, I was willing to do the download and registering thing.


Even though I'm a sci-fi dude, me and technology have an uneasy relationship. Sometimes all I have to do is touch some newfangled gizmos to release a new kind of chaos into the ecosystem.


It seemed okay, but there was some snafu stuff when I tried to log on. I shot some panicky messages to Balitronica, and somehow I was able to experience Guillermo's performance.



Guillermo was his usual, wild, brilliant self. I was also impressed by the way he has managed to make himself comfortable in this brave new environment.


Not only was he on the screen doing his thing, but we—the audience—were there. It's not like a live performance. He could see us, we could see him, but no eye contact could be made. At the same time, we became part of the performance. We could see each other and see into everybody's home. Things happened in the background. At one point my wife came in . . .


I see how we may be doing more of this in the future.


A couple of weeks later, another performance artist, José Torres-Tama was doing one. Since I was already an experienced Zoomer, I signed up for that one, too.


Unfortunately, my talent for attracting technical difficulties reared its ugly head. I kept getting messages telling me about a Password Error, and  nothing I could do fixed it. I couldn't get on.

I sent a message to José, apologizing for incompetence.


He said there was no problem. I could watch the recording the next day. Which I did. Again, step into the future. I did feel that I missed out on something by not being one of the tiny people on the screen.


José then texted me, an electronic conversation that resulted in an interview that he and I have been trying to arrange since 2012. I will translate that into a Chicanonautica post very soon.


Meanwhile, Scott Duncan Fernandez of Somos en escrito: The Latino Literary Online Magazine asked me if I would like to be on an panel for Weekend of Words, a virtual literary festival. It would be put on by something called the Shuffle Collective. The subject would be, “Chicano Scifi: Speculative Existence.” It would also happen through Zoom.


Yeah, some glitches made me a few minutes late, but I managed to stumble my way on to join my fellow Latino writers Kathleen Alcalá, David Bowles, Rudy Ch. Garcia, Rios de la Luz, and Armando and Scott Duncan Fernandez from Somos in a grid of tiny screens.



It was a blast. Even though we were a diverse group (the Latinoid continuum is vast), we had a lot in common. Even though a lot of us had corresponded, and knew each other through Facebook and Twitter, this felt more direct.


We all agreed that we are not magic realists. I got a chance to say, “Any magic realism from a sufficiently technologically advanced culture becomes indistinguishable from science fiction.”


I must have done well, because Scott from Somos wants to interview me—on Zoom.


Maybe I'll eventually get the hang of it, and shake my susto futuro.


Ernest Hogan's “Flying Under the Texas Radar with Paco and Los Freetails,” the origin story of Paco Cohen, Mariachi of Mars, will be in Latinx Rising, coming out in June, pre-order now!

Wednesday, May 20, 2020

Tenth Week: Activities to do at home with our children





Find crafting ideas, science experiments with household items and videos to watch as a family and more for kids.

From formal lesson plans to amazing imagery and stories about how science and exploration are lifting our world. There will also be ongoing opportunities to chat and interact with scientists directly.




So many creators of children’s books have risen to the call for help from teachers and parents during the COVID-19 crisis by creating online materials that will entertain, instruct, and inspire children and young people. Some are reading their books and discussing them. Some have created mini-lessons on art or history or craft projects. Some are doing the equivalent of a school visit with a presentation and slide show.





Scholastic Learn at Home: 20 days of education activities, broken up into four grade levels

Daily reading and writing challenges for your kids are available for PreK and Kindergarten,  Grades 1 and 2, Grades 3-5, and Grades 6-9.


Author and Illustrator Rafael Lopez

Coloring Pages


To find and print more coloring pages,  visit his blog at https://rafaellopez.com/blog/





Tuesday, May 19, 2020

Plague-Time Reading, Though It Didn't Start Out Like That

Review: Gris Muñoz. Coatlicue Girl. FlowerSong Press, McAllen, TX. 2019.
ISBN 978-1-733-8092-4-5. 
Publisher update: The publisher's name and link are now as shown and here's the link.

