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Posts Tagged ‘New Mexico culture’



By Sandra Vallie



It’s hot, pushing 100, and I have to wait until it’s cooler to water the heat-sapped garden. Until it’s cooler, or dark, or 7 pm, the time the city allows watering – whatever measure I decide today is the tipping point where the amount of water soaking into the sand is greater than what the bone-dry overheated air is sucking up into itself. In the house, safe out of the sun, I’m anxious looking at the heat-limp plants across the yard. Corn leaves curled into points, drooping tomato plants and cucumber leaves flat against the ground. I know the plants are well-watered; some of what I see is self-protection and some a part of the taking up and giving off of water. As soon as the sun moves further toward the west and I carry water to the plants through the hose, the leaves and stems will fill with water and this limp spread of green will become plants again.


I’m from Michigan and this is my first year trying to grow vegetables in New Mexico. I pretty much planted the garden twice because I hadn’t learned that we can still have below-freezing nights even when the temperature in the day is 80 degrees. How much water is too much and what is enough. Why, when I asked the woman at the nursery about gardening in New Mexico, she told me to not even try. Half the plants I put in my son’s yard last fall didn’t make it through the winter, falling to the cold and what I haven’t learned yet.


For 20 years, I watched peonies, lilacs, tulips, hosta, coneflowers, azalea, iris, daylilies and butterfly bushes grow tall, wide, and fragrant. Lush. Luxuriant and juicy. Moisture in the air reflected the hundred greens growing around the yard and the air glowed. Lettuces, green, red and purple, came in the spring, followed by peas and beans that reached across the raised beds to share the poles supporting plants and pods. Tomatoes grew so fast and heavy they kicked away their cages. Cucumbers ran across the garden to the corn and climbed high enough I could pick the fruit without bending over.


I exaggerate. A little. Lush it was, very different from my yard here, each plant holding to its own space, as if each one feels it deserves only so much water and so many nutrients from the spare soil. I’ve never seen plants grow so slowly; at first it’s almost as if each morning they decide whether or not to push up, out, forward, just one little bit. As if they know that growing higher will put them closer to the sun and they’ll be hotter. My plants in Albuquerque work harder than plants in Michigan. In this place where there is so much space, where I finally feel I can be as big as I am, exuberant, joyful, expansive and – well – lush, my vegetables appear so tentative and afraid.


Cactus spread, although I don’t know that I’ll ever call them lush. There are several in the neighborhood I’m drawn to, even a couple I’m lusting after for their deep, almost hallucinatory red-purple blooms or their improbable flowers, yellow and ten feet above the plant their stalk grew from. Cactus, though, and weeds like the silverleaf nightshade, the most prolific plant in my landscape cloth- and gravel-covered yard, are what led me to write a few years ago after a visit: “Everything green here bites.” I know I’m never going to embrace a cactus or walk barefoot across the goatheads and foxtails to get to them. I yearn to load my arms with heavy-headed peonies and stargazer lilies that are deep enough to serve soup in, although I’m afraid I’d have to drain the remaining water out of the Rio Grande to do it. Before I moved here I asked a friend if I could grow roses in Albuquerque. “You can grow anything you want in Albuquerque as long as you can afford the water.”


The roots of my grandmother’s peonies I carried south are in pots out back, not growing. Soon, not yet, I’ll have to admit what I know and stop watering. I didn’t have time before we moved last fall to lift lilies or divide a few coneflowers. The rose bush by my bedroom window, though, is the same as the one that died in my Michigan garden a couple of years ago, my grandmother’s favorite. There are green tomatoes on the plants and sooner than I know they’ll be full and red enough for dinner. Lush is changing, from the huge bushes and plants that grew in the Michigan rain to the sound of water rushing through the garden hose, the sight of it spreading around the watermelon plants and at the feet of the raspberries, the corn leaves unfolding as the still skinny stalks draw up water from the soil, and the gratitude I feel that I have water to grow food with. The air may not be green from the plants, but the sky is crystal blue. While I’ve written this, it has become late enough to head outside to water and the first flowers on the cucumber plants have opened today in the heat.




_________________________




About Sandra:  My fairly recent move from my job and life in Michigan to Albuquerque, New Mexico, has opened up the opportunity (for which I’m gut-wrenchingly grateful) to write in spans of hours instead of stolen minutes. Although I’ve written mostly poetry in the past few months, I’m enjoying the process of exploring different forms for different subjects. I’ve been fortunate to have a community of encouraging and creative writers in the Albuquerque Ink Slingers, a local Meetup group, and my husband’s graceful willingness to live and work in 100 degree temperatures.


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Jésucristo, retablo of Jesus Christ by Tesuque artist Juanito
Jimenez
, photo © 2008 by ybonesy. All rights reserved.



