Saturday, August 22, 2009

Quest to the mt. - 2

The quasi-vision quest my dog Manchas and I were to attempt three weeks ago didn't happen. What begins below is my best recollection of what transpired instead.

As an over-60-year-old urban Chicano, I'd concluded my world needed an experience that would shake it up, since I've grown old in my ways, not all of which are conducive to living as one should. Habits, thinking, attitudes and approaches to life have turned as stale and predictable as the regularity with which my body loses hair on its head and deteriorates in places that functioned much better when younger. Those of you who've found yourselves not wanting to get up in the morning, for morning after morning in a row, know what I mean. I normally get up fine; it's plodding through the remainder of the day's reruns that's harder to stomach.

In any case, I wanted to do more than just get "away from it all" or "in tune with Mother Nature"; after all, either of these would have represented staid versions of the usual American Vacation. Taking a step into an otherworld, one not so Euro-American, seemed mandatory, notwithstanding the fact that I'm at best only one-fourth indigenous, supposedly of Yaqui and Tarahumara ancestry. I also recognized the limits of my body and resolve and wasn't about to attempt scaling a fourteener when I'd likely be forced to turn back before reaching its base.

For those unfamiliar with a real--not quasi--vision quest, Black Elk's The Sacred Pipe describes in detail what has been practiced for tens of thousands, on this continent, at least, by various tribes. Whether done as coming-of-age, finding one's animal or spirit, or as a cleansing one's soul, the end result is similar--to emerge changed. There's more to this than I can convey here; read the book.

A few days before we were to leave, I received word that our original scenario had to be postponed until fall, by which time I knew I'd get cold feet, literally and psychologically. So I looked for another mt. And found one. Where specifically is unimportant; what mattered was we would not have to postpone our adventure.

Like all canines, my companion Manchas bears his own mestizaje, in his case dingo via Australian cattle dog. His small red and blue spots are overshadowed by a huge black circle on his back, a part of the Dalmatian in him. (When he was a pup I could have sold him for big bucks as a "chick magnet.") But it's his less civilized parts that get twanged when we've trekked through the northeastern Colorado Comanche National Grasslands or followed the dinosaur tracks of Piñon Canyon in the southeast corner. This time, I opted for a more central location not far from Denver; couple of hours at the most, I thought.

Somewhat resembling the Blues Brothers, we hop into the truck with the bare minimum and head south, down I-25. I've got two packages of unsalted crackers, one sweatshirt, seven cigarettes and a light blanket requisitioned from an airline; Manchas has sufficient food to last him; we'll share a one-quart canteen of spring water and a bird feather wrapped in sprigs of sage, a send-off gift from a friend. Thyroid pills for me, and glucosamine to relieve his hip dysplasia, round out the provisions. The truck dash shines with "Check Engine", something I've ignored for weeks. The gas tank's half-full, but I totally filled the tires. And we're off on our adventure, somewhere without cars, people and the sound of civilization.

As I drive, I'm imagining what I'll need to search for once we reach the mountains, how that perfect mt. might be, possible dangers lurking. Manchas mostly peers out the windows, occasionally licking my elbow to indicate whatever that means in dog. I just finished rereading Wolf & Iron, and at least in wolfese, according to Gordon R. Dickson, an exchange of licks indicates peer acceptance. I'm not about to rise to Manchas's level, so I don't return the gesture. My head's still stuck in finances, job details and house upkeep.

On the opposite side of the highway a stranded motorist peers under his hood; I wonder if his "Check Engine" malfunctioned. Periodically, there's a road sign reading, "Remove all accident vehicles from highway. No exceptions." It reminds me that the last time I could get out of Denver in less than an hour was back in the 70s.

I step on the accelerator and push the four-cylinder, fifteen-year-old Ranger up to 62mph, given that the speed limit is now 75. Those passing me at 85 are unimpressed, I can tell from their sideways scowls. No matter I can get it up to even 68 on a down slope, I keep it steady; it's the most mileage-efficient the old truck will do.

It proves neither quicker nor easier to get away from civilization than to get my mind off it. A highway marquis emphasizes this in neon orange: "Accident at Lincoln exit. Alternate route suggested." Alternate route? There's no way to go south through Colorado unless you head far west into the mountains or a couple of hundred miles east into Nebraska; must be some highway workers' joke, of course. At the indicated exit, there's nada, except another of those signs about moving accident vehicles from the road. "No exceptions."


