Thursday, November 08, 2018

Chicanonautica: Extra-Fiction and Beyond


Somos en escrito: The Latino Literary Online Magazine just held its first Extra-Fiction Writing contest, and announced the winner. I was the final judge. It was my pleasure to pick the winners.

And the winners are . . .

First Place, and $100 goes to Rudy Ch. Garcia for Fatherly, dragonly, motherly . . . love, luck and touch.

Since Rudy is a friend of mine and a La Bloga cohort, I must explain that there were no names on the copies of the stories sent to me to judge. I had know idea who wrote them. All I knew was this one came the closest to crossing into the intergalactic barrio that I keep reaching for. It takes Native mythology, Aztlán locations, as some sci-fi/fantasy conceptualizing, and KABOOM! 

Something new, kind of rasquashe.

I was hoping for that.

And Rudy deserves all the attention he can get. Editors and publishers take note.

Second place goes to The Archivist by Richardo Tavarez. It impressed me in that it showed Chicanos doing  jobs that require brains and technical skill, and it celebrates la Cultura with nostalgia and a different kind of time travel.

Third Place goes to Sessions In Augmented Reality by Nicholas Belendares. This one’s a Latino take on post-cyber New Wave speculative fiction in which a complex dystopia with roots in the real world comes to life in subtle ways.

The winning stories can be read online, and also won the authors copies of the first, 2001 edition of Smoking Mirror Blues, signed by your humble servant of Tezcatlipoca, myself.

The other two stories that made the final five (which is no small achievement) do deserve Honorable Mentions, in no particular order:

Michelle Robles Wallace’s Death Eye Dog made impressive use of Aztec mythology mixed with barrio angst.

Carmen Baca’s La Muñeca is wonderful Latino ghost story.

I read all of the finalists multiple times, and thought long and hard about my final decisions which were based on a combination of my personal enjoyment of the stories, and the parameters of the contest, along with originality. The non-winners were also good stories, but more the sort of thing that we've seen before and have come to expect from Latino lit.

I keep reaching for that intergalactic barrio, which I interpet Extra-Fiction to be all about. When someone from the Latinoid continuum writes, they always bring in something extra. Extra-Fiction. Ex-Fic. Ex-Fi. X-F.

They’re already talking about doing it again next year.

All power to the Latinoid imagination!

Ernest Hogan will be talking to students about High Aztech at San Diego State University, November 15.

Wednesday, November 07, 2018

Vincent Ventura and the Mystery of the Chupacabras Vincent Ventura y el misterio del chupacabras


By Xavier Garza


ISBN: 978-1-55885-869-5
Publication Date: October 31, 2018
Bind: Trade Paperback
Pages: 64


Award-winning author returns with thrilling new bilingual series for intermediate readers!

When stray dogs start disappearing from the neighborhood, Vincent’s dad thinks that maybe the Animal Control Department is finally doing its job. But then, Mrs. Rangel’s celebrity chihuahua Chato, who appeared in television commercials promoting tacos, disappears. And Mrs. García’s weiner dog and Mrs. West’s poodle go missing. Everyone in the neighborhood is puzzled, but Vincent Ventura has a theory.

The disappearances started when Mr. Calaveras moved into the house at 666 Duende Street, which is rumored to be haunted. Vincent knows he’s not the harmless but grumpy guy that everyone else sees. He’s convinced the old man is behind the rash of missing dogs. In fact, Vincent is sure he’s a monster, a blood-sucking beast known as el chupacabras!

Vincent enlists the aid of his cousin Michelle, the smartest student at their school, and her twin brother Bobby to spy on the suspected killer. Vincent Ventura, monster fighter extraordinaire, is determined to catch him in the act, even if it puts them all in danger! Accompanied by the author’s dramatic black and white illustrations, this exciting short novel for ages 8 – 12 will introduce Latino creepy creatures to a new generation of readers.