Michael Sedano

Coatlicue Girl excites a person at the prospect of what’s inside a book that looks like this: that 2-tongued title, the graphic of a calavera-faced woman ambiguously holding a mantilla at her waist, a Zapatista visage between her breasts, a birthing sculpture at her feet, the author’s name, Gris Muñoz…then I notice those pequeñas letters saying -Poems and Stories- and I smile. Check out the Title Page to see what tickled me. The book’s formal name, its ISBN name, is Coatlicue Girl. A Bilingual Collection of Poems and Stories.
You know that old question, “How do I know it’s Chicana Literature?” Here's an example of what makes Cuatlicue Girl genuinely Chicanx Lit. Chicana Literature. Chicano Literature.

Our gente are cool on the outside, and if we need to be, todo formal and adapted to exogenous manners on the inside. Like this book shows its professional manners and appropriate behavior, an Introduction by Luis Urrea, and the author's preface, plus an epigram by ire'ne lara silva.

Coatlicue Girl actually begins on page 11, and that’s where I’d start reading, skip the preliminaries until you’ve made up your own mind by allowing the work and the author to speak for herself.

Selves. There’s the English Coatlicue Girl, there’s the Mexican. The English speaker does most of the talking and acts all tough with titles like “Chingona.” But sabes que? She’s a sensitive soul, the little girl in church who can’t sit still, whose fears and emotions mirror personal trauma. Readers find this vulnerable girl wants not to chingar but nurture.

Selves. In "Indian Clay", her persona lives a complicated story about beauty, benign stereotypy, cryptic irony, and horror. The little girl is gulled by a benignly ignorant teacher into believing she could fashion valuable art from dirt the woman called “Indian clay.” The woman stands in front of a mirror, gulled by standards of beauty. She dons a clay mask that promises it controls wrinkles. Her white face in the mirror sets off the episode. She’s a cutter, that kind of an episode. Coatlicue Girl scissors chunks of flesh from her eyebrows, painting her face with dripping blood. And the woman remembers the girl sitting Indian style being taught that she can use clay to create beauty over many moons.

La Mexicana self, the Spanish-speaker self, has a lot of confidence and speaks in stronger voices. For instance, in “Latas,” she tells some man that he uses bodies like he opens cans and he’s still hungry. In "Fui.tu.nopal", some man is getting told-off good, he can leave because she is who she is. In Spanish.

There’s an interesting connection between the poem, “Fui. tu. nopal,” and the closing story. She says in Spanish that they told the fellow she doesn’t drink much water. It’s a metaphor there, for a woman’s needs and a man’s abilities to fulfill her. The final story offers the author’s explorations of dystopic fiction, the woman converted medically into a nopal so she doesn’t drink much water.

Unintentionally, Muñoz hits on a theme in “Sempervivum” that gives the story, and the collection, immediacy for plague-time reading beyond being such a readable enjoyable book. The character was converted when it looked like earth was running out of water and people had to adapt. The answer was turning people into xerophytes.

Beyond plague-time reading, the stories and poems of Coatlicue Girl offer a full helping of subjects contemporary readers do and talk about in their lives. The author’s reflections on single motherhood, sex and lovers, men and women partners, living with poverty, echo experiences shared by readers.

Because Coatlcue Girl arrives in collection format, readers or book groups can take a single story and delve into the resources Gris Muñoz calls upon to load her stories and poems with weight. There's a lot of "I really like this one" in the book.  "Speck (a performance poem)" is a highlight that will touch every reader's experience. 

Muñoz visualizes swirling dust motes floating in sunbeams, offering perspective of the persona as one of those dust motes settling, then a quantuum leap, someone is wiping dust off patent leather shoes. Then the Virgin Mary comes off the wall smelling of urine and frankincense and she goes off hand-in-hand with the persona finding liberation. 

