Monday, October 05, 2015

Un Poco De Todo


Xánath Caraza

 

2016 NACCS TEJAS POETRY BOOK AWARD

 

*Please Circulate Widely*

 

National Association for Chicana and Chicano Studies—Tejas Foco

 

Description of Award:

 

NACCS-Tejas invites nominations and submissions for its 2016 NACCS-Tejas Poetry Book Award. The 2016 NACCS Tejas Award for Non-Fiction Book Committee will consider any book published in 2015 in Texas or elsewhere. We welcome full-length collections of poems. We will recognize an outstanding work of poetry that best represents a significant topic related to the Mexican-American and/or Chicana/o experience in Texas. The award will be presented at the NACCS-Tejas Foco annual conference to be held at Lone Star College–Kingwood in Houston, Texas, February 18-20, 2016. There are no restrictions on the number of nominations per press or on the number of individuals—authors or readers—who can nominate a text. Books previously nominated for this award are not eligible. Nominations will be reviewed by a committee of NACCS-Tejas Foco members.

 

Procedure for Nominations:

Publishers or authors wishing to submit books for consideration should send a copy of the book to each of the committee members at the addresses below by the deadline of November 15, 2015. Nominations should include a submission cover letter, including the name of the author, the title of the book, press, and the date of publication.

 

All nominations must be received (not postmarked) by December 15, 2015.

For additional information, you may contact the Committee Chair Christopher Carmona at christophercarmona@myartelibre.com.

 

Committee Members

 

Christopher Carmona

939 W. De Soto Ave.

Alamo, TX 78516

 

Isaac Chavarría

608 N. Linares St.

Alton, TX 78573

 

 

Rossy Evelin Lima

700 Ciro St.

Donna, TX 78537

 

 

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Call for Papers University of North Georgia 2016 Arts and Letters Conference
                                                
                                                  February 26-28, 2016
                                             
                                                      Culture and Place

The 2016 University of North Georgia Arts and Letters Conference will explore the intersection of culture and place. Place is more than location—it is people, it is material, it is climate, it is culture. Places are made through human practices and institutions and are specifically designed and constructed to evoke memories, trigger identities, and embody histories in material form. Thus, the creation of place assigns meaning and helps to define who we are, and often, who we are not. We must ask not just how places come to be, but how and why they are important for social processes, cultural practices, and historical change. How do these connections play out? Are culture and place best understood as two separate entities, or as two dynamically related processes that are best understood through each other?

This interdisciplinary conference will take up these questions and others concerning culture and place. We welcome proposals from all disciplines on a wide range of topics. Possible themes include (but are not limited to):
How have climate, topography, etc., intersected with culture to shape political movements and/or the histories of states?

How have culture and place intersected to produce or perpetuate forms of (intersecting) oppression?

In what ways do culture and place intersect to produce conceptions of “natural” and “normal”?

How do the intersections of culture and place affect or produce notions of objectivity and subjectivity?

What is there to discover in the intersections of culture and place in music, literature, art, science, mathematics, history, philosophy, etc.?

How do places and material forms intersect with social practices, social structures, norms, values, power and inequality?

How does material culture shape and reflect place?

What is the relationship between travel, culture, and place?

How are places made and shaped through cultural practices and cultural forms (such as tourism, development, popular culture, material culture, the environment, etc.)?

How are race, history, power, politics, memory, and culture emplaced?

A CFP will go out at a later time for an edited volume on the conference theme. Faculty, graduate students, and independent scholars are welcome.

Please submit the following

An abstract of 300-400 words
Five Key Words
A brief biography

to: http://digitalcommons.northgeorgia.edu/alconf/

by October 9th, 2015.

When submitting a proposal for a Panel, please indicate the names of all the panelists under “Presenter Information” and please upload abstracts for each panelist with a space between each.

Contact Sara Mason Sara.Mason@ung.edu or
George Wrisley George.Wrisley@ung.edu with questions.

 

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Ayúdanos a hacer de este festival una realidad.

Cada dólar es una gran contribución.