PRAISE 


“Older middle-grade readers will find these Latin American horror stories deliciously short but spooky.”—Kirkus Reviews on The Donkey Lady Fights La Llorona and Other Stories / La señora Asno se enfrenta a la Llorona y otros cuentos
“With its quick pace, humor and endearing characters, this is sure to turn more kids into lucha libre fans.”—Booklist on Maximillian & the Mystery of the Guardian Angel


XAVIER GARZA is the author of numerous books for kids, including The Donkey Lady Fights La Llorona and Other Stories / La señora Asno se enfrenta a la Llorona y otros cuentos (Piñata Books, 2015), Maximilian and the Lucha Libre Club (Cinco Puntos Press, 2016) and Kid Cyclone Fights the Devil and Other Stories / Kid Ciclón se enfrenta a El Diablo y otras historias (Piñata Books, 2010). He lives with his family in San Antonio, Texas.




Tuesday, November 06, 2018

Veterans Day 2018

500 Words
Incipient Veteran
Michael Sedano

The Draft notice waited in the unopened mailbox. My wife sensed something was wrong and urged me to come on, let’s have some fun on a sunny October day at Santa Barbara Botanic Garden. We’d enjoyed Summer courtship promenades along its pathways.

I’d had premonitions in the transition from Involuntary to birthdate-based Draft lottery in 1968. For the nonce all bets were off. I knew they’d come for me. All summer my bride-to-be watched me doing push-ups in our living room.

“What are you doing?” She’d ask as if I could change the answer to please her.

“I’m getting ready for the Army,” I’d grunt.

“You’re not getting drafted,” she’d say angrily and that settled it.


Los Sedano in Basic Training, Ft. Ord February 1969
January 15, 1969 I boarded a Greyhound in a Santa Barbara parking lot and the driver deposited the lot of us on Wilshire Boulevard near the Ebell Theatre. 

There was no “Group W” bench and no one sang.

We became Incipient Veterans sometime around 3 p.m. when we raised hands swearing to defend the Constitution from all enemies etcetera. 


Every one of us meant it, what we swore. It’s a forever oath, we still mean it. That’s what makes a man or woman a Veteran.

Every now and then my “Army knee” goes out, sending piercing pain from my right knee paralyzing me until the knee can again support the stress of moving. I injured that knee on the first day of Basic.

“Possible stress fracture,” the Doc wrote, and gave me a Profile. For the next ten weeks of Basic I rode the “sick, lame, and lazy” truck when the Platoon marched and ran extended distances. On the final day of Basic Combat Training, I ran the same test and broke the knee again.


The view from the Huey blew my mind. I’d spent six months on top of our destination mountain and didn’t realize the ridges were lined for miles with pugnacious trenches defined by wire and timber fortifications, just like the movies where GIs keep their oath with bayonets and blood and guts. Then our pilot banked hard to the right. 

Flying onto Mae Bong, Bravo 7/5 from the North
My shoulder pounded into Sergeant-Major, who grunted as he banged into bulkhead. No one complained when we noticed the mountainside to our left blossoming silently in tall spires of smoke from an artillery barrage.

The darkroom wasn’t empty. Some GI was showing his Yobo the magic of film developing. I didn’t notice that she poured the acid Stop Bath into the jug of Developer. I used the same jug next. When I pulled the film off the stainless steel reel to hang in the dryer the emulsion had dissolved and I had five feet of clear vinyl. Those compellingly beautiful plumes of smoke against that beaten Korean mountainside must forever be only engrams.

I became a Veteran on August 14, 1970. Took a Greyhound bus down the coast.

Incipient Veterans are bivouacking along la frontera. Soldiers are trained not to miss. Veterans can’t not remember. Apostrophe to soldiers: Don’t.

Sp4 Sedano's final act as a soldier. This was published the date Sedano left Korea.

