Friday, October 25, 2019

New Books


This week:  a pair of books for those cold, windy, starless evenings when something doesn't feel right, when the air lays heavy in the stuffy house, when unusual noises echo in the shadowy corners.  There's nothing on TV, no one to visit, no texts to answer.  A half-finished bottle of wine is your only company.  Time to read a book.


____________________________________



The Book of Lost Saints
Daniel José Older
Imprint - November 5, 2019

[from the publisher]
Marisol vanished during the Cuban Revolution, disappearing with hardly a trace. Now, shaped by atrocities long-forgotten, her foul-mouthed spirit visits her nephew, Ramon, in modern day New Jersey. Her hope: That her presence will prompt him to unearth their painful family history.

Ramon launches a haphazard investigation into the story of his ancestor, unaware of the forces driving him on his search. Along the way, he falls in love, faces a run-in with a murderous gangster, and uncovers the lives of the lost saints who helped Marisol during her imprisonment.

The Book of Lost Saints by Daniel José Older is a haunting meditation on family, forgiveness, and the violent struggle to be free.

Daniel José Older is the New York Times bestselling author of the young adult series The Shadowshaper Cypher, the Bone Street Rumba urban fantasy series, the middle-grade historical fantasy series Dactyl Hill Squad, and Star Wars: Last Shot. He won the International Latino Book Award and has been nominated for the Kirkus Prize, the Mythopoeic Award, the Locus Award, the Andre Norton Award, and the World Fantasy Award. Shadowshaper was named one of Esquire’s 80 Books Every Person Should Read. You can find his thoughts on writing, read dispatches from his decade-long career as an NYC paramedic, and hear his music on his website, YouTube and on Twitter.

_________________________________


Jorge Comensal, Translated from the Spanish by Charlotte Whittle
Farrar, Straus and Giroux - November 12, 2019

[from the publisher]
Ramón Martinez is a militant atheist, successful lawyer, and conventional family man. But all of that changes when cancer of the tongue deprives him of the source of his power and livelihood: speech.

The Mutations, by Jorge Comensal, is a comedy tracing the metastasis of Ramón’s cancer through his body and in the lives of his family members, colleagues, and doctors, dissecting the experience of illness and mapping the relationships both strengthened and frayed by its wake. Mateo and Paulina, his teenage children, struggle with the temptations of masturbation and binge eating, respectively. Ramón’s melancholic oncologist is haunted by the memory of a young patient whom he was unable to save. His selfish pathologist believes Ramón’s tumor holds the key to a major scientific breakthrough. And then there’s Elodia, Ramón’s pious maid, who brings him a foulmouthed parrot as a birthday gift. This lewd bird becomes Ramón’s companion, confidant, and unlikely double.

Paying homage to the works of forebears such as Sontag, Didion, Flaubert, and Tolstoy, and filled with a rough-hewn poetry of regret, rage, and finally resignation, The Mutations offers a profound but funny cross section of modern Mexican life, as well as a bold treatment of an unspeakable yet universal reality.

Jorge Comensal was born in Mexico City in 1987. He has received grants from the Fundación para las Letras Mexicanas and the Fondo Nacional para la Cultura y las Artes. His work has appeared in Letras Libres, Este País, Nexos, Revista de la Universidad de México, VICE, and The Literary Review, and his essay Yonquis de las letras was published in Spain in 2017. The Mutations is his first novel.

Charlotte Whittle is a writer and translator. Her work has appeared in The Literary Review, Guernica, BOMB, the Los Angeles Times, and elsewhere. Her translation of Norah Lange’s People in the Room was published in 2018. She lives in New York and is an editor at Cardboard House Press.

Later.

_________________________________________



Manuel Ramos writes crime fiction. His latest is The Golden Havana Night (Arte Público Press.) 