FlowerSong Press is making a splash in publishing. The book itself has been manufactured to a high standard that will withstand multiple readings and hold-opens without coming apart at the seams. The cover has a plasticized coating that gives a luxurious feel to the thing itself. Here’s a link to the publisher’s ordering system to get copies for youself and friends of Gris Muñoz’ Coatlicue Girl. $16.00 plus shipping.

Note: Published as “FlowerSong Books” but now FlowerSong Press. Link. https://www.flowersongpress.com


UPDATE: You can order writer-direct at this link.

Monday, May 18, 2020

The Right of Ethnic Studies in Higher Education & Beyond



By Álvaro Huerta, Ph.D.

It’s racist to oppose ethnic studies in higher education and K-12.

Now that I have your attention, allow me to explain. In California, while we’ve done a relatively good job of enforcing home isolation (for those with homes) and social distancing during this crisis, a debate is ongoing in the state Legislature and higher education about whether or not to mandate an ethnic studies course for undergraduates. More specifically, a state bill, Assembly Bill 1460, introduced by Assembly Member Shirley Nash Weber and co-authored by other members, is pending. If passed by the Legislature and signed by Governor Gavin Newsom, it would make the 23 California State University campuses require all students to take one course of three units in ethnic studies to graduate. (The CSU represents the “nation’s largest four-year public university system.”) As approved by the CSU Board of Trustees in early 2013, CSU students need a minimum of 120 semester units to graduate for most bachelor’s degrees. Hence, if a student is required to take one three-unit ethnic studies course, it only represents 2.5 percent of the total to graduate.

“So why is it racist to oppose ethnic studies, Dr. Huerta?” I’m glad you asked. To answer this question, let’s consider the demographic composition of CSU students. In fall 2018, the CSU system enrolled 481,210 students, including postbaccalaureate and graduate students, of which only 110,570, or 23 percent, were white. That means that the majority, or 77 percent, of the university system’s students were nonwhite. While 76,386 students were Asian/Pacific Islanders, African Americans represented 19,301, or 4 percent, of the student body. And Latinas/os were the largest ethnic/racial group, consisting of 199,521 students, or 41.5 percent, of the total. Moreover, 21 of the 23 campuses meet the criteria for Hispanic-serving institutions. Thus, why would the opponents of ethnic studies deny a majority of racialized (or “otherized”) CSU students the opportunity to learn about their histories, struggles and successes in this country with its dark past and dark present?

Speaking of America’s dark past, in terms of structural racism in higher education, the struggle for ethnic studies dates back to the late 1960s. In fact, student organizers and others at a CSU campus, San Francisco State University, played a key role in demanding and establishing ethnic studies not only in California, but also throughout the nation. Founded in fall of 1969, SFSU’s College of Ethnic Studies’ website sheds light on this important movement:

In 1968 and 1969, the Black Student Union, Third World Liberation Front, select staff and faculty, and members from the larger Bay Area community organized and [led] a series of actions against systematic discrimination. Protestors spoke out against lack of access, misrepresentation, and the overall neglect of indigenous peoples and people of color within the university's curriculum and programs. Their specific demands included the establishment of four departments: American Indian Studies, Asian American Studies, Black Studies, and La Raza Studies within a College of Ethnic Studies. These demands reflected a respect for the diverse intellectual traditions and cultural expressions of scholars, activists, and artists of color and indigenous people throughout the United States.

It took 50 years for another CSU campus, California State University at Los Angeles, to follow in SFSU’s footsteps to establish a College of Ethnic Studies, going beyond a department or series of ethnic studies courses. Its mission statement also shines a bright light on the importance of ethnic studies:
The College of Ethnic Studies is the first such college to be established at a university in the U.S. in 50 years. We will develop leaders who engage in rigorous, self-reflexive study that motivates critical engagement, self-determination and decolonial understandings of the world. The college provides an interdisciplinary intellectual space that centers the histories, traditions, cultures, experiences, struggles and accomplishments of diasporic communities of color, making connections between the local and transnational.