Monday, November 05, 2018

An interview with Daniel Acosta Regarding His Young Adult Novel, “The Iron River”



By Daniel A. Olivas

Daniel Acosta was born in Monterey Park, California, and grew up in Iron River’s Sangra neighborhood, across the street from the Southern Pacific Railroad tracks until his teens. After graduation from San Gabriel Mission Grammar School, he spent his high school years in Compton, California, at the Catholic Claretian Junior Seminary.

Acosta left the seminary in 1965 and enrolled at California State University, Los Angeles, where he graduated from Cal State with a B.A. in English in 1969. In 1970, he was drafted into the Army during the Vietnam War. Three years later, Acosta began teaching English at Mark Keppel High School in Alhambra, California. He taught for 34 years before retiring in 2007.

Acosta is the father of four and lives with his wife Linda in Rosemead, California. The Iron River (Cinco Puntos Press) is Acosta’s first novel which he calls “a labor of love” for his “family, friends, and neighborhood.”

The Iron River is a deeply affecting, richly rendered meditation on Mexican-American life in Southern California of the late 1950s. Daniel Acosta has created a literary world that brings to full relief violence, social injustice, and bigotry through the eyes of young people. This beautiful, compelling book should be required reading in schools across the country.

Daniel Acosta

Your novel is set in Los Angeles circa 1958 just a few years after the Supreme Court struck down school segregation and a few years before the Chicano activism of the 1960s. Why did you choose that year for your narrative?

I suppose I subscribe to the writer’s adage to write what you know. In 1958, I myself was on the cusp of teenagery living in a Mexican-American neighborhood on a street bordering the railroad tracks. Lo these many years since, I decided to look back at the fifties, a decade too often portrayed only nostalgically through the eyes of an adolescent. My memory of those years is that they were fraught with danger either real or imagined: the atomic bomb, the Korean war, the cold war, divorce, drug addiction and alcoholism, domestic violence.

Looking back, I seem to feel that racial minorities—me included—were nothing more than background scenery for the world of white people. We were invisible unless we got in their way. The children of 1958 watched their United States-born mothers and fathers strive to acculturate and demonstrate their citizenship and patriotism in two wars, only to be confined to barrios when their sacrifices were no longer needed. By the late fifties, negro rhythm and blues songs were being covered by the likes of Pat Boone, et al. Despite the 1954 Brown v. Board of Education decision disallowing de jure school segregation, de facto housing segregation continued until much later, and not just in the South. It was not a world in which I felt welcome in 1958. Some of the children of 1958 Sangra became the Chicano activist of the late 1960-70s.

Your main character, Manny Maldonado Jr., is a moody, introspective 12-year-old boy who suffers nightmares that trigger bedwetting. Can you talk a little about your development of this character and why you chose him to be the center of your novel?

Manny’s bedwetting is only one of his life’s mysteries. There are others throughout the novel that mystify him: the comings and goings of tramps on boxcars and at his grandmother’s door, the news of his uncle Rudy’s imminent arrival announced by a tecato weeks before the formal letter of notification, a racist cop’s cruelty, his cousin Cruz’s harsh mistreatment of him, his father’s seeming rejection of his own brother. These life mysteries are new to Manny as he reaches the age of awareness of a world outside of himself that is not in his control. And he struggles to find places—islands of safety—as he navigates this world of adults where children do not matter much. Also, Huckleberry Finn is probably my all-time favorite literary character. Manny is my homage to Huck.

You’re the father of four children. Did you draw upon their lives in creating the world of the children in your novel?

Actually, I think the lives of my children bear little resemblance to the kids in the novel. My adolescent peers were my inspiration. This book is, in part, the keeping of a promise I made to my childhood best friend.

Sunday, November 04, 2018

Celebrating Xánath Caraza's _Hudson_ and "100 Thousand Poets For Change" in Kansas City, Missouri


On Saturday, October 27th, Xánath Caraza read from her latest book of poetry,  Hudson.  It was a special event at The Dialogue Institute of Kansas City to celebrate Xánath Caraza's latest publication and to honor readings that were happening all around the country for "100 Thousand Poets for Change." To do that, after Xánath Caraza read, then the audience was invited to also read poetry.  As well, Xánath Caraza led a wonderful poetry workshop which then encouraged many more audience members to offer up their writing.  It was an inspiring and uplifting morning.