Thursday, October 24, 2019

Chicanonautica: Latinx and Beyond

by Ernest Hogan

A writer does a lot of waiting. In the old days it was for old-fashioned physical mail; now it's email and other innovations, but it's still the same thing: waiting for editors and publishers to get back to you. It can take longer than people not involved in this bizarre human activity can imagine.


I'm talking years.


Sometimes projects, books, magazines, even publishers simply cease to exist and never get back to you. Being able to deal with this is a prerequisite for being a writer.


I am happy to report that I got some good news. My story, "Flying Under the Texas Radar with Paco and Los Freetails" --the origin story of my character, Paco Cohen, Mariachi of Mars--will be available again. It originally appeared in an anthology called Latin@ Rising, edited by Mathew David Goodwin, the new edition, scheduled for June 2020, will be called Latinx Rising (pre-order now). When it was being put together, it was called Latino/a Rising.


We are living in volatile times. Passions run high, and that’s a good thing. Things are changing fast, especially in arenas like the ethnic literature/studies/activism crowd, and it causes confusion with the outside world. 



Some people told me they were impressed with the LatinA anthology I was in. How do you pronounce @? It’s “at,” as in email addresses. So it should be “Latinat.” Also, some writing software wants to change anything with an @ into an email address . . .


People tend to pronounce Latinx, Latin-X, which unfortunately sounds like a laxitive. And that’s the English pronunciation, in Spanish x in can be x, but it can also be j (y in English), g, a silent h, or even x. In Nahuatl and other pre-Columbian languages it's sh . . .


The funny thing is, none of this has anything to do with backlash against Latinx we’ve been seeing lately.


I’m a Chicano. It lets folks in on where and when I come from, and even my gender, which is all okay by me. I don’t mind being called a Latino (or whatever suffix you want to nail onto it), because not everybody knows what a Chicano is.


Once down in Mexico, a guide to some Zapotec ruins, confused by my SoCal accent, asked where I was from. I told him I was a Chicano. He had never heard the word. More confusion. He ended up thinking I was from Chicago.


I have no problem with appearing in “Latino” publications. There are more of them than strict “Chicano” ventures. A lot of Latinos, especially on the East Coast, have infiltrated publishing and academia, and I don’t mind being published by them. I’m a writer. I like getting published. It’s kind of what my life is all about.


I also don’t have any problem with being the only one of my kind in the room (or whatever). In the first few decades of my life, in pursuing my interest, I was often the only Chicano in the room. Often I was the only person of color in the room.


I really am a Chicanonaut, an explorer, venturing out where no Chicano has gone before, creating new ways of life and new civilizations along the way . . . I’m expanding my territory. I’m not one of those vatos (vatxes?) who is afraid of crossing the borders of their native barrios, which are usually just a few blocks wide. My barrio is global, with ambitions of going interplanetary, galactic, intergalactic . . .


Besides, when a Latina author’s books are burned, I take it personally. As Benjamin Franklin said, “Either we all hang together, or we will all hang separately.”


And I’m proud to announce that there will be a sequel to Latinx Rising, and it will include another, brand new story from me. The anthology will be called The Latinx Archive, and my story is titled, “Those Rumors of Cannibalism and Human Sacrifice Have Been Greatly Exaggerated.”


It’s a futuristic tale about new kinds of Latinoids (to use the term I keep suggesting).


Chicanonautica forever!


And everywhere!


Ernest Hogan is the author of High Aztech, Cortez on Jupiter, and the Chicano cyberpunk Día de los Muertos novel, Smoking Mirror Blues.

Wednesday, October 23, 2019

Manlio Argueta & Jorge Argueta: Book Presentation


Saturday, October 26 at 2 PM – 4 PM
2969 Mission St. San Francisco


Bay Area Family,

Please join as we celebrate legendary Salvadoran author Manlio Argueta’s latest novel, Así en la tierra como en las aguas.