Latino Poets NY está preparando el cuarto Festival Latinoamericano de Poesía que se celebrará en la ciudad de Nueva York desde 11 hasta 13 noviembre, 2015. Poetas de gran trayectoria y calidad literaria compartirán su poesía en escuelas, universidades, cafés y centros comunitarios y librerías. Latino Poets NY se enorgullece en anunciar que durante tres años consecutivos hemos sido capaces de mantener festivales exitosos.

LPFNY también publica la antología Festival Latinoamericano de Poesía, un libro que incluye poemas de todos los poetas participantes.

Hoy, le pedimos a ser parte de este esfuerzo. Su generosa donación hará posible continuar la promoción del uso del español a través de la lectura y la escritura de la poesía.

¡Muchas gracias!

¿Nos ayudas compartiendo esta campaña?  http://www.latinopoetsny.com/

Karla Coreas
Directora
Latino Poets NY

 

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Finally, soon to be released my new bilingual book of poetry, Ocelocíhuatl (Mouthfeel Press, 2015), translated by Sandra Kingery.  Here is a sneak preview of a detail of the art for the cover by the amazing Los Ángeles artist, Pola Lopez.  More to come soon.  Viva la poesía!

 

Ocelocíhuatl by Xánath Caraza (Mouthfeel Press, 2015)

 

 

Sunday, October 04, 2015

Just Published! _Decolonize Your Diet_ : Interview with Luz Calvo and Catriona Esquibel

Book cover photo by Tracey Kusiewicz and cover illustration, "Maiz Sagrado," by Veronica Perez
La Bloga readers are in for a treat today!  The cookbook, Decolonize your Diet: Plant-Based Mexican-American Recipes for Health and Healing is ready for YOU to bring into your kitchen! Authors Luz Calvo and Catriona Esquibel are here to talk about their newly published book.  I personally tried some of these recipes when I first wrote about Luz and Catriona last year (click here) and, a few weeks ago, after receiving an advanced copy of the book, I cooked some of the recipes in my own kitchen, and can tell you the recipes are fabulous.  I highly recommend this book and am grateful that Luz y Catriona were willing to come back to La Bloga to tell us about their journey to publication!  Welcome Luz Calvo and Catriona Esquibel!


Left to Right: Catriona Esquibel and Luz Calvo with their
chickens in their "permaculture food forest" (photo by Miki Vargas)
How did the making of this cookbook first come about? 

After Luz’s breast cancer diagnosis and treatment in 2006, we started doing a lot of research about food and health.  This turned into an all-consuming project, both in our home life and in our work.  At home, we turned the backyard into a permaculture food forest.  We started to raise chickens for eggs and because they help in the garden (providing compost, pest control, and weeding).  We acquired some design help from an Oakland-based group called, “Planting Justice.”  They produced a garden design to transform our backyard into a place where we could grow food with a focus on foods with anti-cancer properties.  Following their design, Luz did most of the work installing the garden.  One day we had a work party and rented a jackhammer.  Our friends helped us take out a bunch of concrete so we would have more room to plant. 

Luz y Catriona's garden (photo by Amelia Montes)
 In our work lives, we devoted our research time to deepening our knowledge about food and the medicinal value of plants.  We were especially concerned with Latina/Latino health and how to reclaim it, for ourselves and for our communities.  We integrated some of these issues into the courses we teach and we found the students to be very receptive.  We started giving talks in community settings, such as at the Women’s Cancer Resource Center.  And, we started the Facebook group, Decolonize your Diet, as a way to spread the message and disseminate knowledge, political analysis, and recipes.  Early on, we had the idea of writing a cookbook, but it took years of research and writing to figure out how to structure it and what kinds of recipes to include.

How is your cookbook different from other cookbooks that focus on Mexican or Mexican American dishes? 