100 Thousand Poets for Change, or 100TPC, is an international grassroots educational organization focusing on the arts, especially poetry, music, and the literary arts.  It was founded in 2011 by Michael Rothenberg and Terri Carrion, and focuses on a worldwide event each September.  they also have an internet presence with a web page (click here) and a blog (click here).

The following is a photo essay of the important morning at The Dialogue Institute!  ¡Que viva la poesía!


Director of the Dialogue Institute giving the introductions


Wonderful poetry!  Books by Xánath Caraza!


Xánath Caraza and the Director of The Dialogue Institute

Wonderful food brought by participants

All who participated in the morning

Xánath Caraza leads the audience in a poetry writing exercise

Reading poetry!

Xánath Caraza leading the poetry writing workshop

A participant with Xánath Caraza

Xánath Caraza and Amelia M.L. Montes
Xánath Caraza
Xánath Caraza and Participant

























Friday, November 02, 2018

Making My Peace with Time: the Song

Melinda Palacio

Working on a new song, stay tuned for a video. 

Yesterday, I wrote a new song, my second effort. If this were the fifties I might have a complete 45 record with an A side, "Bird Forgiveness," and a B side, "Making My Peace with Time." I wrote the Bird Forgiveness theme song in March. This is the year I start writing songs. Last November, I started getting serious about playing the guitar and Steve bought me a guitar for my birthday, a beautiful Martin guitar no less. I'm still madly in love with both Steve and this fancy guitar of mine. It's no wonder I finished a new song on Día de Los Muertos. So far, both songs that I've written honor the women who have come before me.

A year ago, the idea of writing a song seemed like someone else's dream, not mine. For two years now, Steve has been telling me that I should write songs because I write poetry and I have a strong interest in music and learning how to play the guitar. Little did I know that learning to play the guitar would also come with learning how to sing and how to write my own songs.

What I've learned about song writing is that you don't know if you can do it until you sit and work with lyrics and add verses and music. Song writing is so much like writing a poem or a novel. A song begins with an idea, maybe even one line and you build around the mood or concept or story. My first song, the Bird Forgiveness theme song, was based on my poem, "What the Birds Know," from my latest poetry book, Bird Forgiveness (3: a Taos Press 2018).



Back in March when I wrote the song, I had that terrible feeling that most new writers have, that I might not be able to write another song, that it was some sort of fluke or accident and the magic of it all had been used up. A little voice inside me lacked the confidence that Steve had in me when he declared I should write songs.

It turns out the very act of doing and writing gives you the tools you need to finish the work. The work, whether a song or poem or story, always gets better with revision. The only way to work in melody and rhythm to your song lyrics is by trial and error, at least, that's how it worked for me. Decide on a key, try singing or humming the lyric, try a chord and if it sounds okay, keep it and move onto the next line or the chorus or bridge. The melody and rhythm determine how the song evolves and part of song writing is truly magic. At least, for my untrained ear and self, song writing involves a leap of faith.

My new song, "Making My Peace with Time" is about acknowledging the years that have been rolling by without my mother who died when she was 44. Now that I'm closer to the age she was when she died, I am at a stage in my life of acceptance. For so many years, I was in a mournful and depressed state. Now I celebrate life, the person my mother was and the woman I have become. 

Go vote!

Next stop on the Bird Forgiveness Tour include: The Louisiana Book Festival, November 10 at the Capitol Welcome Center Glass Room at 12: 15 pm in Baton Rouge and the University of New Orleans, November 14 at 8pm.

