Tuesday, December 23, 2025

Boatyard Chile Verde: Gluten-free and Company-worthy

Note: Versions of this recipe appear in a 2019 and again in  2021 La Bloga-Tuesday column (links). Today’s recipe employs high-tech machinery, a Ninja food processor that reduces preparation time to minutes.

Michael Sedano


One of the first places I visited after I was discharged from the US Army in 1970 was Santa Barbara. Before the service I’d gotten a BA at UCSB and was one year into an MA in Speech when my uncle Sam he said a’knock-knock, here I am.

Nostalgia aside, I wanted to help Kathy and Jim build their dream, a 40-foot cement boat.

Kathy and Jim were the most adventurous people I knew from before the service, and here they were, living in a shack of the boatyard next to the railroad tracks, planning a dream.

I positioned my Valiant over the railroad track rail located in a grassy lot with other railroad detritus. I lifted an end to allow Jim to get a rope around the steel and over my bumper. We lashed the other end to the Valiant and slowly I drove the few miles to the boatyard, thankful for level streets and underground drainage. The keel of the dream awaited a framework.

That was Day 01 of the cement boat tragedy. Two years later, Jim had constructed a re-bar and steel mesh superstructure. A crew of friends reported for two full days of hard work pounding cement into the wire gaps. 

They had to eat and I created this recipe for chile verde. It's uncomplicated and expandable to feed fifty, or just enough to feed two to four.

When Kathy and Jim had the craft seaworthy, Jim sailed off to Southeast Asian waters and disappeared. Kathy went in search of her partner, signing on as cook on freighters plying Southeast Asian waters. Kathy’s most-requested dish was Boatyard Chile, a recipe originally prepared on a one-burner gas stove in a decrepit boatyard shack.

That was circa 1971, we cemented the boat. Fast forward fiftysome years, after Alzheimer's, after the fire, to an actual house of my own, a modern kitchen equipped with a fancy Ninja food processor and guests scheduled for a holiday house warming. With the right tools a cook can do anything, including recreating a labor-intensive pork and chile stew in no time at all.

Note to hand-choppers: don’t be dismayed. The electric devices are convenient shortcuts but not a secret to delicious chile verde. It’s ingredients, preparation, time, and love.

Tools Save Time on the Front End. Cooking takes all the Time required.

Fresh and manufactured ingredients. Today's preparation used ½ lb tomatillos.

Choose a meaty piece of pork. The meat shrinks in half from cooking, so plan the raw weight with shrinkage in mind. A quarter pound of cubes per diner will be just about right for small appetites. 

I start the night before with the pork and the beans, clean the kitchen, and in the morning everything's in order for a day's joyful kitchen business. It's a party I'm giving and there are flan and frijoles to make. The frijoles cooked to done last night and need reheating. I get the pork on the low flame and turn to dessert. Flan is really easy--eggs and canned milk. Bake the concoction in a bain marie. Refrigerate and just before serving, turn it over onto a glass dish for a spectacular presentation that tastes as good as it looks.

The Thing Itself: Chile Verde  

Toss the raw pork into the freezer for at least an hour to partially freeze it. The solid icy texture makes trimming and cutting fast and easy.]

Trim away the bigger pieces of white fat and cube the meat into fork-size tidbits, about ½" cubes. Toss the cubes with seasoned corn starch (salt, pepper, garlic powder, cayenne or Gebhardt's chile powder). 


Refrigerate the cornstarched pork overnight.

Three hours before serving time, start cooking. If you make this first thing in the morning you give the chile verde several hours to sit and build more deliciousness when you reheat it.

Rattle Those Pots and Pans
Take the cornstarched pork out of the icebox to come to room temperature.

On lowest flame, fry the fat trimmings, adding water to prevent burning. You are rendering the fat from the gristle. Every once in a while, add water and smash down the sebo chunks to release the tasty oils. Lower the flame and turn to the main event.

Prepare the vegetables.
Wash everything, hands and knives and cutting boards, and vegetables.