Where to begin? There are so many authoritative sources on the origins of the retablo that I dread trying to give a historical overview. Truth is, I don’t want to. I’ll make a deal, though. At the end of this post, I’ll provide a list of the books that will do exactly that — give anyone who’s interested everything there is to know about retablos.


I’d rather talk about the power of the retablo for Hispanic Catholics in New Mexico. Oh, and here I should clarify — retablos are not unique to my state. They came with the Spaniards during the conquest of the “New World,” then flourished during the colonization of indigenous peoples throughout what was then known as “New Spain.” But the making of devotional art in general — and the retablo, in particular — has thrived for centuries in New Mexico, passed on from generation to generation.

Well, there I go. I guess I can’t get away from at least giving a layperson’s understanding of the retablo. Devout Catholics (and devout believers in saints) in this part of the world use them both as art and for altars in our homes. We pray to them for anything and everything. The retablos depict Jesus, Mary, Nuestra Señora de Guadalupe, and many saints.

Through the centuries certain attributes persist in each depiction of a particular saint. For example, Santa Verónica. According to legend, she was so moved by the sight of Jesus on his way to Calvary that she pushed her way through the crowds to wipe the sweat and blood from his face. The towel she used was imprinted with his image, and so any time Saint Veronica is painted, she is shown with a cloth bearing Christ’s face.

Certain saints are intermediaries for certain needs. San Yisidro is the saint of the crops; he figures prominently in the Rio Grande Valley. Santo Niño de Atocha is the patron for freeing prisoners. He is believed to have power to perform miraculous rescues for any person in danger, especially from violent acts and for travelers. Mater Dolorosa is invoked for pain and sorrow.

There are patrons for most ailments — Santa Lucía for blindness and clarity; Santa Librata for help with burdensome husbands or unwanted suitors; Santa Ana for the old and mothers, both (it just dawned on me, she’d be ideal for old mothers like myself); San Antonio de Padua to find lost objects, including husbands for unmarried women. The list is endless.



   



For Valentine’s Day in 1998, when I was seven months pregnant with my youngest daughter, Jim came home from running errands. He had for me a retablo he’d bought from a folk artist who’d set up shop on a vacant lot in our then-neighborhood of Albuquerque’s barrio Griegos. The retablo was new but made to look old.

“That’s why I bought it,” Jim said. He told me the artist had lots of pieces to choose from but that this was the only one that looked ancient. The saint was male, holding a staff in one hand and a three-crowned object in the other and wearing a red robe and golden cape.

The name of the saint wasn’t written on the back of the wooden board, as on most of our retablos, but we found in barely discernable lettering near the figure’s robe this notation: San Ramón Nonatus.

Neither of us had heard of San Ramón Nonatus, so I went to my bookshelves and pulled down a book on saints. (Jim had gotten into the habit of giving me for most birthdays or holidays a new book on saints.) On page 131 of Mexican Folk Retablos by Gloria Fraser Giffords, I found the entry (this saint is also known as San Ramón Nonato). Here is what I read out loud to Jim:

His last name Nonatus — “not born” — commemorates his caesarean birth at the time of his mother’s death. For this reason, he is the patron of midwives and women giving birth.

I looked up from the book. Jim’s mouth was open. Being the types to faint at the sight of blood and the smell of hospitals, we had already decided to birth our baby at home, attended by a midwife. This wasn’t our first home birth, but because I’d been thinking about the challenges of labor with my first child (especially the pain) I had become anxious about this upcoming birth.

As it turns out, when the due date arrived, the umbilical cord was wrapped tightly around my babe’s neck. Our midwife guided me through pushing such that she could gently lift the cord around Em’s head between contractions. Em came out more purple than most newborns, but she was big and healthy and so very alive. She was perfect.



                     



I have over the years given up my faith in the institution of the Catholic Church, much like one finds that a particularly strong yearning has over time finally and quietly faded to nothing. I don’t mean to offend practicing Catholics; my father, some of my siblings, several nieces, nephews, cousins, and friends all attend mass each Sunday. Being who I am — pragmatic and at times challenging of authority — I simply reject the notion that celibate men can understand my particular troubles.

But I have faith in the personajes — Mary, Jesus, and the saints — of my Catholic upbringing. Perhaps that is why I surround myself with these images. So that every day when I wake up, I am reminded of the miracles and protections they provide in this world. And that I know, always, that everything will be OK.



Garden of Eden, retablo by Juanito Jimenez, photo © 2008
by ybonesy. All rights reserved.

 




Books I’d Recommend if You Want to Learn More:

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Pray for Gas, religious statues inside the stone pillar for the gas price sign at a gas station in northern NM, photos © 2008 by ybonesy. All rights reserved.




stop the wind, please stop
war, drought, hunger, judgment
drop the price of gas









nuestra señora
santo niño atocha
break us free from oil









exxon, conoco
profit from the rest of us
prisoners of war









4-plus a gallon
GM lays off 3 thousand
this isn’t funny





   



-related to post haiku (one-a-day).