As an interdisciplinary scholarly field, ethnic studies is about self-respect and self-determination. It’s about racialized groups -- workers, students, scholars, organizers and others -- refusing to be viewed or gazed upon from a Eurocentric paradigm as inferior or less than. It’s about rejecting the scholarly practice of being objects of studies. Instead, we demand to be the subjects in this equation. As subjects, we don’t need outsiders writing our stories, narrating our histories and planning our futures.

As subjects, we, too, create and consume knowledge!

Today, as we confront the dire consequences of the COVID-19 pandemic, especially given the inept and negligent federal response from the White House and GOP-controlled Senate, racialized/marginalized communities are suffering disproportionately in terms of rates of infections and deaths, according to the Centers for Disease Control and Prevention. That includes Latinas/os, African Americans and Native Americans, among others. It especially includes immigrants; the Trump administration is wreaking havoc among los de abajo (those on the bottom) with its draconian and xenophobic policies. Moreover, we are witnessing an increase in racism and hate crimes against Asian Americans and Pacific Islanders in this country due to COVID-19, which is fueled in large measure by President Donald Trump and his Republican lackeys referring to it as the “Chinese virus.”

¡Ya basta!

The impacts of COVID-19 pandemic clearly and strongly demonstrate the need for ethnic studies. But as those of us who support such studies make the case for them, we must also reject being tokenized. It will not be progress if a minority of brown scholars (and other racialized groups) “make it,” while the majority of brown and black kids in America’s barrios and ghettos are denied quality K-12 schools and equal access to higher education, limiting their opportunities to get ahead. And let’s not forget about Native Americans on reservations and beyond.

“College isn’t for everyone!” Yeah, I’ve heard that line before while growing up on the mean streets of East Los Angeles and pursuing higher education. Now that I’m a Chicano scholar-activist and survivor of white studies with undergraduate and master’s degrees from the University of California, Los Angeles, and a Ph.D. from the University of California, Berkeley, I often contemplate if white students from privileged backgrounds are also told (or conditioned to believe) this anticollege message that’s primarily aimed at racialized and working-class groups. It’s yet one more reason why I continue to say, “Viva ethnic studies!”

[Álvaro Huerta, Ph.D., holds a joint faculty appointment in Urban & Regional Planning and Ethnic & Women’s Studies at California State Polytechnic University, Pomona. Among other publications, he’s the author of Defending Latina/o Immigrant Communities: The Xenophobic Era of Trump and Beyond. He holds a Ph.D. in City and Regional Planning from UC Berkeley. He also holds an M.A. in Urban Planning and a B.A. in History from UCLA.  This article was originally published in Inside Higher Ed / Conditionally Accepted.]

Friday, May 15, 2020

Pandemic Parties: Social Distance Fun During Covid-19 and an Invite for You

Melinda Palacio



Our first house concert was a success. We set out two tables at the end of the garage and three people attended.  It sure feels good to play music for friends. 
Our friends celebrated their wedding anniversary by having a drive by car celebration, complete with a goody bag and jugglers.The teenage girls next door also had a car parade birthday party, which soon turned into a block party as revelers got out of their car and started dancing and cheering on the birthday girl who watched from her front steps. I was the old lady neighbor who wanted the girls to stop screaming, but that's what some little girls do when they are happy to see each other, they scream and jump and dance. This is the new pandemic party. It sure beats a zoom meeting for a birthday. I've attended a few of the zoom meeting birthday parties and it always makes me a little sad when all I can do is sing happy birthday. No enjoying of party favors, hors d'oeuvres or cake. 
Steve and I went to wish our friend Marianna a happy birthday.  She invited us for a socially distant glass of wine. How could we refuse? It was her birthday. This is pandemic partying. 
Recently, one of my favorite activities is walking to Renaud's Patisserie in Loretto Plaza. You can view the books at Chaucer's and see people as they pick up their orders at Harry's. I usually order a latté. By the time I walk back home, I've clocked in two miles and 6, 000 steps plus all the people watching is a Covid win-win. 
Harry's Plaza Cafe. It just doesn't seem as much fun ordering food and drinks to consume by yourself in your house.  However, plenty of people picked up orders while I finished my latté from Renaud's. At least someone's having a fun private party in Santa Barbara. 
Here's a party you are all invited to. The Live Facebook reading of the Wandering Song, Central American Writing in the United States, an anthology by Tia Chucha Press. Don't miss this pandemic party Sunday May 17 at 5pm PDT. 