Most Mexican cookbooks conceive of Mexican food as an “authentic” mixture of indigenous and European ingredients and techniques.  Our take is a bit different.  For one, we try to undo the notion of “one” authentic way to do anything, since dishes change so much by family tradition, by region, by the era, and by the individual cook or chef interpreting the dish.  We talk about tamales, and the way that “traditional tamales” among Mexicans in the U.S. are generally thought of as including lard, beef, or pork, along with red chile.  We trace tamales back to the pre-Hispanic era, where there were literally hundreds of different kinds of tamales, many with ingredients we have never considered putting in a tamal, such as amaranth, or wild greens.  Our book is trying to recover some of those ancestral ways and ingredients, while at the same time, encouraging our readers (and ourselves) to be creative in the kitchen.  We believe in a rasquache approach which means: the art of making do with what you have.  Above all, that is what our ancestors have done over thousands of years.  It is their ingenuity and inventiveness that got us to where we are today.  Our book includes recovered recipes and many recipes that take “traditional” dishes, that we refashion, so they don’t include unhealthy ingredients historically brought by the colonizers, such as flour, refined sugar, or white sugar. 

What are some things you learned about publishing a cookbook that you had not anticipated? 

Oh, so many things.  First, it is really important to record measurements, even if that is not how you usually cook.  The press is going to require exact measurements.  Luz cooks by feel and never follows a recipe exactly, so that made the process of writing recipes a bit contradictory!

More seriously, though, we learned that there is a lot of racism when it comes to popular presses.  We received so many rejections that said we were catering to a “niche” market.  That is, they can’t imagine Latinas/Latinos as a book-buying audience.  Worse, we had one acquisitions editor who told us that our whole premise was incorrect, which she knew, because her fiancé, a graduate student in history, teaches his students that Native peoples were malnourished before European contact. 

You reference Gloria Anzaldúa in your preface and El Plan de Santa Barbara.  How does Anzaldúa and El Plan fit into a book about cooking? 

We see this book situated within Chicana/Chicano Studies.  Although we don’t often think of cookbooks as cultural or academic production, they really are.  Or, at least, we think of our own book as having both cultural and academic components.  Our book has many references to issues that are central to Chicana/Chicano Studies:  such as critiques of NAFTA, solidarity with farmworkers, a critical engagement with pre-Columbian histories and oral traditions, Chicana/Chicano art, Chicana feminism, decolonized queer theory, and borderlands epistemologies.  These theories and concerns frame our approach to decolonizing the food system and cooking healthy meals. 

Luz Calvo at work in her cocina (photo by Amelia Montes)
How can educators, then, use your book in the classroom? 

I think, more and more, professors and teachers are feeling the need to teach health issues in their classes and our book would certainly help faculty develop that curriculum.  I think the book would fit well in courses dealing with theories of decolonization, food studies, and feminist theory.  Luz is teaching from the book this fall 2015 and plans to require students to cook from one of the recipes for an end of the quarter potluck celebration. 

You have pointed out that your recipes do not have any empty calories.  What does that mean? 

Empty calorie foods fill you up and they might taste good, but they have no nutritional or medicinal value.  They actually do harm to your body.  Most processed food falls in this category.  Ingredients like white flour, white sugar, and white rice are also “empty calories.”  They give you a quick rush but without any substance to sustain you.  The recipes in our book, even if they are “treats” (that is, dishes you would probably not want to eat every day), have nutritional value.  For example, our chocolate cake recipe is gluten-free, and includes amaranth and sweet potato, which provide good nutrition.  The cake also uses raw cacao and raw local honey, both of which have medicinal value.  The sweetness is balance. 

The book is also beautiful.  The cover, the artwork on the pages are gorgeous.  Who decided the cover design and the artwork/photos within the book? 

We worked with the Arsenal Pulp Press graphic designer, Gerilee McBride.  She was great because she was very open to our input and also had many good ideas of her own.  From the beginning, we hoped to include Chicana/Chicano art inside the book, because so many artists are addressing issues that relate to food, decolonization, and reclaiming indigenous knowledge.  We are so grateful to the artists who allowed us to use their art:  Veronica Perez, Ernesto Yerena Montejano, Melanie Cervantes, Jesus Barraza, and Orlando Arenas.  Their work adds so much to the beauty and power of the book. 

Were there many recipes that did not make it into the book?  What was your selection process? 