His published works include A Place Called Milagro de la Paz, Little Red Riding Hood in the Red Light District, Cuzcatlan: Where the Southern Sea Beats, and One Day of Life, which has been translated into 12 languages and is fifth on the list by Modern Library of the 100 best Latin American novels of the 20th century

Caravan To The North, Misael’s Long Walk, by Jorge Argueta, narrates the story of a young boy and his family who decide to join a caravan fleeing to El Norte.


Surprise guest poets, music and light refreshments!


Querida familia del Área de la Bahía. Acompáñenos a celebrar la nueva novela del legendario escritor, Manlio Argueta, Así en la tierra como en las aguas. Dr. Manlio Argueta, es el autor de la novela clásica, Un día en la vida, traducida al menos a una docena de idiomas. Única presentación.

Caravana al norte, la larga caminata de Misael, de Jorge Argueta, narra la historia de un joven salvadoreño que junto a su familia decide unirse a una caravana que sale de El Salvador para llegar al norte.


$10 donation (no one turned away for lack of funds)


Tuesday, October 22, 2019

Voices from the Ancestors at Ave50. Gluten-free Chicano cooks. Autry Mural Update

Rigor, Received Knowledge, Learning to Think

Review: Lara Medina and Martha R. Gonzales, Eds. Voices from the Ancestors. Xicanx and Latinx Spiritual Expressions and Healing Practices. Tucson: UArizonaPress, 2019.

Michael Sedano


Beatrice Villa was born in Pomona, California in 1898. As a girl, she herded sheep in the Crystal Springs Pass area, where today, Redlands and Yucaipa shake hands along Interstate 10. Grampa grew up in La Barranca somewhere in the Chihuahua monte. Grampa could cure any ailment with herbs and ointments and magic fingers. Gramma told me she knows where the lost gold mine of Crystal Springs is located. Both she (English) and my Grampa (Spanish) were storytellers whose knowledge and wisdom are handed to me through stories, beliefs, practices, and the continuity of generations.

And my other gramma, from Michoacan, who knew herbs and plants and food and taught me the difference between de la casa and del monte, and who made caldo from the rooster that beat me up one day, I know languages and stories from her, too.

Like every Chicana or Chicano, I'm a product of what these abuelos taught me, even if I can remember only a fragment of what they told me. Were I to formalize my memories and turn them into expression, invent new knowledge from received knowledge, I would unlock immense spiritual resources in words, and connect across generations into ancestral knowledge. All of them, not just mine. In reading, others would do likewise. If there were such a book.

Such a book would be literature anyone could use in practical ways, and specialists like students, can use professionally. But there'd be a caveat to the latter. To certain members of the academy, the spiritual content of cultural identity comes with suspiciously tenuous conceptual rigor.

Get over it, as the parlance goes. It's been done. There's a book. Voices from the Ancestors. Xicanx and Latinx Spiritual Expressions and Healing Practices. 

Editors Lara Medina and Martha R. Gonzales collect the work of eighty-five writers investigating, documenting, teaching spiritual practice and theory as indigenous gente have done, would do, could do, will do. "Xicanx and Latinx Spritual Expressions and Healing Practices," the subtitle of the collected knowledge Medina and Gonzales compile, makes clear how Voices From the Ancestors(link) comes with its own audience along with an enhancement of curricular impact for its exogenous readers. "Decolonization" looks like this.

Editors Medina and Gonzales and la portada arte by Emilia Garcia, back: Prisoner art
Medina and Gonzales debuted the thirty-dollar book at Highland Park's gallery of record, Avenue 50 Studio,(link) almost within sight of the Native people of the Americas mural the gallery's helping restore. Gonzales debuted the work recently in Europe.

There's an interesting dual layout at work. The lineal table of contents flows along a topical agenda but also reflects the flow of a day or a person's growth, from morning ritual to evening prayer, from birth to sexuality to death. Chapters on altars and sacred spaces, dance, writing, painting, meld with chapters on death and dying, dreaming and cleansing, curanderismx and health.