1 lb+ medium size tomatillos
2 chiles Anaheim / canned chiles are useful when fresh aren't on the market
1 bell pepper
big pinch of cilantro leaves and a few stems
1 medium onion
six to 8 dientes de ajo
two roma tomatoes

Ninja or food processors don't work magic without help. Quarter all the vegetables--or smaller--before committing them to the chopping vessel. A few seconds is all the veggies require to be ready to cook down into a delicious, semi-thickened chile stew.

This good chop will cook down rapidly into a flavorful ambrosia.

Heat olive oil on high flame in the bottom of your deep soup pot. Lower to medium heat and add the chopped vegetables, a can of El Pato tomato sauce, a can of diced tomatoes (or double your fresh ones), a generous helping of Gebhardt's chile powder,  and a TBS water. Stir vigorously, lower the flame.

Use the pan you're rendering the fat--remove the fried fat. Cast iron works best for frying and browning pork chunks. Add the starched pork and lower the heat to medium flame. Stir the meat around until no pink shows on any surface.

A few more minutes to get rid of the pink

Add the meat to the cooking vegetables and stir.


Add some water to the pork pan and scrape the bottom as you boil the water. Pour this gravy into the cooking chile verde. 

Waste not, especially all the flavor in the frying pan!

Cover, lower the flame just above its lowest point, and simmer an hour. After 45 minutes, test the pork; it should fall apart on your fork when it's ready to serve.


When The Gluten-free Chicano feasts in large groups--as he did recently to kick-off the holidays-- Boatyard Chile is on the menu accompanied by red enchiladas, frijoles, and flan. 

Cooking these delights is a two-day pleasure of meticulous work, patient cooking, and happy guests.

Provecho!

Merry Christmas, Happy Hanukha, Happy Kwanzaa, Feliz Navidad. Prospero and Gluten-free Año Nuevo!



Sunday, December 21, 2025

“Solsticio de invierno” por Xánath Caraza

“Solsticio de invierno” por Xánath Caraza

 


El solsticio de invierno empezó hoy, 21 de diciembre de 2025, alrededor de las 9:03 de la mañana CST.  Hoy es el día más corto del año en el hemisferio norte y en el hemisferio sur, por el contrario, es el día más largo del año siendo, por lo tanto, el solsticio de verano.

Para muchas culturas indígenas el solsticio de invierno era el final del ciclo agrícola y el principio de un nuevo año donde se esperaba celebrar el renacimiento del sol, la renovación de la tierra y, por consiguiente, un nuevo y próspero ciclo agrícola.  Así mismo era un momento para celebrar los días venideros que poco a poco estarían más llenos de luz hasta llegar al solsticio de verano, el día más largo del año en nuestra parte del mundo.

Hoy, para celebrar el solsticio de invierno, les comparto un poema, originalmente escrito en español, que forma parte de mi poemario Sílabas de viento / Syllables of Wind (Mammoth Publications, 2014) y Le sillabe del vento (Gilgamesh Edizioni, 2017).  Fue traducido al inglés por Sandra Kingery y al italiano por Annelisa Addolorato y Zingonia Zingone. Hoy incluyo una traducción al francés de S. Holland-Wempe. Imagen de Lorenzo Fontecilla.

¡Qué la poesía nos salve!


Solsticio de invierno

 

Quieto

Se queda el sol

En la larga noche

 

Cantos sordos

De aves nocturnas—

Señal de la renovación

 

El sol se pierde

En su eterno silencio—

La noche canta

 

Xanath Caraza

Winter Solstice

 

Motionless

The sun remains

In the long night

 

Muffled singing

Of night birds—

Signs of renovation

 

The sun is lost

 

In its eternal silence—

The night sings

 

Xanath Caraza

Solstizio d’inverno

 

Fermo

Rimane il sole

Nella lunga notte

 

Canti sordi

Di uccelli notturni—

Segnale di  rinnovamento

 

Il sole si perde

Nel suo eterno silenzio—

La notte canta

 

Xanath Caraza

Le solstice d'hiver

 

Silencieux

Le soleil est au repos

Pendant la longue nuit

 

Les chansons sourdes

Des oiseaux nocturnes

Un signe pour renouveler

 

Le soleil est perdu là

Dans son milieu silencieux

La nuit chante au calme

 

Xanath Caraza

 