By now I've looked at the Check-Engine light more than ten times. What am I doing? Why? Sometimes when going faster than 62, it fades off. I try to see if it'll stay off if I keep it at 61 or 63, but I won't go above that. Sometimes it does, mostly it doesn't. But what am I thinking? That if it's off, there's actually nothing wrong with the truck? Duh. But why do I bother checking it at all. Its message won't change to "I was just kidding," or, "You'll be okay until you return home." And what good would it do if it suddenly said, "You have 14 minutes left." Hell--we're on an adventure; there's no turning back. Nevertheless, all during the trip I won't break the habit of peeking at it.

A few miles before Castle Rock, as I think we're maybe past it all and will soon reach our wilderness paradise, comes another marquis. "Accident 14 minutes ahead; keep to left lane." 14 minutes? Is that at 62mph or 85mph? And how do they know it's exactly 14? Ten minutes later, the four-lane superhighway morph-splits into two slow moving right lanes and two left ones choked with 85mph-ers who passed me earlier, now at a standstill. Seems most people followed the marquis' suggestion. Duh. Manchas and I breeze past them on the right.

According to the odometer, almost exactly at the 14-minute marker we do reach an accident site on the opposite side heading north. The first car has a quarter panel chewed up. The second car's whole front end is crushed. The third car, an SUV of course, sits upended, lying on its driver's side. A couple of patrol cars and likely witnesses' cars park at all angles behind the wreckage. Lines of vehicles behind all that move at no mile per hour.

Though I don't know the extent of injuries, I feel lucky and take the Ranger back up to 62, or probably more accurately, I feel smirky because I'm wondering why they're ignoring the "No exceptions" rule. Apparently, multiple-car devastation nullifies it. Conformity is a fleeting vanity; entropy, unavoidable. According to my speedometer, the six-mile lines of automobiles and trucks waiting for civilization to reimpose order will idly wait, long past the time Manchas and I have escaped. But I realize my attitude toward the personal calamity behind us means I haven't left it. Manchas licks the elbow, as if to absolve me.

We finally near Colo. Springs, home of "Focus on the (unborn) Family." I'm always creeped going through here, a place where conservative retirees constitute the local radicals. Books on immigrant rights, bilingual education and global warming are likely catalogued in the town library's fiction section. And home of the Air Force Academy, another bastion of the status quo.

I search for the exit listed in the park directions printout, but there's none. In total I will stop three times and it will take six people to repaint us in the right direction. But we're almost there; it won't be long now. But when we turn west, head into the mountains, we're last in queue for what looks to be a summer concert or something. Stopped at a light, I lean out my window and ask a cab driver why all the traffic. "Nope, no concert; it's always like this." This is the road to our quest?

Finally, finally, we reach a stretch of state highway with fewer cars. The remainder of the directions prove accurate. After turning onto a county dirt road, we pass a Mennonite camping compound where all kinds of Anglo kids romp around--a real vision quest?

In the parking lot at the trailhead, a sign out front of a trailer indicates the "camp host", Colorado's substitute for park rangers. I knock and a young woman with a dog twice the size of mine comes out.
"What's on the other side of this mt. on the left? Are there cabins or is it still park?"
"I have no idea."
"What about this one on the right? We're looking for a spot to get away from it all (sic)."
"I don't know."
"Is that way east?"
"I think so; the parks department didn't tell me a lot about this place."
It's like a comic episode from one of Ed Abbey's books, only not as funny and more pathetic. We've lost so much wealth in this country, we don't even know which way the compass points.

I decide we should check the regular trail first. Two and a half miles, moderately difficult, say the directions. It's fifteen degrees cooler here than down in the foothills, which at the moment sounds and feels great. I pump water for Manchas, to give him his last taste of civilization. We head up the trail. Fifteen minutes into the hike Manchas regurgitates the water and all of his breakfast, which takes several sweeps of my hiking stick to bury. I hope he's just got carsickness from my racing up the mountain curves at forty mph and not dog dysentery from the pump.

A river shadows the trail as we pass about a dozen people heading back. Two old ladies with cross-country ski poles, a family with youngsters--indicating the trail isn't that difficult--young and older couples toting light packs, an occasional loner, usually a fiftyish male, all of them Anglo. Most acknowledge us or at least say, "What a cute dog." I respond, "You should have seen him as a pup."