Thursday, November 01, 2018

Early Caravans: A Song for my Father


                                                                         
West Los Angeles, A Father's Hands. 1947

Before my father passed, I would pick him up, and we'd cruise the neighborhoods of his youth, Sawtelle, Santa Monica, Palms, Culver City and Venice. Armed with a small cassette tape recorder, I'd toss out questions or just listen to his stories. Sometimes, we'd sit in his room and talk.

At the time, he spent his days listening to the radio and books on tape. A voracious reader, who introduced me to writers like Styron, Hemingway, and Steinbeck, he lost his eyesight in 2002, complications from glaucoma. He didn't realize the eye drops he'd carried around in his pocket when he worked in construction had to be refrigerated or lose its potency. I remember him once telling me when he could still see, "If I go blind, I will just end it."

Well, he didn't end it. He found a way to live, if not completely happy, then contentedly, sitting next to me at my grandkids' ball games, while I gave him the play-by-play account. At the end of a game or event, he'd remember more details than the rest of us who'd seen it with our own eyes. He had us analyzing the game hours after it was finished.

My sisters took him to his favorite restaurants for lunch and dinner, and he had a steady stream of family and friends visiting him each week. He even attended a monthly breakfast with friends he'd known since childhood. He could inch his way through the house, find his place at the dining room table, to the den, or the back porch. He appeared to relish the notion that someone else could cut the lawn, weed the flower beds, and finish his outside chores.

A friend of his once told me, "Whenever we had questions about the 'old days,' we’d call Ray because he knew something about everything.”

I once asked my dad, "Is it true what my uncle Chuy said that old-time Mexicans knew Olympic Boulevard as Pennsylvania Avenue and it ended at 20th Street in Santa Monica?"

"Yeah," he said, his voice rising, insinuating I should have known the answer. "Where Crossroads School is today, in Santa Monica, west of 20th Street, Pennsylvania ended. It was all bean fields, almost all the way to the beach. Pennsylvania became Olympic and started just about where Bundy Drive is today.”

I remembered reading that Francisco Sepulveda, back in the early 1800s, had a ranch right around what is today Bundy Drive and Nebraska, close to where our friends the Saenz family lived.

My father said, “East of Bundy, Olympic was Louisiana,” which he pronounced Lou-ziana. “In fact, if you go towards Century City on Olympic, just the other side of Beverly Glenn, there's a small street that veers to the right--it's called Louisiana. That's all that's left of the original street."

My father’s dad, Maximiano Cano, came to the United States from San Diego de Alejandria, Jalisco during the later stages of the Mexican Revolution, about 1917, after his father’s death. My grandfather’s older brother Pedro had joined the revolution and disappeared, leaving my grandfather the only male at home, and, at seventeen years old, the de facto "man of the house," responsible for his mother, Susana, and his sisters. Food was scarce and violence but a door-knock away.

Julian Mireles, the wild, hard-drinking son of a wealthy rancher, courted my grandfather's older sister, Carmen. My grandfather disapproved of Julian and wanted him nowhere near his sister. When Julian asked Carmen to marry him, instead of asking for my grandfather’s blessing, Carmen asked her mother, who consented, perhaps, seeking some relief from the suffering all around them.

Furious at his mother and sister's disrespect, my grandfather fled the ranch without so much as a goodbye, trekked through war ravaged central and northern Mexico, and crossed the border at El Paso, TX., joining hundreds of thousands of Mexicans escaping violence and poverty, some of it caused by past U.S. policies towards Mexico, not unlike the caravans of people seeking asylum in the U.S. today.

My father told me, in a lowered voice, "Somebody who knew my dad's mother back in Mexico told us she walked miles from her ranch, Las Amapolas, to the church in town, every morning, praying he would return." His mother would die never hearing a word from him.