Friday, December 19, 2025

Poetry Connection: Connecting with Pedregosa Street

 Melinda Palacio, Santa Barbara Poet Laureate 2023-2025

 


 

Enid Osborn’s new poetry collection, Pedregosa Street is a special volume of poetry which spans 28 years of living in a hundred-year old Victorian house. Osborn served as the city’s poet laureate from 2017-2019. Her latest book is delight for anyone who has ever been to Santa Barbara or dreamt of living here. Pedregosa Street makes the reader appreciate the cast of characters who inhabit the house, neighborhood, and town. Osborn’s haunting words compel the reader to relish and revisit each poem again and again. The book is divided in six sections: Cul-de-sac, Jon, Birds, Ghosts, Heaven, and Awake. The book is published by Shela-Na-Gig Editions, a poetry journal and small press, based in Los Angeles. All of their books are gorgeous, including Pedregosa Street. I had the pleasure of speaking to Enid and asking her six questions about her book. She also shares two poems from the Awake section of her book.




  1. Are there particular poems that were harder to write?

The poems in the section titled “Heaven” were some of the hardest to write, dealing, as they do, with mortality. For instance, “Paradise” was hard to write because it speaks a bitter truth. At the point where one is facing life and death choices, one may choose a different path and a different set of people to hang around with. It can bring about freedom from old ways.



  1. I love the freedom of the last section of the book, which very much inhabits a dream world and the world of time travel.  Can you talk a little bit about how that phenomenon enters those poems? In particular, Paradise, Lost Shoe, A Spirited House.

Notions such as a dreamlife that informs the waking life (“The Causal Arrow of Time”); layered time frames/realms (“A Spirited House”, “Paradise”); and enspirited objects and creatures (“Lost Shoe,” “We are all God’s poems”) commonly occur to me in my daily life (and are the reason I love magic realism in Latin American fiction.)



  1. How did you come up with the idea to cover such a long span of time in this book?

I never imagined I would live in one place for so long, especially a rental. I somehow became a part of the house, and vice versa. This stability of 29 years has allowed me to accomplish things with art and writing that I couldn’t accomplish as a younger artist, living with roommates and moving around. I am grateful. I wrote about the house and neighborhood from 1997 to 2017, then put together a slim manuscript. Another growth spurt came during the pandemic, when I was at home a lot and wrote a passel of poems. I expanded the book themes and watched my manuscript grow fat! Now that I have the book in hand, new poems keep rising, so I may have to issue a “revised and new” Pedregosa Street up the road.



  1. In your foreword you say that the presence of rats is exaggerated. How did the rat enter your poems? 

In truth, there were only a few rat encounters. But it’s shocking to find a rat in one’s home—I think the poem “One Rat Theory” explains the phenomenon where, once you encounter a rat, you think every little sound is a rat. Mostly, I was having fun with the rat theme.


  1. Why I Did Not Cut My Hair says so much about the poet. Were you surprised by how candid this poem wanted to be?

Initially, this poem was in response to 3 friends, all of whom asked me during the same week why I didn’t cut my hair. I may have been feeling a little defensive at the outset, but enjoyed exploring the actual reasons why, especially when those reasons were not conscious choices on my part. I think the most telling line is, “Because hair wants to do its own thing.”



  1. The Agitated Heart offers a whole life. Did people like Jon inspire you to remain in the house?

Jon was a very accomplished painter. At one point, we hung some of his large canvases in the common hallway. I was painting furniture, which he knew a lot about. He was excited about my poetry, which was taking off at the point when we became neighbors. He very much liked “The Agitated Heart,” which was written for him. Jon’s friendship and also his death tied me to this house. It sounds morbid, but it’s just the way of human devotion.




Meet the poet in Malibu. Saturday, January 10,

Caffeinated Verse, featuring Enid Osborn, Malibu Library, 23519 West Civic Center Way, Malibu, CA 90265, 11 am, free, host Malibu Poet Laureate Charlotte Ward.



This week’s poems come from Enid Osborn’s latest book, Pedregosa Street.