When the trail takes a hard, eastward curve, we've arrived. No one but us. And the rocks. Calling them rocks is an injustice, or at a minimum, an understatement. The crags have character, a quality of art, a powerfulness to them that almost intimidates, at least me. Manchas just gazes. Earlier, I'd thought scaling the crags might lead us to that perfect spot. I can see now that only a real vision quest would call for mounting these magnificent forms. It's not that they're unscalable, by someone more fit; they're too uncivilized. We will need to find a different spot. Besides, the better-fit probably do climb those crags, and we'd wind up with company we don't need.

Directly across the small valley, the other promontory appears not as intimidating, nor as picturesque, and thus less likely to draw visitors. Rather than trying to climb here, if we go back to the trailhead, I envision we can follow a much longer but less precipitous incline all the way to the top, until we get to where we can look across to the crags. Sounds perfect, and though it will be more strenuous, we should make it easily before nightfall.

Next time, up the mt.

RudyG

Friday, August 21, 2009

Things that make me go ¡híjole!

How about those talk show hosts and bloggers who compare the Henry Louis Gates incident with the questioning of Bob Dylan, and conclude that Dylan knew how to behave himself but Gates pulled the "race card"? Is white privilege so blind that the differences between the two situations aren't readily apparent, even to right-wing agitators?

Or the health reform"protester" on NPR who said that in the old days at the emergency room you either paid for your care or you died and "that seemed to work okay"? Pay or die – sounds like a bad Tarantino flick.

Common Dreams reports: "Proving that Taiwan is not America, Taiwanese leaders are facing a political firestorm for their inadequate response to a natural disaster - Typhoon Morakot, which killed hundreds and did massive damage. Blasted by critics, facing the resignation of senior officials and promising an investigation, President Ma Ying-jeou began a press conference by bowing in apology to the people." Katrina? George Bush bowing in apology to the American people? Yeah, right.

The Denver Post says: "Colorado's lowest-paid workers could make even less money next year. That's because the state has an adjustable minimum wage that may become the first in the nation to drop slightly along with the cost of living. Colorado is one of 10 states where the minimum wage is tied to inflation. The indexing is thought to protect low-wage workers from having flat wages as the cost of living goes up. But because Colorado's provision allows wage declines, the minimum wage could actually drop 3 cents an hour next year. If the wage is reduced by state labor officials in September as expected, it would be the first minimum wage decrease in any state since the federal minimum wage law was passed in 1938." The rich get richer and …

Meanwhile, Colorado casinos reported $76.1 million in adjusted gross proceeds in July, the second best month in Colorado gaming history, trailing only the $76.5 million recorded in July 2007. … the poor get fleeced.

Police in Ohio say officers using a new Taser stun gun briefly set a homeless man on fire while trying to subdue him. The police chief said his officers acted appropriately. The homeless man was charged with abusing harmful intoxicants and other counts. There's something really wrong with that picture.

You've got to see this to believe it: Woman at Vegas town hall yells "Heil Hitler" at Jewish man. We are on the brink.


CHILE HARVEST FESTIVAL

Thanks to a partnership between the City of Lakewood and the Chicano Humanities & Arts Council, the Chile Harvest Festival will be in full swing August 29 & 30 from 10 a.m. to 5 p.m . at Lakewood’s Heritage Center (Wadsworth and Ohio), 801 S. Yarrow Street. Tickets are $6 for adults, $3 for children (ages 3-12). With plenty of free parking available.

The festival will feature up to 65 artists, showcasing both contemporary and traditional art forms including music, dancing and storytelling as well as many other cultural and art activities for the kids. Several local restaurants will be on site, serving authentic Mexican cuisine along with other specialty foods featuring chiles. And of course, there will be nonstop chile roasting, so stock-up your freezer with chiles for the winter. Demonstrators will be showcasing the art of making traditional chile ristras: dried chiles strung together to be used in cooking throughout the year or just for decoration. The Chile Harvest Festival is an outreach effort to educate, enlighten and entertain the community with the many different facets of Chicano and Latino culture. Its goal is to give people a well-rounded cultural experience. Proceeds from the event support HCA and CHAC programs.

Read then lead.

Later.

Thursday, August 20, 2009

Two New Poems



For M


It's about peace in the body.

The little miracle of how we undo each other as we make love.

And undone, we let go for a sliver of time

the days of disappointment.

Burdens and betrayals knotting nerve and sinew and bone

dissolve in the O of our mouths.


Arms around each other.

Circle of skin.

We breathe together,

simple and clear.

Stillness in your smile, my smile.

Stillness and then laughter.



Prayer


I need to lie on cool, wet ground;

so the earth can sing to me.