The x in some words conveys attitude more than grammatical precision. Writers elect x's use or not, throughout. I don't recall reading "wymyn" or variants. Gender topics range through, male, female, transitional, queer, joto. Rape, recovery and identity occupy important roles in the impact of the collection. Sexuality-related topics, and food, will be the book's most accessible elements. There's not a lot of Spanish in the text. Interestingly, the introduction, which Medina read at Ave50, italicizes "conocimiento" but when Medina reads it, she substitutes "knowledge" for it. The editors state their use of language and parlance is not a hang-up. That's a method of ensuring its widest possible readership.

Voices From the Ancestors exemplifies the value and importance of material culture in spiritual subjects by including a nicely-printed set of eleven color plates on coated stock. Medina mentioned the pages, naming contributors who sponsored the pages. These plates, and the how-to content, make the book a solid addition to anyone's library, though I'd check any used copies to make sure it still has those gorgeous plates.


Raza and allies come to this knowledge eager for a book

Raza already know how to read this book. Its knowledge is what we heard, or were prepared to hear, as we grew up. There's a montón of unknown material here for us, variants of what we grew up with, thoughtful essays articulating shared experiences for us. This is what we send our kids to college to learn.

Beyond that, there are woman-specific topics like the essay on recovering from sexual trauma. Don't give me "men get raped" egalitarian crud. That ritual is for women punto.

Still, everyone will benefit from understanding trauma while not diluting the horror of sexual trauma and the assholia of men. Generational, medical, cultural trauma is shared together alone. Victims of epistemicide don't know it.

In Voices From the Ancestors readers endeavor to recover what got killed and what nearly died off, in getting colonialized. Some is recovered, some is made up as they go along and there's nothing wrong in that. Gramma improvised, too.

Some of the anthologized writers believe the ancestors possessed infinite wisdom about divinity and that the act of writing helps encounter its extant forms. While Lauren Francis Guerra is the one who articulates that, the attitude is a clarion throughout the work. Becoming decolonized requires deliberation and deliberate effort, in lak ech doesn't happen by itself even if it's universally true. This is the foundation urgency of the work, the being-in-becoming from reading.

I don't know if Lara and Martha can expect pedo from fusty old-line professors, if any still exist. In my day, this material could not have been considered. Rigor and spirtuality are mutually anathema in some ways of knowing. People have learned to think better nowadays, even the hard liners on curriculum committee should be open to new audiences, if not new ideas. Besides, they're not the only audience.

Does the Academy have the critical acumen to understand this material? If they cannot or will not allow us to create our own knowledge, they'll have to get over it. There were the authors at Avenue 50, reading from the book. Independent booksellers, college bookstores, the publisher, will get your copies to you quickly.

TopL:Jacqueline Garza Lawrence, Omar Gonzalez
BottomL: Linda Vallejo, Marta López-Garza
TopL: Yreina Cervantes, Trini Tlazohteotl Rodriguez
BottomL: Maritza Alvarez, Marisol Lydia Torres

The Gluten-free Chicano Cooks
Gluten-free Apple Cheese Quiche
Michael Sedano


Mother Hubbard overextended herself, lived in a shoe along with her dog Tighe and so many mouths to feed, her cupboard invariably stood empty. She made bulgogi.

The Gluten-free Chicano was mother hubbarding the other day. Having grocery-shopped ineffectively, he got home with a bag of apples and whole milk. He went to his cupboard where he found butter and cheese, so The Gluten-free Chicano made custard.

1/3 cube butter melted (.03g carbohydrates)
1 cup loosely packed jack cheese grated (.77g)
2 peeled apples rough chopped (32g)
3 eggs (1.2g)
1 cup milk (11g)
Approximately 45g in the entire dish.

El gluten-free chicas patas used the Honeycrisp apple. Any variety with dry solid flesh whose juice doesn’t run down your chin when you bite into it is ideal for this naturally gluten-free recipe.

Preparation time is however long your oven requires to get up to 375º, plus or minus a few minutes.