ENID OSBORN has lived in Santa Barbara, California for 45 years, and served as Poet Laureate in 2017-2019. Her work has appeared mainly in West Coast and Southwest journals and anthologies. She co-edited A Bird Black as the Sun / California Poets on Crows & Ravens (Green Poet Press). Her collection When the Big Wind Comes (Big Yes Press) takes place in Southeast New Mexico, where her family at one time raised quarter horses. Her new collection, Pedregosa St., has just been released by Sheila-Na-Gig Editions. Poems describe her long residency in—and relationship to—a Victorian house by the railroad in Westside Santa Barbara. In addition to poetry, Enid writes songs, stories and reviews. She is an avid birder and longtime advocate for organic growing and preservation of bees.




THE AGITATED HEART


A heart fits well in a hand.

Even a small hand.

Even a large heart, like yours,

swollen from work and damage.


They separate the sternum,

pull you apart like a food bird.


What would you choose

if somebody came for yours?


Say you were a shy man, and hands

came reaching for your heart:

Would you choose love

or precision?


The hands you see through your eyelids

are covered in wax and they’ve

touched many hearts and they

talk about yours and they

talk about yours and they

pass it beating and they

pass it bleeding from hand to hand

and your heart pleads for its life.


How could it know, more than a wild bird,

who means to save it

and who means to kill it?


Deals are made with heart tailor, pulse taker,

tube layer, blood sucker, seller of sleep.

You see it all, but judgment is white white white.

You cannot speak or change a thing.


When you waken, you look down your nose

at the crooked seam. You are strangely calm,

even buoyant, as you receive

an accounting of the surgery.


But when you ask your heart,

your heart won’t speak. It shudders

in its broken cage.


Mended, but not safe, it relives

the moment when the hands came.



LÁZARO THE PAINTER


Lázaro the painter sings a corrido

on the stairs, where the ceiling is high

and boomy. He hams it up, mariachi-style,


as he rolls out the primer coat—

the layer that boosts the final coat,

allowing the color to shine true.


Lázaro bears the name of a man

who, entombed in darkness, was called forth

to demonstrate the rewards of faith.


Even a dead man may balk at such

an offer, may choose to remain

in a world dark and now familiar.


But Lazarus emerges and walks

into the arms of a stranger with a voice

seductive as living water.


Indeed, his first view of new life

quivers behind a veil of tears,

his brain doubting more than ever

what his eyes tell him to be true.


A painter’s life is truth—

trueness of color—

no guesswork involved,

each recipe exact as a baker’s.


He falls in love as he fingers the sample,

again as he pries open the can.


This house will be the shade

of winter squash. Red for the doors

like blood of the bull.


Not your prim old lady, this,

but a male Vic—square,

with strong cornices.


Under the high eaves, Lázaro clings

like a spider, reaching to accent

sill and curlicue with expert stroke,

the size and hair of the brush

chosen for each detail.


In the morning, he sings on the stairs.

In the afternoon, he sings in the sky.




*an earlier version of this post was published in the Santa Barbara Independent



Thursday, December 18, 2025

Until the Enemy Had No Face, Part 3, Behind the Smiles

By 2013, Anthony Reza thought the war was behind him and only the remnants remained, the ghosts of Vietnam, the lone survivor of a squad ambushed, left with the emotional scars, distress, hoping one day it would all fade away, with time, as the doctors at the V.A. told him, but he still struggles, not so much with memories, more from the dark thoughts, which he hides from everyone, except those who know him best, and like other combat veterans, he copes. His wife thinks for him, looking to alleviate his most recent bout, his doubts and fears and knows he does best when he travels. In this last and final excerpt from my newly completed novel, the journey behind the smiles continues, from the streets of L.A. to the jungles of Chiapas.                                                                                   

The story behind the smiles
                        

    Serena recognized the signs. If she even had an inkling that I was alienating myself, she’d barge into my backyard office and confront me. She’d force me outside, into our professionally landscaped backyard, a small oasis in the suburbs on L.A's Westside, blocks from the Beverly Center, and say, “You need fresh air.” Once she stuck a sprig of rosemary beneath my nose and said, “This is reality.”

     When it’s bad, I can’t help but feel there’s a catastrophe about to happen, and it cripples me. Intellectually, I know it’s foolishness, but my body goes into protective mode, what I call my “turtle syndrome,” a shelter from the pain outside.