If I am small, and still,

the grass will chant its secrets.


I feel hollow and lost.

I need green to fill me, to feed me.

I am sick of the taste of compromise;

of work for money only.

I am empty from worry

and my fear of losing you.


I need the touch of bark,

and the arms of trees.

I need to climb to fruit and flowers,

and trust I will not fall.


My prayer books

are crumbled and dry.

No church will hold me.

I look to ritual,

unadorned and simple.

I ask the Woman who is everywhere,


Heal me.


Lisa Alvarado

Wednesday, August 19, 2009

THE DOG WHO LOVED TORTILLAS


by Benjamin Alire Sáenz
illustrated by Geronimo Garcia

10-digit ISBN 1-933693-54-1
13-digit ISBN 978-1-933693-54-5
Format Hardback
Language Bilingual - English & Spanish
Publication Date August 1, 2009

A bilingual book for kids and dogs and even their parents.

Remember the book A Gift for Papá Diego / Un regalo de Papá Diego with its wonderful story about Little Diego and his grandfather? Artist Gerónimo Garcia joins Benjamin Alire Sáenz again for another great story about Little Diego, The Dog Who Loved Tortillas / La perrita que le encantaban las tortillas. But this time, Little Diego and his big sister Gabriela are faced with what seems to them to be an almost insurmountable problem their new dog Sofie and just who Sofie belongs to. She belongs to me, says Diego. No, she’s mine, says Gabriela.

It’s only when Sofie gets really sick that they find out that they both can love their tortilla-loving pup.

Once again Sáenz shows he understands the chemistry of family, this time with a dog stirring up the recipe. Coupled with Geronimo Garcia’s marvelous earthy clay figures and vibrant colors, The Dog Who Loves Tortillas makes for a wonderful story about the love of kids for their dogs and sometimes for each other!


A GIFT FROM PAPA DIEGO

by Benjamin Alire Sáenz
illustrated by Geronimo Garcia

10-digit ISBN 0-938317-33-4
13-digit ISBN 978-0-938317-33-3
Format Paperback
Language Bilingual - English & Spanish

"A border is nothing for people who love."

Little Diego loves his grandfather, but they don’t see each other often because Papá Diego lives in Mexico and Little Diego lives in Texas across the border. One day Little Diego’s father gives him a pile of comic books that his father had when he was growing up. In those comic books Little Diego discovers Superman. Maybe if he was like Superman, then he could fly off to see his grandfather in Mexico! So Little Diego tells his mother that he wants a Superman outfit for his birthday. His parents buy him one, but, of course, Little Diego cannot fly. He’s heart-broken. Still, because he has had the daring to imagine, a wonderful event occurs and he enjoys one of his happiest birthdays ever!

Each illustration in Papa Diego was built out of terra cotta clay and painted with acrylic paints. This gives the illustrations a 3 dimensional quality which kids will love!

Tuesday, August 18, 2009

Review: Andean Express

Juan de Recacoechea, translated by Adrian Althoff. Andean Express. NY: Akashic Books, 2009.
ISBN-13: 978-1-933354-72-9

With summer’s end on the near horizon, there’s still time to get in a good beach read, especially if the book in hand is a fast read, short, and a lot of fun. This is what’s in store for readers who pick up Adrian Althoff’s flowing translation of Juan de Recacoechea’s Andean Express from noir publisher par excellence Akashic Books. In fact, with all its conspiratorial machinations, murder, motives, perversity, bizarre events, and brevity, it’s a pleasure to recognize Andean Express as a sparkling example of what I’m calling light noir. Not heavy, not mindlessly silly, just the right book to pass a quick few hours by the pool, in an airplane, or a train ride over the Andes.

It is January 1952. The Bolivian school year has ended and 18 year old Ricardo Beintigoitia is boarding the overnight train headed from landlocked La Paz to the coastal resort port of Arica, Chile. Riding first class, he’s sharing his sleeping compartment with a Franciscan padre. Other passengers include his pimp uncle; another pimp known as The Marquis; an itinerant gambler, Ruiz; a Russian émigré; an Irish employee of the Bolivian railroad; and a highly unpopular fellow, Nazario Alderete. Later we meet a mysterious one-legged man named Rocha, who keeps to his compartment.

Then there are the women.