In 1960, my aunt Carmen Hernandez (ironically my grandfather named his daughter after his wayward sister), insisted my grandfather fly to San Luis Potosi to visit his older sister, Carmen, where she was living with her adult children in a stately home near the center of the city. Carmen was his only remaining sibling. Reluctantly, my grandfather agreed, but their reunion didn’t last long. After a few days in Mexico, my grandfather cut his trip short and asked my aunt to fly him home.
                                                                                 
Carmen Cano Mireles and Brother Maximiano, Only Inches Apart 
One photo remains of the visit. Outside Carmen’s two-story house, my grandfather is wearing a double-breasted suit and a dark shirt buttoned at the neck, his hair cut short, kind of punkish and very chic, for the day. His sister wears a simple housedress. They lean against a wall, their hands resting on a cement pillar, their fingers inches apart--as if desperately wanting to touch. They don't. 

"My dad was bitter with Mexico," my father said, as I described the photo to him. "He never talked about it. If you asked him, he'd change the subject."

I asked, "What did he do when he first arrived in the U.S. I mean, he couldn't speak English and didn't know anybody, right?"

He said, "He was a rancher's son. He told me he worked in El Paso for a German dairy farmer. He saved his money and took a train…. I can't remember where he ended up. I guess San Bernardino or L.A., then to Decklessville (Fontana). The German farmer liked my dad, who was a hard worker. He begged him to stay in Texas. Some place, in San Bernardino, my dad met my mother."

Placentia and San Bernardino were two major hubs for Mexican immigrants heading west at the turn of the 20th century. The migrants stopped to resupply, find work, or ask the whereabouts of loved ones who had arrived before them.

My grandmother, Santos Rios, was already a mother of three children, Nick, Jenny, and Gracie when she married my grandfather, some time around 1917. Some say my grandfather, ‘Ol Maxie, was a draft-dodger. By marrying my grandmother, Santos, he avoided serving in WWI. Friends told him Uncle Sam would not draft a married man with children. Who knows the truth, right?

Santos had come to the United States looking for her sister, Josefina, who arrived in Los Angeles with her children after her husband's death in New Mexico.

"I know my mom was from Chihuahua, and we still have relatives there," my dad said. "If you ask your uncle Mike (my dad's first cousin), he knows more than I do."

As he reminisced about his parents, my dad said, "My mom and dad didn't talk much. In those days, people married more out of convenience than anything else.

"I was born in Fontana," he continued. "Well, it was outside of Fontana, a place called Decklessville. I don't remember much, but I kind of remember rowdy guys. They used to drink a lot in those little towns, working in the quarry, breaking rock. My dad broke his leg there. A rock rolled on him. A lot of people were killed there. In those days, you know, they didn't have any safety standards."

Many of the rocks they broke ended up creating breakwater for the various harbors sprouting up along the southern coast. Sometimes I go to Sunset boulevard and Pacific Coast Highway, sit on the huge boulders, and watch the waves roll in. I’m well aware many these boulders were mined in the San Bernardino and Riverside quarries composed mostly of Mexican laborers, my grandfather among them. I figured, as long as U.S. employers hold out the "so called" welcome mat to low wage workers, the caravans will continue.

“When did they get to Fontana?” I asked. “Probably around 1922,” my father explained. "My folks followed Josefina, my mom's sister--your uncle Mike's mom. My mom found out through the grapevine they were in San Bernardino, and we came looking for them."

I later learned when work was scarce in Los Angeles, the Mexican laborers could always find work in the quarries, so they often travelled to and from Riverside many times, often walking or hitchhiking much of the way.

By the time my grandparents arrived in San Bernardino, Josefina had moved to Los Angles’ west side. "So, we came too. When we got to Sawtelle, my dad saw a guy he knew--Steve Ortado. Steve was a young man then, a gardener, and my dad asked him if he knew where Josefina Escarcega lived. Steve told him, 'They just moved in…down that street over there.' My dad found them right away. Josefina's husband had been killed in a mining accident some place in Gallup, New Mexico, and she came west with the kids, Mike, Peanuts (Rufino), Elia, all of them. To this day, I don't know how they made a living, how they made that trip alone, with no father…. So, by 1926, we were all here in Sawtelle. I was two or three years old.