     If it isn’t too bad, and I think I can handle it, I’ll tell Serena it’s just my work, too much stress. She knows when I’m denying the truth, like the time she said, “No, Anthony, I can tell stress and from distress. If it’s an albatross on your neck, it can be a curse or absolution, depending on how you handle it. You’ve got to deal with it, fast, before it’s out of control.”

     This time, she wasn’t going for my excuse about “overwork.” She dropped her role of analytical sociologist and matched my cool Westside procrastination with her fiery Eastside bluntness, “Get real. You can’t mess around with this. If it gets out of control, it’s hard to reel in, and you know it.”

     “Serena, no, really, I’m almost finished, just polishing off the anthology, a little more editing, a stronger conclusion, and it’s done.”

     “Stop. The book’s been done. You’ve overcooked it. I’m going to send a copy to Willie and let him decide.”

     “No! Not yet.”

     Guillermo “Willie” Perez, descendant of parents from Ecuador and raised in Terry Town, up the Hudson River, was V.P. of a mid-size press in New York. Willie published a history text I co-edited with a colleague from U.C. Berkeley. It’s still in print and selling well in college classes. Willie took a chance and published two of my smaller books, one taken from my travel journals describing a trip by bus into Mexico, the second, a Chicano historian’s critical look at the Vietnam war, nominated for a National Book Award, and both earning enough to cover my advance and bringing a little profit to the publisher.

     We were on a first name basis after one visit to New York we did some bar hopping on the Lower Eastside, and ended up at the Nuyorican Poest Cafe, where poet and playwright Miguel Pinero had left a huge footprint. I told Willie about my proposed anthology of writings and photos of drawings, sculptures, and paintings by Chicano Vietnam veterans, it intrigued him. Still, he’d answered, “Anthony, I don’t know if the public wants another book on Vietnam. I hate to say it, but nobody cares. All that ‘thank you for your service,’ is lip service, excuse the pun.”

     “Willie, my anthology will be different, covering a variety of themes, not all about war, some existential, but by Chicano Vietnam veterans who experienced war. That’s the glue. As an historian, I’m interested to see what, after all these years, Chicano Vietnam veteran artists have been producing, and, sure, okay, how the war affected them.”

     “And, why only Chicanos?”

     “Why not? Puerto Rican and Cuban veteran-artists have a unique point of view, based on the Caribbean, island culture. They deserve their own books. Mexico and the Southwest spawned us, unique to our development as Americans.”

     I guaranteed him the anthology would be quality, the best literature and artwork I could find. “Man, Willie, there are close to 40 million cockroaches (writer Oscar Acosta’s word for Chicanos) in this country. We should be able to sell a few thousand books.”

     I sent him sample writings, stories, poems, essays, and photos of artwork I had compiled up to that point. He was impressed, shared the work with his colleagues, and agreed to publish it. That was ten years ago.

     Serena said, “If you’re so confident, why not let Willie see it, before he changes his mind, if he hasn’t already?”

     “Serena, soon but not yet. The conclusion is weak.”

     “None of this is about a book, husband, not really. It’s about Raul, right, the way he did it, abandoned everthing and everybody, without a word? I know what it’s done to you. It's gotten into your head.”

     “Partly, maybe, but it’s only because of him I’m even doing this book.”

     “Come on, Anthony. Look at yourself, three, what four days, unshaven and still in pajamas.” She looked at her watch, “And 3:00 in the afternoon. This is as much about you as it is about him, right?”

     After 25-years of marriage, Serena knew when to step in, no matter what excuses I invented. When it wasn’t too bad, she’d drag me for a hike up to Topanga in the Santa Monica Mountains to search for fossils and arrowheads or drive to Oxnard, Ventura or Santa Barbara where we stopped at historical landmarks along the Camino Real, she’d get me into the sunlight and away from the dark. Sometimes, we’d spread a blanket out at Wil Rogers State Beach to watch the sunset and talk, no subject off limits, pulling out of me what I held inside. She appealed to my common sense and reminded me if anything happened how much the family would lose, a voice of understanding and compassion.