Preheat oven to 375º
Grease a standard pie pan and set it aside.

Grate Monterey Jack cheese or Mozzarella. Loosely fill a measuring cup. Do not pack the cheese, it needs to be loose.

Microwave the butter if it’s not room-temperature, when it melts and slumps it’s ready for later.

Peel 2 Honeycrisp or other dry-not juicy-apples. You can use 3 if they're smallish. This should leave the mouth wanting apple, and leave no confusion with apple pie. But that's up to the cook and the crop.

Rough cut them into chunks and slices and chops. You want distinct texture and flavor bites. Use as much apple as you can cut and trim away.

Get a deep bowl so you can work vigorously in it without splashing.
Have the eggs room temperature, and break them into the big bowl.
Use a wire whisk to whisk eggs to a uniform color and consistency. Tilt the bowl and form a pool of liquid to whisk into.

Whisk in the milk and get the uniformity back.
Whisk in the soft melted butter. Work vigorously to make a smooth mixture.

Stir the cheese into the egg mix.
Stir the apples into the egg and cheese mix and be sure everything is coated.

Pour the bowl into the pie pan to just below the rim. The volume is enough to fill an 8" pan.

Pull out the oven rack and place the filled pie pan, uncovered, on the rack. If you wish, place a cookie sheet on the rack first. Gently slide the rack into the oven and keep the door closed for 40 minutes.

Bake uncovered for 40 minutes.

The custard is done when it doesn’t jiggle but wobbles a bit. If you use a juice apple, your dish will be wet and need an hour, might never fully thicken. Quiche is ready when a butter knife emerges mas o menos dry from the center. If your oven is uneven, 45 minutes. An hour is not unheard of. Experience will give you timing with your set-up.



Allow the quiche to sit for a few minutes so it comes out of the pan solid. The appearance loses its fluffiness right away. (In the foto notice the high-water line). It nonetheless makes an elegant presentation at the table, served from the pan.

This apple-cheese combination will be a hit. Maybe serve a crisp green salad, or a pungent Caesar salad with champagne—that’s good friends or courtship comida gente. The GFC cooks for one, so this dish was dinner and breakfast. (It saves, reheating is simple.)

El GFC discovered what Mother Hubbard knew, when life gives you eggs, milk, cheese, and apples, make quiche.


Update: Autry Museum, Highland Park, Califas


This wasn't in her contract but Pola Lopez did what any responsible community artist does, she worked with local gente to assure long-term protection for the mural. It's the kind of ground-based "activism" that produces results. People-to-people always works, that's gente, that's not "activism."

Week after week, Lopez invested hours under unusually harsh conditions restoring the Highland Park landmark. One morning she finds it tagged. Kids, Pola shook her head recounting the morning. After years painting murals in schools, confinement walls, public places, working with local young people, Lopez knows communities invest love in murals and do not tag them, out of honor and self-respect. 

HP tagged the mural.


The artist welcomed the visitor who parked and ran across busy Marmion Way to meet the artist. The fellow knew Chicano arte and talked about its presence in the community. Lopez bemoaned the fact some kids had tagged it. The fellow said it wasn't us, we don't do that.

Keen to the "us", Lopez asked and the vato identified himself as HP. Sensing her visitor affronted that the muralist accused HP people of disrespecting the art, Lopez showed him the fotos of the repainted wall. The gentleman excused himself. He walked across the street, made a phone call, and returned to assure the muralist it had been taken care of.


Los Angeles enjoys a lengthy rich mural history. Seeing Daniel Cervantes' landmark mural restored to vibrancy illustrates important dimensions of that mural history: Indigenous cultures and semiotics, today's Chicano Renaissance, chemistry and surface technology, fund-raising and the business of public art, painting as an industrial work site. Then there's art people and their arte.