Some recipes, even ones we make regularly, were too tricky for a cookbook.  With a cookbook, you want the recipe to come out right the first time.  For example, for a while, we were cooking amaranth-crusted pizzas every week, but the crust was actually quite delicate to work with:  very easy to tear, and we felt like it would be frustrating for folks trying it for the first time.  Other recipes were delicious and healthy but didn’t necessarily look all that attractive.  We share those recipes on our Facebook page and will continue to do so.  We’re not planning to write another cookbook, so our plan is to use the Facebook page to disseminate any new recipes we develop.  Some recipes we rejected because when recipe testers made them, we could see that our own vision for the recipe was confusing. 

The recipes we did choose had to follow a few rules:  They had to feature native ingredients.  They had to be plant-based and “healthy.”  And the recipe could not include flour or refined sugar.  Cheese or oils are sometimes included, but in small amounts.  And, we only included cheese if we could provide a vegan alternative.  We made one exception and that is the whole wheat flour in the “Borderlands Whole Wheat Tortillas,” our ode to Gloria Anzaldúa. 

Cookbook Recipes: "Beans, Greens, and Chiltepines" (page 163)
and "Mesquite Corn Tortillas" (page 158) (photo by Amelia Montes)
 The recipes are quite user friendly.  How were you able to achieve that? 

Oh, we’re so glad you feel that way!  We wanted to have basics in the pantry section of the book, because our readers include our students and folks like ourselves who did not learn to cook at grandma’s elbow.  Although, when Luz’s mom married into the Calvo family, she did actually sit at her mother-in-law’s elbow and she wrote down everything she did and even guessed at the measurements.  No one else in the family did that, and no one else has Nana’s recipes. In our book, we really tried to use our writing skills to describe the process of cooking dishes in exact detail.  I’m not sure we always achieved this precision, but we did try. 

You mentioned earlier that you had food testers.  What was that like? 

Well, we had many enthusiastic volunteers to taste the recipes.  Our neighbors were expecting their baby at that time, so we would carry over all these dishes to their house because we had more food than we could eat and no time to invite anyone over to dinner.  At one point, Luz was delivering pieces of amaranth chocolate cake to five different locations in Oakland to get feedback.  And there was one day when Catriona was encouraging friends to drive by the house and pick up muffins.  Eventually, we did pay a recipe tester to test some of our baked goods (muffins, cornbread, cake, etc.) because that is where we felt the least level of confidence, both in our own recipes and our taste for those things.  We wanted to make sure a professional would approve.  The tester gave some good feedback about making slight tweaks to get the recipes in the best shape.  And, several of our friends did the same thing.  Our friend, Hadas, in particular, prepared every bean dish in our book and from that experience, we were able to see how another home cook would interpret our recipes.  It was very helpful. 

What is your hope for this book?

We hope that our book adds fuel to the fire and directs more Chicana/Chicano political energy toward contemporary food-related issues.  We know that people in our communities grow their own food, as they did much before the so-called urban homesteader movement, but today we see young people interested in reclaiming this knowledge in ways that they haven’t been in the past.  We’d like to see more people recognize and appreciate the vast food knowledge held by rural populations in Mexico and the travel of this knowledge to immigrant urban and rural communities in the U.S. and Canada.  We’d like to see a specifically Chicana/Chicano political vision emerge that is cognizant of the need to defend ancestral corn from Monsanto and GMO seed.  We’d like to see more critiques of NAFTA coming from this side of the border. We’d like to see webs of solidarity forming across the border on issues related to food, environment, and the rights of people to stay on their ancestral lands.  We’d like to see our communities reject fast food, both as a “solution” to hungry bellies but also as a way of life.  We’d like to see Chicana/Chicano-run farmers’ markets selling ancestral foods like amaranth, quelites, verdolagas, heirloom beans, organic corn, and traditional varieties of squashes.  We’d like to see Chicana-owned worker cooperatives that sell non-GMO corn masa and community workshops teaching young people to make corn tortillas and tamales from scratch, using a variety of native ingredients. 

Now that the book is published, what next? 

We’ll continue to do research, writing, and sharing but through community presentations and through our blog and Facebook group.  We hope to have more time to devote to community organizing around these issues. 
Luz y Catriona's dining room table:  "Red Pozole with
Medicinal Mushrooms" (pages 101-102) (photo by Amelia Montes)
What does cooking mean for you now? 