     Sometimes, when it was bad, like when I couldn’t get my hands to stop shaking, when nothing worked, and the world was closing in, we’d drive out to Olvera Street and get caught up in the crowds, arts and crafts, and music, or we’d cruise to different towns on L.A.’s Eastside, out to Downey, Commerce, or even Azusa, at the base of the San Bernardino mountains. We’d have a late lunch, walk through town, and return home.

     After we first married, and I had an episode, Serena called Raul Armenta, a childhood friend, a Vietnam veteran, and a psychologist. Raul would take me out, and we’d talk. He and I had met up a few years after we’d both returned from the war. We stayed in contact, encouraging each other through rough periods during graduate school, so he knew just what to say, how to pull me back from the brink. It bothered me that I couldn’t reciprocate, but at least I could be there for him, which, apparently, hadn’t been enough.

     Raul was no longer an option, not since he’d split to who knew where, leaving behind his daughter, family, and friends, many of us completely perplexed and questioning our own emotional stability. If Raul cracked, what chance did the rest of us have?

     Sometimes, Serena forced me to call friends in my veterans’ support group or Dr. Evans at the V.A., who tried to put me on medication, which I refused because of the terrible side effects, the drowsiness, sleepless nights, dull brain syndrome, combined with a myriad of physical ailments, or he’d recommend me checking into the V.A., to recuperate at the DOM, a short-term residential facility, but before it reached that point, Serena would get me to travel, a bit risky but, from what she saw, over the years, the best antidote for my condition.

     She’d say, “Fly somewhere. Trust me, Anthony, you’re always better when you return, energized, the old you. Maybe go see Hank or Pablo. You’ve been promising to visit them.”

     Both were friends, Hank from Highland Park and Pablo from Culver City, professors, and original members of Raul’s first Vietnam veterans support group. We met in grad school. Like me, they were psychic gypsies in the early days when the V.A. had nothing for us, and we had to seek our own cure, often in destructive ways, which to us was just heavy partying, disappearing for a while, sharks constantly moving.

     Once they finished their degrees, guys like Hank and Pablo traveled the adjunct route, picking up part-time teaching gigs in backwater towns and cities, until they landed tenured positions, Hank in Washington, Tacoma, and Pablo in Louisiana, of all places. They’d been on my case to visit them, for years, but I never did. We’d meet up whenever they flew into town to see their folks and friends.

     This time when Serena suggested travel, I’d said, “I don’t know if I’m up for travel, Serena, with work and the semester starting soon.”

     “Bull, man. You always travel during your semester breaks.”

     “Fly some place…I don’t know, what about everything I’ve got to do here?” I tried to sound as rational as I could. Serena operated on logic and reason. For her, everything had to make sense, like so many times when she’d find lost objects, a screw, a nut, a nail, or any insignificant object, she knew it didn’t just fall out of the sky. She couldn’t rest until she found its home. She had a kitchen drawer filled with miscellaneous objects, all organized and labeled, even the date she found it.

     Chiapas popped into my head. I figured that would drop her interest in my traveling. “Maybe, I can fly to San Cristobal de Las Casas?”

     Her face sagged. “Seriously, Anthony, Mexico, now, when times are bad down there.”

     I appealed to her sense of logic. “Chiapas is in the south. The violence is mostly in the north or along the border.”

     “No, man. It’s everywhere, bodies turning up in kid’s playgrounds.”

     “That’s just American media hype.” I reminded her about a Vietnam veteran I’d met at a bar in the Yucatan, Billy Serna, I think was his name. He’d told me about an expat community of Vietnam vets residing in Chiapas, up in the hills outside San Cristobal, a tight group of guys living off their military disability, guys sick of America’s so-called civilized society.

     She looked at me like I was crazy. “Dude, Anthony, are you still with that. It was like twenty-five years ago, and you said he was talking about the 1980’s. Listen to yourself. That makes no sense.”   

     “You never know,” I said. As a kid, I lived in an imaginary world, where anything was possible, driving my pragmatic parents nuts. When my friends couldn’t think of things to do, I’d flood them with ideas. That was my strength, my imagination or my ability to try what others wouldn’t.