There's a concrete, hard-edge to arte. Someone has to pay to restore the Autry's property for them. Stretched thin and at the limits of their once-prodigious fund-raising capacity, the museum has done what it will do and thrown itself upon the kindness of committees to secure grants to fund ladders and brushes and stuff.

Efforts fell shorter than vision and Lopez labors under industrial conditions that alarm this retired corporate safety officer. I worked in an ISO9000 environment with low tolerance for worker conditions like those Lopez has to put up with. The Autry's standards are a lot looser.

Ni modo. That's a popular actitud when there's nothing to be done but do what you do. It's obviously the artist's flexibility to ignore the hardship, solve the problem, get the job done.

She is fund-raising independently, however. The committees and city councilmen and arts commissions and the Autry are tapped out or have moved on to other phases of the project. They're done. (A spokesperson for the Autry offered to update La Bloga's Update but has not followed up).

Protecting the mural, longterm, was the next task before the institutions behind the project. Now the most critical element needful of protection from, tagging, has been dramatically removed without spending a cent, using capital no committee was going to produce. Gente do it right.

Giving directly to the project allows Lopez to hire a qualified professional muralist to join her in the unrelenting sun and finish the Autry's landmark.


Friday, October 18, 2019

San Luis Obispo Poetry Festival November 2019

Melinda Palacio






Next month, I have the honor Of being a featured poet at the 36th Annual San Luis Obispo Poetry Festival. November is a busy month. However, I would love to see some La Bloga subscribers at the festival’s finale. I will be reading some new poems and might throw in a song. Gather your tortillas and make a weekend out of it. See you on Sunday, November 17 at 1:30 pm at the San Luis Obispo Library.

Thursday, October 17, 2019

The Long Journey Home, Part 2

                                                                          

                                                                             
Yndalecio's work pruning knives, as sharp as the day he made them

My uncle, born in 1898, never told me, explicitly, the route he took as teenager from Jalisco to reach the United States. In 1943, his documents show him living in Tijuana. My aunt, born in 1910, traveled with her family to the U.S. from their ranch in Jalisco. I can only imagine what it must have been like to travel thousands of miles across war-torn Mexico between 1918 and 1925. Historians tell us Indians, Spaniards, and Mexicans have followed the trail north for more than two hundred and fifty years ago, before the existence of Ellis Island. In 1771, Jalisiences were among the soldiers in the first expeditions into Alta California. What I learned of my relatives' experiences was culled from numerous conversations over many years, with them and with older members of our family, sadly, all now departed, waiting for us to call them back on el dia de los muertos. What will never die are their words. I hope their story bring some insight into their lives and the lives of many Mexican immigrants who made the journey north, the long journey home.
                                                       