Cooking is self-care.  It’s a creative outlet.  It’s resistance to capitalism and an unjust food system.  And, to be honest, we just get a lot of pleasure out of eating food we prepare from scratch.  It’s a way of showing love, care, and affection.  It’s an arena of comfort, healing, and familiarity.

Is there anything else you’d like to share with La Bloga readers?

It’s important to us to acknowledge that our project grew out of a set of political projects that were already well underway when we started our research.  Some of these include the amazing resurgence of interest in native foods in the U.S. and Canada.  We always credit Dr. Devon Abbott Mihesuah (Choctaw) for coining the term, “decolonizing our diets.”  Of course, Winona La Duke (Anishinaabeg) is also a leader in this area.  There is so much excitement about native chefs like Sean Sherman, Walter Whitewater, Lois Allen Frank, Nephi Craig, and others.  We’ve been fortunate to meet and eat the food of some of these chefs at Oakland’s Intertribal Friendship House, in programs organized by the Cultural Conservancy.

In Oakland, were we live, Phat Beets is a food justice organization that has been doing “Decolonize Your Diet” workshops for years.  We appreciate their vision.  Bryant Terry, an Oakland-based cookbook author, whose books Grub, and Afro Vegan had a big impact on us. Terry’s ability to promote plant-based recipes in ways that are appealing to communities of color inspired us and, personally, he has been very supportive of our project.  In addition, Luz was involved in a grassroots affinity group called “Decolonize Oakland,” that tried to use decolonization as a framework for political organizing.  Living in Oakland, surrounded by young people doing some really good thinking and activism around issues of decolonization, gentrification, and state violence, has helped us keep our focus. 

In a larger Chicana/Chicano context, there are several scholars and community activists whose work we follow.  Early in our research, we found a blog, “Decolonial Food for Thought,” a project of two graduate students, Claudia Serrato and Chris Rodriguez.  They had already given a lot of thought to these issues and put forward strong arguments for what Claudia calls an “indigenous veganism.”  And more recently, we’ve come across other Chicana chefs who are on similar trajectories:  Marinette Tovar, Marlene Aguilar, and Felicia Cocotzin Ruiz. 

All this to say that our project is indebted to many others who we see constructing an interesting web of activity—some writing, some teaching, some cooking—but all with the same goal.  We hope our book is a contribution to this web.  We feel fortunate to have been able to publish this book and we hope people find it useful.  We also hope that many more books follow ours.  There is so much more to learn about our cultural food inheritance. 


Thank you so very much for taking the time to talk to La Bloga, Luz y Catriona.  Readers, check out Luz y Catriona’s website for information about the book, recipes, and for events where Luz y Catriona will be appearing.  (Click here for website) 

"Decolonize Maiz" by Ernesto Yerena Montejano (silkscreen print, 2012)

Friday, October 02, 2015

New Books: Anaya, Hijuelos, Stavans - October Schedule


Manuel Ramos

New books by recognized masters expanding their artistic spheres, digging deep into their creativity.

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 Poems From The Río Grande
Rudolfo Anaya
University of Oklahoma Press - August, 2015

I previewed this book in an earlier post, click here; however, I write about it again because it is a work that deserves special attention.

The book gathers poetry Anaya has written over several years. The majority of the pieces in this collection have not been published previously.  There are, however, a few that readers of Anaya will recognize, such as Elegy on the Death of César Chávez and The Adventures of Juan Chicaspatas. A few are in Spanish; some are lengthy prose poems; several highlight Anaya's well-known humor and wit.

Anaya said in a recent interview that he wrote poetry before he wrote fiction, and that  he had a "poetic instinct" that eventually turned to novels. As noted in the Foreword to the book, written by Robert Con Davis-Undiano, "Anaya's poetry is elegant in its intensity and in its wide-ranging treatment of the myths of the Southwest, Mexican American folklore, the legacy of César Chávez, Christmas traditions in New Mexico, and the Egyptian myth of Isis and Osiris transplanted to the Southwest, among others.  Whereas his novels and plays deal with the furthest reach of issues relating to life in the Américas, contemporary values, and directions in contemporary culture, the poems focus on similar issues on a smaller scale, and sometimes under a microscope, in ways that will be even more accessible to a great many readers."