Thursday, May 14, 2020

Most Days

          Dedicated to Eddie Herrera, who was there through the good and the bad, and who will once again be reunited with his beloved daughter, Nancy.  Rest gently, dear friend.                                                              
The old neighborhood pool, closed for good
     He would arrive home from work by 5:00 or 5:30, depending on how far he had to travel. In commercial construction, a job might take him a few miles from his home on L.A.’s westside, maybe to Beverly Hills or Hollywood, other times as far as San Fernando, or east on Pico Boulevard to downtown Los Angeles, brutal work, hauling cement on his shoulders up four or five stories, day after day. There were no freeways at the time.
     Most days, after dinner, out on the front lawn, he’d hit grounders to his son until the last rays of light. He’d go inside, read his newspapers while the kids did their homework, his wife guiding them through the more difficult math problems. Before the kids went to bed, the family would watch television, usually a variety program. There were only six stations, all black and white. Once the kids were asleep, the young wife would finally unwind, talk with a friend on the phone, if no neighbors were clogging the line, or she’d look through magazines, sometimes organize old family photos.
He’d read a book. He liked novels and history.
     Then there was the occasional Friday he would not make it home until late at night. He’d stop at the local bar to see his friends. One drink led to two then three and four until he lost count. His wife would pick up a male cousin and ask him to go into the bar, find her husband, and take whatever money remained from his weekly paycheck. If they arrived at the bar early enough, he’d still have most of the money, if not, it would be a long week.
     The wife, barely in her late-twenties, had little experience with men who drank to excess. Before he died, her father didn’t allow drinking in his house, except on the weekend, maybe a beer with friends in his Santa Monica backyard. Her father didn’t respect men who couldn’t hold their liquor, neither could her older brother who took her father’s place as head of the family.
     She just couldn’t understand how a man could work, come home, spend months with his family, and then, suddenly, take up residence at the bar, no sense of work, family, or responsibility.
     She was too embarrassed to ask her family for help since they had warned against marrying him. Everyone knew he came from a family of drunks, and his parents jumped from one shack to another, always renting near the railroad tracks, unlike her parents, who bought a house when they first arrived from Mexico, even though friends had told them the Yankee government would take it one day and send them back to Mexico.
                                                                                   