"My half-sisters Gracie and Jenny were a lot older than I was. They were part of the 'Roaring Twenties' generation. Both of them drank a lot. They spoke mostly Spanish. I remember them pretty well. Jenny went to see me graduate from Emerson Junior High. I guess my parents couldn't go. I remember when I enrolled in school, my older brother Nick took me. My sisters both died young from drinking, sclerosis of the liver."
                                                                                     
Father and Sons: Ray, Maximiano, and David Cano, circa 1940
Eventually, the same disease would take the lives of his two older brothers, Nick and David. We talked a few times about how "drink" was a curse in our family, yet, we never reached any conclusions. If not for my mom’s persistence and our at-home rehab, my dad might have been one more statistic.

My father remembered the family's first house in West L.A. on Cotner Avenue, near Pico Boulevard, a barrio known as La Gara. I think every Chicano town across the U.S. has a neighborhood with same moniker, La Gara or the “Rag”, named for washdays when mothers hung clothes out to dry, and the entire street looked like a parade of white rags flapping in the breeze. It seemed that every Chicano town also had an El Hoyo, since so many Mexicans, receiving low pay, rented shacks built in the lowlands, or, literally, in neighborhoods built in "holes".

"We left La Gara about '27-'28 and moved near the police station, on Purdue and Iowa, near Santa Monica Boulevard, close to the Old Soldiers Home. I remember everything after that. I had a photograph of myself on a pumpkin, some place on Purdue and Olympic, but I don't know who has the picture. That's about the earliest picture of me. Somebody's got it but I don't know who. It just disappeared. I was about three years old."
                                                                     
Raymond Cano, West LA, Halloween, circa 1926
  After my mother passed, I located the picture stuffed behind another in a large frame.
                                                           
"Do you remember much about other men from Grandpa's generation?" I asked.

It donned on me that we didn't refer to our grandparents as abuela or abuelo. We spoke primarily in English. To us, our grandparents answered to Grandma and Grandpa, except for my maternal grandmother who insisted we call her Mama. She said Grandma made her sound too old. Of course, she said this in Spanish.

My dad thought for a moment and said, "Well, he had a couple of friends who used to come and visit from Decklessville. They would stay at our house for a couple of days. My dad had friends here, in Sawtelle, but…ah, most of the old timers from Mexico, they were hard workers and always working. Remember, a lot of them were bachelors, so they used to like to have their nips on weekends, and my dad wasn't a drinker. Oh, he'd take a social drink, like wine, when long-time friends would come over. But the men who lived in La Gara, they used to drink heavy on weekends, and my dad didn't like that."

"Did they drink at home or in bars?"

"Oh, at home, the bars—ah, don't forget--they closed the bars during prohibition, so lot of the men made their own beer or liquor or a lot of them knew the bootleggers; oh, a lot were bootleggers. There were two of them, and one killed the other, over on Cotner and Santa Monica boulevard, because one thought the other was taking his customers from him. Demetrio Granillo, he killed Tony Loya, his neighbor. They lived right next door to each other. One day they accused each other of stealing business. Well, they'd been feuding for a year or so, and one Sunday afternoon they just got into it, and Demetrio pulled a gun and shot Tony. He [Demetrio] took off and they caught him in La Cruces, New Mexico. He did most of his life in San Quentin, because, then, if you fled the scene of the crime, it was worse. If he'd a stayed here, he would've done maybe four or five years, but he took off."

"Was Demetrio considered a bad guy?"

"No. It was just the heat of the moment--because of business and customers. But all of us kids were so young then, it didn't really affect us."

Daniel Cano is an award winning writer, whose most current book Death and the American Dream (Bilingual Review), available on Amazon, portrays the final days of Ricardo Flores Magon, and recreates life in 1920s Santa Monica and Los Angeles.