In these poems I found a vision of nature that only someone who is one with nature could portray.  There is love and loss and musings about old age, death, chile and the llano. Now that fall is here, the poems are even more alive. The words are true.

From Water:

I guess I am a poet, because
water runs in my soul.
I cannot stop it.
I dare not. I am
becoming green ...

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Twain & Stanley Enter Paradise
Oscar Hijuelos
Grand Central Publishing - November, 2015

[from the publisher]
Twain & Stanley Enter Paradise, by Pulitzer Prize-winning author Oscar Hijuelos, is a luminous work of fiction inspired by the real-life, 37-year friendship between two towering figures of the late nineteenth century, famed writer and humorist Mark Twain and legendary explorer Sir Henry Morton Stanley.

Hijuelos was fascinated by the Twain-Stanley connection and eventually began researching and writing a novel that used the scant historical record of their relationship as a starting point for a more detailed fictional account. It was a labor of love for Hijuelos, who worked on the project for more than ten years, publishing other novels along the way but always returning to Twain and Stanley; indeed, he was still revising the manuscript the day before his sudden passing in 2013.

The resulting novel is a richly woven tapestry of people and events that is unique among the author's works, both in theme and structure. Hijuelos ingeniously blends correspondence, memoir, and third-person omniscience to explore the intersection of these Victorian giants in a long vanished world.

From their early days as journalists in the American West, to their admiration and support of each other's writing, their mutual hatred of slavery, their social life together in the dazzling literary circles of the period, and even a mysterious journey to Cuba to search for Stanley's adoptive father, Twain & Stanley Enter Paradise superbly channels two vibrant but very different figures. It is also a study of Twain's complex bond with Mrs. Stanley, the bohemian portrait artist Dorothy Tennant, who introduces Twain and his wife to the world of séances and mediums after the tragic death of their daughter.

A compelling and deeply felt historical fantasia that utilizes the full range of Hijuelos' gifts, Twain & Stanley Enter Paradise stands as an unforgettable coda to a brilliant writing career.


ABOUT THE AUTHOR
Oscar Hijuelos (1951-2013), was a Pulitzer Prize-winning author and recipient of the Rome Prize. He also received grants from the National Endowment for the Arts and the Guggenheim Foundation. His nine novels have been translated into more than 30 languages


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Quixote: The Novel And The World
Ilan Stavans
W.W. Norton and Company - September, 2015

[from the publisher]
A groundbreaking cultural history of the most influential, most frequently translated, and most imitated novel in the world.

The year 2015 marks the four hundredth anniversary of the publication of the complete Don Quixote of La Mancha—an ageless masterpiece that has proven unusually fertile and endlessly adaptable. Flaubert was inspired to turn Emma Bovary into “a knight in skirts.” Freud studied Quixote’s psyche. Mark Twain was fascinated by it, as were Kafka, Picasso, Nabokov, Borges, and Orson Welles. The novel has spawned ballets and operas, poems and plays, movies and video games, and even shapes the identities of entire nations. Spain uses it as a sort of constitution and travel guide; and the Americas were conquered, then sought their independence, with the knight as a role model.

In Quixote, Ilan Stavans, one of today’s preeminent cultural commentators, explores these many manifestations. Training his eye on the tumultuous struggle between logic and dreams, he reveals the ways in which a work of literature is a living thing that influences and is influenced by the world around it.

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My Schedule





I'm appearing at several venues in the month of October.  Here's a schedule.

October 8 - 9:  Staffing the booth of the Rocky Mountain Mystery Writers of America at the Mountain and Plains Independent Booksellers Association Fall Discovery Show,  Renaissance Denver Hotel in Denver, CO.