Jalostotitlan, city center
     In Jalisco, outside of Jalostotitlan, near San Garpar de los Reyes, her grandfather, Juan, the family patriarch, still worked the original family ranch in a village named Mitic. Around 1917, he had encouraged her father to take his young family and flee north during the worst of revolution. It wasn't the first time her father had been north to work and send money home.
     Once the family settled in Santa Monica, home to many families from Jalisco, her brothers and sisters attended school and, as teenagers, found work in the walnut packing sheds in Ocean Park. They contributed all their earnings to the family, which had earned the respect of many in the neighborhood. So, it was a vivid memory as she recalled the day her older brother had come right out and told her, “He’s funny, charming, okay, and pretty smart, but he’ll never amount to anything. Just look at his family, nobody works. My father would never have approved. You will be sorry if you marry him.”
     It wasn’t like she had much choice. After she learned she was pregnant, the two had run off to Yuma to elope. It wasn't how she dreamed of starting a family. The trip across the state-line terrified her. Except when the family headed north, during her childhood, to pick fruit and visit family in San Jose, she’d hardly ever strayed far from the family home.
     Yet, he was so daring, different than any of the boys she knew from her neighborhood. He told her about driving to the Coliseum with his friends to watch college football games, driving to dances in San Fernando and Boyle Heights, or to the Aragon ballroom, on the beach, about listening to the big-bands, and dancing swing and boogie-woogie. He seemed to know everything. Once when she'd said her favorite song was Glenn Miller's "In the Mood," he'd told her Wingy Marone, a trumpet player with only one arm, recorded the first version back in the early thirties. Glenn Miller just modernized it.
     Her older brother listened to only classical music and old-time jazz, her mother to rancheras and mariachis.
     After she had first married and talked to a friend about her husband's drinking, her friend had asked, “When did you know he was an alcoholic?”
     It wasn't a word she liked, nor could she bring herself to admit it. She remembered answering, only partly joking, “The first time I saw him sober.”
     Most days, she could coax him home from the bar, make him eat soup, and sober him up on time for work on Monday. Then there were the times she could do nothing. If he came home at all, he'd be gone by the time she and the kids were up the next morning. It could go on for weeks, and when it got really bad, a month, maybe even two.
     She tried everything to get him to stop, but nothing worked. She was smart and had more schooling than most of her older siblings, the ones born in Mexico but raised in states. She asked her friends for advice. They hatched plans, analyzed the problem, many, of course, suffering the same situation. All she could figure was he wanted to be with his friends more than his family.
     Most of the men in the bar were veterans of WWII. It had only been seven or eight years since they’d been in bars drinking in Louisiana, Kentucky, North Carolina, France, Italy, Belgium, the Netherlands, Hawaii, and the Philippines. Others had just returned from Korea. The booze had been everywhere, compliments of Uncle Sam. In fact, the more they had drunk, the more invincible they had felt, a bomb, mortar, or bullet less threating.
     When they returned home, they heard about the friends from the neighborhood who didn’t make it, like “Trini,” “Chava”, “Nico”, “Joe”, “Alfredo’, “Sammy”, “Evaristo”, etc. etc., not even counting their friends from across the Valley and the Eastside, a long list of teenage ghosts. They saw the pain in the eyes of the parents and siblings who had lost their boys. The letter had started with a, “We are sorry to inform you….”
                                                                             
The Old Soldiers Home
     Of course, they pretended it didn’t bother them, laughing and holding their beers and drinks up high, but they all knew better. Many of them were lucky to be home. The proof was right outside the bar, veterans, some with empty pant legs and shirt sleeves, stumps for arms and legs, in wheelchairs lining the sidewalk, beer cans beside them. Each day, they'd roll themselves a few blocks from Soldiers Home where they lived.
     Nobody counselled them on how to forget what they’d done and seen during the war, no Dr. Oz, Dr. Phil, or Oprah, or how to slip smoothly back into their regular lives.
     If he stayed out too late for too many nights, his wife could see no other way than to punish him and lock the door. He would find a way to sneak into the house, sometimes sleeping with the dog in the laundry room. When it got bad, he’d stop coming home altogether. He knew where the guys like him hung-out, at Rocky Escamilla’s yard, on Cotner Avenue, where Rocky parked his work trucks. Someone would get a fire going and the guys would start passing around a bottle and keep going until there was nothing left. The next day, they'd start again.
     At the very worst, she once caught him drinking aftershave from the medicine cabinet. That time, he let them put him in a straightjacket, lock him in the kids' room, and give him tiny sips of beer from a cup, while he yelled and cried for help. He told them he could die of alcoholic poisoning if they cut him off cold, all a form of family detox.
     She knew she had to get him to stop or she’d lose the house. Already food was scarce. She couldn't bear the thought of burying him at such a young age, like they buried his two sisters, a gaggle of kids left without mothers. It wasn’t fair for the kids.
     Sometimes, she felt like she was losing her mind, but she was strong, and knew there had to be a way. She couldn’t give up.
     One of her Mexican aunts had told her about an old man, a wise man, a cuandero, a real miracle worker. The young wife didn’t believe in faith-healers. She was a modern woman, but when desperation wove a nest in the brain, anything was worth a try.
     She went to see the old-man. He listened patiently to her story. When she finished, he told her if she wanted to cure her husband of his problem, she had to follow his instruction carefully. He told she needed a palm frond and a can of beer. She had to find her husband at his favorite drinking hole, slap him with the palm frond, and pour the beer over his head.
     Of course, all of this sounded absurd. She wasn’t from Mexico. She’d been born in the Santa Monica Hospital, gone to St. Anne’s Catholic School, and finished her education at Samohi. She listened to Frank Sinatra, Perry Como, and Patsy Cline. Her favorite actors were Ava Gardner and Clark Gable. She never missed the Academy Awards.
                                                                               