Ricardo recognizes eighteen year old Gulietta from a brief encounter in Buenos Aires. Like Ricardo, Gulietta’s a recent high school graduate, but she’s on her honeymoon. The teenager has been married off by her impoverished society class mother to the forty-something nouveau riche Alderete. Doña Clara, Gulietta’s mother, has joined the strange bedfellows couple, whom we learn, have yet to consummate their union. Shortly we meet other women: the Irishman’s wife, Lourdes; a free-spirited circus contortionist; Anita, La Paz’ most famous high class madam.

Not that the names are important. For the most part the cast of characters provide the backdrop for Ricardo and Gulietta’s star-crossed tryst.

Gulietta, who turns nauseous at Alderete's touch, has yet to allow him his way with her body. She makes up her mind she will lose her virginity to Ricardo, only then succumbing to her husband’s disgusting advances. Gulietta advances on Ricardo, a n’er-do-well by reputation and avocation, who reciprocates with little thought to the prospect of being caught out by the angry husband. Alderete even confronts Ricardo, reading his wife’s frequent eye contact with the boy, advising Ricardo that yearn as he might, Alderete is the husband who will possess the girl’s body at his own convenience.

Ricardo’s confidence comes of being in on the plot hatched by his male associates. Because Alderete has cheated several of them out of property by fleecing them in poker games, their plan is to engage the scorned groom in a poker game and cheat him out of a fortune. Even worse, Alderete’s criminal dishonesty cheated Doña Clara’s husband out of his fortune, hastening Alderete’s would-be father-in-law to an early grave. And Gulietta knows it. The late-night poker game will provide Gulietta the time she needs to complete her mission.

De Recacoechea wastes no time setting the poker game plot into motion then drops a bombshell. The one-legged man is an assassin, hired to kill Alderete. The one-legged man waits in his compartment for the signal, then drops out of the plot until the appointed hour.

The successful poker con goes off faster than expected, however, and the horny Alderete, infuriated at his humiliation at the taunts of his rivals, rages off to the sleeper cars to find his wife and force himself on her if that’s what it takes. When Gulietta isn’t in her mother’s compartment, Alderete crashes into Ricardo’s compartment and sees the two of them naked and aroused.

Ricardo is overwhelmed with guilt, thinking Alderete’s death resulted from witnessing the scene of his naked wife with the obnoxious Ricardo. The reader knows, however, that the one-legged man has gladly done the bidding of his employer. As the plot winds down to the sea, the only unknown element is the identity of the murderer by proxy. Who hired Rocha, one of the men? One of the women? As the plot has thickened, de Recacoechea has planted hints giving motive to several of the characters. I won’t spoil the fun nor a reader’s guessing game to discern the identity of Rocha’s employer. If one reads to the serious matter underlying the silliness, the identity will be readily discerned.

The reader owes special thanks to Adrian Althoff’s translation. It gets right to the heart of the matter, the story, and doesn’t divagate into attempts to give a flavor of the original language. None of the technique of printing something in italicized Spanish then translating in a useless apposition that interrupts the flow. I guess Althoff added a couple of “he said in English” tags to let readers know the upper-class Spanish speaker used a code-switch in the original, but for the most part, Althoff’s presence is almost completely invisible and Andean Express, originally titled Altiplano Express, reads as if it had been composed originally in English. Special thanks also must go to Akashic Books’ policy of bringing Spanish language noir mystery to the United States market including such gems as Paco Taibo and Subcomandante Marcos’ The Uncomfortable Dead, and Daniel Chavarría’s Adios Muchachos. It would be a wonderful addition to Akashic’s catalog to bring facing page translations to market. What a treat that would be!


From the altiplano to the sea to all of La Bloga, that’s the antepenultimate Tuesday of August. A Tuesday like any other Tuesday, except You Are Here. Thank you for visiting La Bloga.

mvs


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Monday, August 17, 2009

Interview with Gregg Barrios

Rancho Pancho, a play by former Los Angeles Times journalist and San Antonio playwright Gregg Barrios, is about the short-lived but intense relationship between playwright Tennessee Williams and South Texan Pancho Rodriguez from 1946-1947. The other characters are Carson McCullers (with whom Williams and Pancho shared a summer home in Nantucket), and pioneer stage director Margo Jones (who was in P-town for Brando’s Streetcar audition.)

Barrios based his play in part on previously unknown correspondence between Williams and Pancho. Williams used his relationship with the volatile Pancho as a model for the character of Stanley Kowalski and his relationship with both Blanche and Stella in A Streetcar Named Desire. Barrios chose the name of the play from the fact that Williams dubbed their home together “Rancho Pancho,” wherever they happened to be living. As previously noted on La Bloga, Rancho Pancho was presented in collaboration with Classic Theatre of San Antonio and was directed by Diane Malone. The Hansen Publishing Group has now published Rancho Pancho in paperback.