October 15, 6:30 - 8:30 pm:   Founder and Director of Arte Público Press, Dr. Nicolas Kanellos will give a presentation about the development of Latino literature. The presentation will be followed by a panel of Latino authors, including local authors Sarah Cortez and Gwendolyn Zepeda; and Colorado author Manuel Ramos. Celebrate Latino literature during Hispanic Heritage Month, and hear Latino authors talk about their works. The authors will be selling and autographing books at the end of the program. University Branch Library on the UH-Sugarland campus, 14010 University Blvd., Sugar Land, TX.

October 16, 6:30 pm:  Reading and signing The Skull of Pancho Villa and Other Stories at a legendary mystery book store -- Houston's  Murder by the Book, 2342 Bissonnet St., Houston, TX.

October 18, 4:00 - 4:45 pm:  Texas Book Festival panel -- Old New Tales from the Border.  There is not one border narrative. Authors Carlos Nicolas Flores, Manuel Ramos, and John Vaillant capture the dynamism of the America-Mexico border in these stories. From the Pancho Villa legend to dangerous border crossings to political escapades, these authors reach far beyond the stories you already know.  Kirkus Reviews Tent, 13th and Colorado Streets, Austin, TX.

October 30, 6:00 pm:  Mystery Writers Panel. Doors open and refreshments available beginning at 5:30
Come spend an evening with your favorite Colorado Mystery Writers:  Mario Acevedo, Christine Goff, Manuel Ramos, and Mark Stevens.  The authors will sell and autograph books at the end of the program. Hampden Hall, Englewood Civic Center, 1000 Englewood Parkway,Englewood, CO.


Later.





Thursday, October 01, 2015

Chicanonautica: Zen and the Art of Interstate Highways, Part 2




Soon we arrived in Truchas, originally Nuestra Señora del Rosario de Truchas, once an outpost of Christendom raided by the Apaches, Comanches, and other Plains tribes according to David Pike's Roadside New Mexico. Now there are ruins being encroached by art galleries. We were greeted by the crowing of roosters. At nights the coyotes howled.


It rained all night. Clouds crept across the valley in the morning.

In Taos we once again did mocha and muffins at the Wired? Cafe. I barely escaped committing real-life slapstick comedy in the muddy parking lot. The old hippies playing chess probably wouldn't have noticed. Then I saw a spider shitting in one of the ponds.


I was impressed by the surrealistic fish assemblages and primitive paintings at one place, but my wife and her mom thought the prices of the clothes were too high. Across town they found better prices at a thrift store, where I found John Upton Terrell's Pueblos, Gods & Spaniards that put me in touch with the history behind the landscapes we were passing through.

At a bus stop, a guy had a stringed musical instrument I couldn't identify.

I didn't know that churches have gift shops these days. We checked out one next to El Santuario de Chimayó – a place known to cause miraculous healing. They even had Santuario T-shirts and baseball caps. There was an unofficial gift shop next door that had santos, popsicles, and a WE SHIP CHILE sign. On the corner was a lowrider art gallery.


The sacred datura was blooming in Bandelier National Monument. You still have to take the Atomic City Transit shuttle to get there, but the weird rocks and ruins are worth it. We ran into some deer near the washed-out bridges.

Then we cruised Valles Caldera – a supervolcano crater – and got caught in a downpour. This is near the Los Alamos National Laboratory. I wonder if the government has noticed that we keep going back there. Don't worry, gov, we're just sci-fi writers on vacation.


In Española, “the most dangerous city in NM” I found weird books in thrift shops while my wife and her mom found more great deals on clothes. I even found some colorful shirts. I also overheard hippie-looking Indians and Indian-looking hippies talking about bad hash oil deals and needing a money belt to smuggle cash into Puerto Rico.


And this time, the owner of the local bison ranch took us to visit them on his ATV. It was a wild ride! Up close and personal at high speed with buffalo! I tried to take some video, but I had my iTouch upside-down; it tried to correct itself and focused on my pants instead. I guess you had to be there.


On the way home, we stopped in Flagstaff to rescue a couple of kachinas, one of which looked like a werewolf.

Whew! Now, back to the usual madness . . .

Ernest Hogan, the recognized Father of Chicano Science Fiction, has been working on a lot stuff that will be erupting your way soon.