A Wise Man
     Her Mexican aunts insisted it was the only way, to listen and do exactly as the curandero said. Her mother told her not to listen to the old ladies, even if they were her sisters, They were crazy, still lived life like they were back on the ranch in Mexico. It was all foolishness.
     Desperation breeds desperate measures.
     She drove around in her 1950 Ford until she saw a street lined with palm trees, somewhere on 12th Street in Santa Monica, where a newly planned freeway would soon cut the neighborhood in two. The greenest palm fronds were high. She’d have to climb to reach them. Fine, she was athletic, had worked at Saks Fifth Avenue in Beverly Hills and stood on her feet all day folding clothes.
     She looked around. There was nobody on the street. She took hold of the tree trunk, put one foot up, pushed, then the other, climbing until she realized the fronds were looking down at her and laughing. She realized it was useless. They were too high. She didn’t have that kind of strength.
     Disappointed but determined, she spotted some dead fronds on the street. The old curandero didn’t say they had to be green. She picked a smaller one and placed it into the car’s back seat, the can of beer in her purse. She drove up Olympic boulevard past factories, vacant lots, and the Olympic Drive-in Theater, right near her own neighborhood. At Sawtelle boulevard, she turned north, drove past the Japanese stores and nurseries, and headed to Santa Monica boulevard.
     She saw a parking spot in front of clothing store, the Lucky-U just up the street next to an alley. The grizzled-looking men in wheelchairs watched curiously as she pulled the palm frond from the back seat, her purse hanging, over her arm. She took a can-opener and punched two-holes in the beer can and put it carefully back into her purse to avoid spilling any. She walked up the street and past the men standing in the alley.
                                                                             
Santa Monica boulevard, just down the block from the Lucky-U
     It was dark inside. The air reeked of liquor, cigarettes, Mexican food, and perspiration, laughter and loud music nearly deafening. Everyone recognized her when she stepped through the door, her friends’ husbands, acquaintances, and her two brothers-in-law.
     “Sister-in-law!” one called. “What ‘chu doing here?” A question to which he already knew the answer.
     She asked if they’d seen her husband. They pointed to a chair at the crowded bar, where he sat among a group of men, his back to her. She wasted no time. She gripped the palm frond, dragged it behind her and moved close to her husband. Just as she was about to hit him with the hard, dried frond, she forgot whether the curandero had told her to first pour the beer over her husband’s head and then hit him with the palm frond or the other way around. Dismissing her dilemma, she grasped the palm frond tightly, lifted it high, brought it down on his head, and started beating him. He turned, raising his arms to protect himself, not really sure from what. When he saw her, he figured she must really be mad at him this time. He started pulling bills out his pocket, thinking it was the money she was after.
     She took the can of beer to pour over his head, but the barstool was too high. The beer ran down her arm and soaked her blouse. She tried splashing him with the beer, but the liquid was flying everywhere, wetting the other guys at the bar. Nobody could figure out what she was doing. At this point, she ordered her husband to give her what was left from his work check, pushed it into her purse, and walked calmly out the door, her brother-in-law escorting her to the car

     As she told me this story, some 60 years later, her husband, now an old man losing his eyesight but becoming a good listener, came into the room. He raised an eyebrow.
     He said, "You keep telling everybody that story. You never did do that."
     “I did too. You just don't remember."
     “You did not.”
     “Yes, I did. I think I even cracked an egg over your head, or maybe I forgot the egg. Besides, you stopped drinking, didn’t you?”
     “Not because of that.”
     "You don't know that."
     They both broke into laughter.
     Whether the story was true, or how much of it was true, we will leave to their memories.