Gregg Barrios very kindly agreed to sit down with La Bloga and answer a few a questions about his play.

DANIEL OLIVAS: To be honest, until I read your play, I knew nothing of Tennessee Williams' relationship with Pancho Rodriguez. Are you surprised by this admission? Have others admitted this to you?

GREGG BARRIOS: I am not surprised. In fact, that was my impetus to write this secret history. I too didn’t believe the story when I first heard it. Even after I meeting Pancho and his twin brother Juancho in New Orleans in 1972 while teaching at Loyola University, I couldn’t get them to open up about the relationship. Nor could I engage Tenn into discussing the relationship when I met him soon afterward. So I figured the whole thing was fabricated or wildly exaggerated – a fiction.

Only after both Tenn and Pancho were dead, did I return to the idea when I read director Elia Kazan’s autobiography. Kazan who directed both stage and screen version of A Streetcar Named Desire reports an altercation between Tenn and Pancho while Streetcar was in rehearsal. Kazan used the incident to understand the dynamic of the play that was eluding him: “If Tenn was Blanche, then Pancho was Stanley.” And he was then able to direct the play in earnest. That too became my mantra as I began my research armed with the knowledge that their relationship had been real.

Of course once I began knocking on people’s doors to learn more, I was told by Williams’ scholars and biographers – and friends - that I was confusing Pancho with Frank Merlo, Williams longtime partner after Rodriguez.

Even more amazing was discovering that Pancho was from Eagle Pass, Texas, just a hop and a skip from Crystal City, Texas, flagship capital of La Raza Unida, where I had taught drama and journalism for eight years. Ultimately, my good friend the actor Peter Gonzalez - who is from the area, and starred as the young Fellini in Roma – related that Pancho was his uncle. He made contact with the Rodriguez family possible. Small world, verdad?

OLIVAS: The play is quite funny at times. Did you intend this or did this element naturally flow from the characters involved?

BARRIOS: In many of the Q&A’s that we have after a performance, I start out by asking the audience, “Did you find it funny?”

Humor is the dramatist’s saving grace. It’s an important ingredient. There has to be a balance. Heaven forbid, that life would be grim and unrelenting. Oscar Wilde used humor in the face of outrageous fortune. And Tenn and Pancho used humor, call it camp if you like, but it is in the humor that you can see the love and the bond, and then understand why the loss of love and separation become so tragic.

That harkens to the still modern Cervantes who used comedy in El Quijote to tell the sad tale of his “mad” caballero.

OLIVAS: One of my favorite scenes in the play is when Marlon Brando makes a cameo. Was it difficult to write lines for such an iconic actor?

BARRIOS: Well, as Tennessee says in the play, “You have to write what you know.” And as Pancho says about the Stanley character, “I just think there might be a little bit of me in him.” Actually, I have Brando off-stage during his cameo for the simple reason that having an actor portray him might have dashed the audience’s expectations. We all have our own idea of what Brando was like so don’t spoil the magic. Actually, the real Brando did repair the electricity and plumbing at Rancho Pancho on that fated day. Hilarious.

We had the actor Bennie Briseño who portrayed Pancho make a recording of his interpretation of Brando doing Stanley - sort of a mirror looking into the mirror, etc. It was quite effective especially when Pancho eavesdrops while Brando’s audition is taking place off-stage. It is also very moving.

OLIVAS: Pancho is, in many ways, a tragic figure, someone who could have become quite famous if he were alive today. Do you agree or am I just reading something into the play that isn't there?

BARRIOS: Jijole, that’s hard to answer. In the context of the play, he is a tragic figure. I don’t think he would have been famous if he were alive today. He kept his relationship with Williams under wraps. He wasn’t one to kiss and tell. And you have to add to that mix, the entire stigma attached to gay Latinos by the culture. And when I finally got Juancho his brother to open up about the affair, he too was reluctant.

Pancho was booted out of the military during WWII after serving two years in the South Pacific because he dared confide with an officer about his sexuality.

It is “Don’t Ask, Don’t Tell” happening 40 years before our present military policy. As a result, he received no GI benefits and he couldn’t face his family. That’s why I included the scene where Pancho while tooling around in Irene Mayer Selznick’s convertible gives a ride to a hitch-hiking Audie Murphy, the most decorated soldier of WWII, and laments not his own fate, but the way Murphy was treated in Hollywood, The irony is devastating.