Certificate from government of Baja California verifying Yndalecio an honorable man
     Yndalecio Gonzales met Josefina Gonzales (same last name) at Armacost Nursery in West Los Angeles where they both worked. It was the mid-1940s. Green houses covered acres of land along Bundy Drive and Olympic Boulevard a few miles from Santa Monica’s Sorrento Beach. Each afternoon, a soft breeze would blow up Olympic Boulevard cooling down the entire Westside.
     Yndalecio specialized in pruning roses, Josefina in separating and repotting orchids. Each performed the delicate operation with a surgeon's precision. One wrong cut, and the expensive produce could be damaged.
     Armacost was one of the principal commercial rose and orchid growers in the United States. Buyers from across the country and from around world purchased its plants. The nursery’s management learned early that its predominantly Mexican immigrant work force was not only responsible and reliable but knowledgeable about agriculture. Many had come from farms and ranches throughout Mexico.
     In 1947, Yndalecio proposed to Josefina. She accepted. She was in her late thirties and he pushing fifty. As the oldest daughter, when she wasn’t working, she stayed home with her mother to run the house. Her Americanized younger sisters, who called her Josie, had already married and moved out of the family home in Santa Monica. Though born in Mexico and reared in the U.S., Josie saw herself as more American than Mexican.
     Yndalecio’s bachelor years had taken their toll on him. He was drinking and gambling too much. He’d been a "dandy," dressing up and spending many nights in Los Angeles’ dance halls, but it wasn't an easy life. He recalled how he had once lain alone in his rented room in agony during a violent illness. When no one had seen him in days, the woman who owned the boarding house came looking for him. When she saw his condition, she scolded him for not seeking help. Then, she brought him water and soup, and nursed him back to health. It was then he realized he needed a companion.
     He remembered happy times, also, like when he entered a dance marathon sometime in the early 1940s, where hundreds of couples started at Ocean Park and danced east on Venice Boulevard heading to downtown Los Angeles, a grand prize awaiting the winning couple.
     Following a band's blaring music from the back of a flatbed truck, Yndalecio and his dance partner still had a lot of energy as they reached La Cienega Boulevard. But his shoes had begun to unravel, heels first then the soles. His bare feet could take no more. They had to stop.
     After they married, Yndalecio, whom everyone called Andy, and Josie rented a shack at the bottom of 22nd Street in Santa Monica from a woman named Chavela. Early each morning, they both rise, have their coffee and pan dulce, and ride the bus to work at the nursery.
     My mother, Josie’s baby sister, always on the prowl for a real estate bargain, found a house for them on 12th Street and Michigan in Santa Monica. They purchased the home for $3,000 in 1955, a one-and-a half bedroom home on a lot roughly 150x50 feet. The half-bedroom they dubbed the "little room."
     Their neighbors were a mix of Mexican, Anglo, Japanese, and African-American families. It was a time when everyone met on the sidewalk and talked after dinner. They borrowed sugar and eggs from one another. The neighbors also served as their own neighborhood watch. Kids filled the streets.
     Andy learned to drive when he was in his fifties, Josie in her forties. They bought their first car, a used powder blue 1953 Chevrolet. They drove their car to work slowly, and cautiously, following the bus route they’d taken for so many years.
     Andy drove only when necessary. He never got used to it. After all, this was a man who in the 1920s drove a team of mules to haul the first bricks to build UCLA’s Powell Library, one of the new Westwood campus’ first structures.
     Josie, on the other hand, loved to drive. She sped around the Westside well into her eighties, when nobody would dare ride with her. She would slam on her brakes at the last second, smile, and turn to look at her horrified passenger.
     In the late 1950s, an African-American man from their church, St. Anne’s, a contractor, Mr. Leduff, convinced them to build a triplex on the long stretch of lawn in front of their house. Neither knew the first thing about construction or real estate development. Josie figured if she couldn’t trust a Catholic, she couldn’t trust anyone.
     Mr. Leduff completed the work in six months to the exact specifications. He had told them the rental income would supplement their weekly pay, and later it would become the pension plan their jobs didn’t provide. He was right on both counts.
     In 1964, the construction of a new Santa Monica Freeway would take all the neighbors’ homes to the north of them. They decided to rent their Santa Monica property and purchase a Spanish style home in West L. A., two blocks from where Josie’s mother, Eusebia, had moved after selling the family’s 22nd Street home, where electronic companies were buying and demolishing homes in the old barrio to make room for factories and office buildings.
     In her new suburban house, Josie could walk to visit her mother. Since Eusebia never learned to speak English, she couldn't talk to the mostly middle-class Anglos in her area. One Mexican family lived up the street from Eusebia, and the young mother would stop by to chat. With many of her friends gone, Eusebia spent her final years watching television, going to movies at the Million Dollar Theater in downtown L.A., and enjoying her American born grandchildren, most who could barely communicate with her.
     Andy and Josie sold the Santa Monica property in the 1980s at a considerable profit. Westside real estate values had skyrocketed. Unfortunately, she allowed her realtor complete control of the transaction. He ended up purchasing her property, flipping it, and reselling it at a significant profit. She complained about his backhanded maneuver, this man she had come to trust.
     I once asked if she could ever imagine herself returning to Mexico. She answered with an emphatic, “No!”
                                                                             