     In faculty meetings, these people with M.A.’s and Ph. Ds from prestigious universities, sometimes, either couldn’t think of a solution to the simplest problems or came out with the most complicated, irrational solutions. I’d spit out three or four common sense solutions in a few minutes, leaving them in awe, as if I’d said something profound. My Uncle Joe was like that, figuring ways to fix a toster, a television, a power mower, a leaky pipe, or problemss with difficult people. For him, and a lot of my relatives, if there was a way, he for damn sure had the will.

     I realized, some years ago, I often reversed numbers when I made telephone calls. Then I noticed I’d also reverse letters, sometimes words, misunderstanding the text. No wonder I’d had a difficult time in school, like with comprehension and math word problems. Maybe that’s why people thought I had a savage wit, my responses to what I thought I heard instead of to what I did hear.

     Dyslexia came as an epiphany, even if I only had a mild case. Could that be why my mind wandered during lectures, as a student, when I sat in class or when anybody hit me with complicated instructions. As a kid, I’d trained myself to focus if anybody told me something important. In the Army, sometimes I could see my sergeants’ faces grow suspicious, wondering if I really hadn't heard them right or I was just joking around, at times trying to stifle their laughter at my response.

     My imagination ran wild when I read stories, seeing so many thematic strands in plotlines and characters’ personalities. Instead of teaching history the usual way, focusing of facts, dates, and names, I turned historical figures, events, and locations into stories, the wilder the story, the better the students learned.

     I reasoned with Serena, explaining I’d always wanted to visit San Cristobal, a colonial town, and take pictures to show my students where the Zapatistas had rebelled against the Mexican government and rich land owners. She said “no, definitely not.”

     “No problem, then, I’ll just stay here and keep working.”

     “That won’t work with me, Anthony. I know what you’re up to.”

     “What do you mean?”

    “Don’t pull that reverse psychology on me.” She crossed her arms. “Come on, anything happens in Chiapas, damn, man, you’ll be far away, near Guatemala, bro’. Seriously, it could be dangerous.” Before I could answer, she added, “What about Mexico City?”

     Th idea of travel started the old juices flowing, the excitement I’d feel whenever I finished all the arrangements and prepared to start off on my journey, the feeling of excitement when the jet backed away from the terminal. It took a moment for the idea to percolate. “Mexico City?” I’d visited many times, the first to make a “manda” to the Virgin a Tepeyac, to fulfill a promise my mom made if I returned home from Vietnam.

     Serena said, “You complained how you never had enough time to see the city, like the Museum of Anthropology. Go there, and, besides, it’s safe compared to other places in Mexico.”

     I repeated, “Mexico City.” The itch to travel got stronger. It could work. I guess. She’s right. I always rushed through the Museum of Anthropology. I could take my time. Archeologists had uncovered new Aztec ruins under the zocalo, even if I wasn’t much of ruins-guy. It might give me a chance to edit my book, rest, and bring Serena peace. “That might work.”

     “It’s a good compromise, as long as you promise to stay there, right?”

     “Alright,” I gave in. “Yeah, I promise,” I said, not really sure, something heavy stirring inside me. “And you’ll notify me if Tiburcio Reynoso sends me anything.”

     “Anthony, please. Enough with your anthology for now. Let it go.”

     “They say Reynoso wtinessed the alleged atrocities. I need to know what he saw, so okay, I guess it's about a lot more than my book.”

     A sick look covered her pretty face, “The awful things Raul and those guys did in Vietnam to those villagers was confirmed and documented.”

     “You can't know unless you were there. I won't believe it until I hear from Reynoso. Something, anything he might know could help us learn more about Raul and why he'd up and leave everything, his entire life, his family, his career.”

     “Anthony, it's been twelve years, and you don't know he left, by choice. There were confirmed sightings of him in Tijuana, alone, hanging out in rank bars, with a prostitute, drunks, and narcos. Anything could have happened to him there. It's Mexico."

     The image she painted wasn't the Raul I knew, a former psychologist and university vice-president, but that's where we left it, until a couple of weeks later, I ended up standing in a busy terminal in LAX, a ticket to Mexico City in my pocket.