Another aspect of Pancho’s openness is the debate over gay marriage. He tells Tenn in the play – as he did in real life and in his letters – that Williams is the one he wants to share his life with “para siempre.” If that isn’t a heart-breaking marriage proposal then what is?

What many people don’t know but as the play gets produced in other venues and other media (I wish I could talk about this, but my lips are sealed), they might come to know the true history of Pancho Rodriguez.

I have a proposal for a short Penguin Lives style biography of Pancho under consideration. In my research, I acquired a sizable trove of letters, photos, and personal mementos from his life. I truly believe we have to write our own stories many of which have been usurped and appropriated by others.

As Sal Castro tells his students in the film Walkout: “We were at Gettysburg during the Civil War, but you won’t find us in the history book. Why?” Ditto the recent flap about the absence of Latinos in Ken Burns’ The War. And I would add, we were at the creation of one of the greatest plays of the 20th century, but you’d never know it.

Pancho figures in the forthcoming second volume of the definitive biography Tom – The Unknown Tennessee Williams by the late Lyle Leverich. The book’s publisher signed New Yorker drama critic John Lahr to write the second volume, tentatively titled Tennessee. And in conversation with Lahr, he has expressed great interest in restoring the profound influence Pancho had on Williams.

For my part, I have started a Tenn Trilogy: Three plays about Williams. Rancho Pancho is the first. Tennessee Mon Amour the second and The City that Time Forgot the third.

I have finished the first and the third and am halfway through the second. The last play takes place thirty years after the breakup chronicled in Rancho Pancho. It opens as Tenn and Pancho meet in New Orleans on Jackson Square – just a block from the house where they lived and where Williams wrote Streetcar. It’s all based on a true encounter. It’s both hilarious and heart-breaking.

OLIVAS: Was it difficult getting "Rancho Pancho" produced for the stage? Were you surprised by the critical acclaim it received? Did you edit the play after watching the play performed?

BARRIOS: It wasn’t as difficult getting it produced, as it was time-consuming. The writing was the easiest part. Researching and getting the voices right took the most time. I got a Gateways-Ford Foundation grant through the Guadalupe Cultural Arts Center in San Antonio to develop the play – a commission of sorts.

The play went through several readings and each time I found ways to make it leaner. I originally had Juancho, Pancho’s twin brother as a character and narrator.

After we presented the play as a staged reading in San Antonio and New Orleans, we got excellent feedback. I was privileged to work with director Diane Malone who gave the best advice during this editing process. In many ways she was also the play’s dramaturge.

When I sent the script to the Provincetown Tennessee Williams Theatre Festival last year, they were pleased with my rewrites and accepted it as the only play in the festival not written by Williams.

I approached several Los Angeles theaters to consider producing it at the P-town festival, but most felt they didn’t have sufficient time or funding to mount a production and then travel to the festival.

Luckily, Malone was involved in a new theater company, The Classic Theatre of San Antonio. They agreed to mount a full production and then move it to P-Town.

I was not surprised by the positive critical response to the play, I was however overwhelmed by the enthusiastic response from the diverse audience – young and old, gay and straight, people of color and blue-haired doyennes. The theater had wrap around lines and some had to sit on folding chairs, it was so packed.

At the time, I wondered if the passionate response was due to the audience seeing themselves in the character of Pancho or if they were seeing a play that doesn’t pull any punches in portraying the love and sex life of a homosexual relationship. After all, San Antonio is still considered a conservative little town by many – even in the arts community.

In Provincetown, the thing that totally amazed me and I still treasure is that the audience composed of mainly New York City and P-town fans of Williams was so enthusiastic that they applauded after each scene. Unheard of.

Plus the San Antonio Express-News sent their theater critic Deborah Martin to review the play, and we got our rare notices the next morning via email as our cast and crew went to have “coffee” with Eli Wallach and his wife Anne Jackson.

OLIVAS: How did you go about getting the play published in book form?

BARRIOS: Months before taking the play to the P-Town, I was introduced to Jon Hansen of Hansen Publishing, who had published works – mostly scholarly and historical – about Williams. We discussed a T-shirt and a poster and then he suggested doing a souvenir publication of the script as a one-time thing.

Well, once the play moved into a more central position at the festival and the notices from the San Antonio production were glowing, we were suddenly on the Festival poster - front and center. And once the audiences at P-Town saw the play, we were on a roll.