Josie's original birth certificate, dated 1910, Municipio de Jalostotitlan, Jalisco
     Though born in Mexico, Josie became an American citizen, fully integrated into American life. She said she really knew no other home. As a child, she had attended St. Anne’s Catholic School. She spoke, read, and wrote English and Spanish.
     She made friends at her new church, St. Joan of Arc. Her neighborhood, beneath the flight path of planes landing at the Santa Monica Airport, was mostly Anglo. With their light skin, she and Andy easily blended in and became close friends with many of the neighbors.
     Children on her street visited her, sometimes stopping by on weekends to watch television and eat cookies. Andy stayed outside working on the garden or piddling around in the garage. He could speak only Spanish. Still, for many of the neighborhood kids, he exuded a kind and tranquil spirit. Always the wise elder, he taught the kids how to plant bulbs, rake leaves, and prune roses, of which he always kept in abundance along the driveway. He built Josie a green house where she raised various strains of orchids.
     After they retired, earlier than many of the friends at work, they joined a Westside senior citizens club and traveled to Descanso Gardens, the Huntington Museum, and Las Vegas, a favorite trip of theirs. Neither gambled much. Andy once hit the $50 jackpot and walked away, determined to go home a winner. Both enjoyed Las Vegas, more for the commotion, the lights, and glitter than for the gambling or shows.
     Each month, they stashed their Social Security checks in a savings account. They had invested wisely in real estate and bank securities. Neither was a big spender. After forty years, Josie’s 1950s Sears furniture looked like it had just come off the showroom floor.
     Andy rarely drank. His brother, Nicandro, and friends, would come to the house, usually on Sundays to visit. He dressed modestly, khakis during the week and on Saturdays, slacks, shirt and tie on Sundays. His only vice, an occasional beer and a Stetson hat he kept in a box, bringing it out of the closet only on Sundays. There frugal lifestyle allowed them a comfortable retirement.
     As prices on the Westside soared, fewer Mexican families could afford to remain in the neighborhoods of they youth. If they hadn't bought homes and rented, they were priced out of the Westside market. Many moved in with adult children, who had moved to places like the San Fernando Valley, Westchester, Hawthorne, or farther east, where money went further.
     Saving and investing weren’t always easy. It often meant sacrificing a new car, a vacation, restaurants, or expensive clothes. Andy said he was glad he had listened to Josie. She decided how to spend their money and how to invest it. He admitted if it wasn’t for her, he would probably have had nothing at all.
     Time passed quickly. It was 1991. I stood beside Andy’s hospital bed. We were alone He had suffered a stroke. At 93 years old, he was still a handsome man, an aura of peace surrounding him. He had suffered previous strokes and always recovered. I figured this time would be no different. He knew better.
     He spoke softly. He said, "Hijo, pienso que aqui voy a ser la ultima rueda. No salgo mas." (“I think this will be the final turn. I won’t be leaving this place.”)
     He made me promise to take care of Josie. That night the call came. Josie was on the other end, crying. "He's gone." Andy was granted his final wish, to be buried in the United States.
     Josie lived another fourteen years. When the rest home could do nothing more for her, my mother insisted they bring her home. Five days later, she died. My parents, siblings, and I by her side. We watched her final journey.
     Close to midnight, the people from the coroner’s office came to take her away. Wrapped in a white cloth, less than five feet in length, she fit neatly into the man’s arms as he placed her onto a gurney. I could hear her voice, telling me about Mexico, about their difficult life there and why they had no choice but to flee.
     In 1918, she was eight years-old, and felt responsible for the welfare of her five younger siblings during the journey north. They lost only one, Juanito.
     Though Andy and Josie had no children of their own, we, nieces and nephews, grandchildren and great-grandchildren, considered ourselves their descendants, and we are proud of the legacy they left behind, truly, the long journey home, their story, an immigrant's story.