Later, Jon and I brainstormed and he decided to do a trade edition of the play. And the more we talked, he decided to launch a new series: Hansen Drama. Rancho Pancho is the first of drama scripts that Hansen will publish.

Since then, we have discovered a very receptive audience eager to read new plays that perhaps they have no way of experiencing live. Once long ago, major publishers used to release reader’s editions of plays. Hopefully, that tradition will now find a new audience.

You don’t know what a thrill it was to go Barnes and Noble at Lincoln Center in New York City and have a friend ask for Rancho Pancho by title and be told: “That’s a new play by Gregg Barrios. You can find it on third floor, performing arts under drama between Albee and Beckett.” And there it was.

Better still, Hansen is publishing my new collection of poetry La Causa in October. I am blessed to have found a publisher who respects my work and hope that our literary relationship continues to flourish and prosper.

OLIVAS: Mil gracias, Gregg, for spending time with La Bloga.

Sunday, August 16, 2009

Art-o-mat®--My Saint of Devotion for Five Dollars

Liz Vega

Among the things that I remember fondly from my smoking phase, back in the late 80's, are cigarette vending machines. In particular, I remember the one at Commerce Casino where my friends and I would go listen to "Wasted Days and Wasted Nights" blaring loudly from a jukebox while we drank and smoked. I loved the anonymity that a vending machine provided. I just pulled on the lever and no one needed to know that I picked Newport Menthols over Virginia Slims even if we had come a long way, baby! I was smitten by the vending machine.

These machines started being retired from public spaces in the mid 90's. Imagine my delight when two years ago as a late thirty-something touring the Crocker Art Museum in Sacramento, I spotted one, next to the gift shop. My youngest daughter, Xitlali, who was five at the time, saw it first.


"what the heck is this machine, mama?"


--"Ahhh, young grasshopper, this is a....a.....a?"


Upon closer inspection I realized I was staring at a vending machine that instead of dispensing cigarettes, dispensed art. An art vending machine? Was this an installation in itself? But where was the description? Who was the artist? How did this work? Who thought of this? Could anyone pull on the lever? And could this be even better than Homies? I had to find out!

I rushed back to the gift store, and like a Chicana Scheherazade bombarded the attendant with a thousand and one questions. His enthusiasm for what he told me was an Art-o-mat® was infectious. He explained that these Art-o-mat® machines were scattered across the country. Each dispensing works of art by different artists. The work is mini-sized, the size of a cigarette pack (ingenious!) and the cost is only five dollars and tax.

I purchased five tokens from the store and asked my daughter Gaby to join us. I was buying some art and damned if I wasn't going to inculcate in my daughters the beauty of owning an original work of art. We placed our hands on the smooth, knobby lever and pulled with all our might. With each pull, we waited in anticipation for the melodious clunk as each piece dropped to the bottom receptacle. This was not only a visual, but an auditory experience and once we had it in our hands it was a tactile one as well. In every sense it involved all the senses.
I let the kids each pick one and because I am the boss, and life isn’t fair I got three to their one. My favorite was a pewter life-size reproduction of a saltine cracker by an artist named Herbert Hoover.

After experiencing the Art-o-mat® in Sacramento I became its devotee. I love that it makes art accessible to anyone as it can be found in museums, as well as health food stores, public libraries, and even hair salons. I also like that it's very egalitarian in that all artwork can be acquired for the same price regardless of whether the artist is emerging or established.

The idea was first conceived by Clark Whittington of Winston-Salem, NC and originally created as an installation. In 1997, Artists in Cellophane (A.I.C.) was formed to become the sponsoring organization of Art-o-mat® and further develop the concept of taking art and "repackaging" it to make it a part of daily life. Today, there are more than 400 artists represented in 90 different art-o-mats across the country.

Whenever I visit a new place I check to see if there is an Art-o-mat® nearby and make it a point to stop by and acquire new pieces to add to my collection. I have amassed a pretty unique art collection that is a fun conversation starter and lets me learn about local as well as international artists. One of the newer artists in cellophane is Dhimas Santos Baez, whom I recently befriended on facebook and hails from the Dominican Republic. Some of his work has beautiful, whimsical, Chagallesque qualities. I promise to write more about Dhimas on a future column when I become more familiar with his oeuvre. In the meantime, here is a picture to whet your appetite. I hope to see more Raza join A.I.C. as this is a great way to have your work reach a wider audience. To learn more about Art-o-mat® and to find a location to experience one I invite you to visit the website: http://www.artomat.org/