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Today was irrigation day. Jim calls the Ditch Rider early in the morning to see if it’s OK to irrigate. We have to coordinate with other properties that draw from the same ditch. If everyone irrigates at once, the water level will drop and no one will be able to get water.

But today, a Thursday after good rains up north, the water comes fast out of the gate. It flows from a larger ditch, one of many that run throughout the Rio Grande Valley, into smaller acequias. Ours is lined with concrete, technology from decades ago.

It’s not an efficient way to water. It’s ancient, flood irrigation. It’s cultural. We are slow to change. Jim wants to participate in the latest water conservation methods, but we can’t do anything until after the season. The trees are full of apples, and we have to use what tools we have.

It’s labor intensive, too, working the land. Not many people do it any longer. We know old-time farming families in our community. The men and women, both, get hunched over. They look like they are walking sitting. They work harder than anyone I know. Their lives seem romantic. It’s the land. The land is beautiful, but its beauty (if it’s a farm) is often directly proportional to the amount of bend in its farmer’s back.

We’re not real farmers. Well, I’m not a real farmer. Jim is close. He works hard every day outside. He works with his hands. I tell people that if we both worked on computers, our lives would be sad.

Jim took these shots today with my camera. I loaded them into my Flickr account, just to save space on WordPress. I feel weird having them there. But he’d never create his own account. He just comes to where I’m working, shows me his shots on the small screen on the Canon. Then says, “OK,” when I ask him if he wants me to load them onto my computer. I look at them and realize, artists aren’t the only ones who see things a certain way.

Right now we grow apples. Some pears, too. And grass that can be turned into hay. We talk about farming. It’s true we might do it. A little patch, anyway. We’ll have to see. That’s what my mom always used to say. We’ll have to see.

I wouldn’t mind if we stick with pasture grass and the orchard. We could do so much more, I know. But we could do a lot less, too.


 
 

 

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Musings of a Barrio Sack Boy, book by L. Luis LopezI first heard L. Luis López read his poetry a year ago at the Ghost Ranch “Coffee House.” Coffee House is an open-mic event held Thursday nights to highlight the diverse talents of that week’s participants. I remember Luis standing at the front of the large hall where Coffee House is held, clearing his throat before reading. The room got quiet, even the kids. As he read his voice rolled up-and-down in the sing-songy way los Chicanos de Nuevo México talk, especially when they’re back home with family.

When I went to Ghost Ranch this past week, I arrived at the open-air studio where my Hebrew Scripture Retablo workshop was taught and there at a table in the center of the room was Luis López. It turns out he not only writes poetry — he teaches a class on mythology and the night sky at Ghost Ranch, he’s taken traditional Spanish Colonial tinware for the past five years, and he was enrolled in the same retablo painting class that I was taking.

A year ago Luis read from his book Musings of a Barrio Sack Boy, which recalls his childhood, ages 6 to 16, in Albuquerque’s South Broadway neighborhood. This past week he read two new poems from a book yet to be published. He gave me permission to publish both poems on red Ravine. What strikes me about his words is their poignancy, their all-at-once sadness and humor.

The cadence in this first poem summons a certain sense of heaviness I imagine one might carry after years of seeing a family member live day-in-day-out with schizophrenia.



          Salvador Quintana
          (for Miguel de Cervantes Saavedra)
           by L. Luis López

          When on his meds, Salvador Quintana
          leaves Rosy his Chevy
          in the garage, walks to, sits
          at McDonalds,
          drinks coffee, eats apple pie, smokes
          a cigarette,
          drinks coffee, eats cherry pie, smokes
          a cigarette,
          drinks coffee, eats apple pie, smokes
          a cigarette.
          Salvador Quintana when on his meds.

          When off his meds, Salvador Quintana
          takes Rosy his Chevy
          out of the garage, drives to, sits
          at Joe’s Bar,
          drinks wine, eats chips, smokes
          a cigarette,
          drinks beer, eats peanuts, smokes
          a cigarette,
          drinks whiskey, eats sausage, smokes
          a cigarette.
          Salvador Quintana when off his meds.

          But this was not always Salvador Quintana.
          Before he was twenty
          he played center field for the Gold Sox,
          drew cartoons,
          made people laugh and laugh when
          he mimicked
          Cantinflas, Jerry Lewis, sang
          like Dean Martin or Little Richard,
          loved to dance,
          had his Dulcinea deep in his heart, had
          marriage in mind.
          This before twenty was Salvador Quintana.

          But his Dulcinea chose another,
          Dulcinea chose another,
          she chose another,
          chose another.

          Purity of love began to decay deep in his
          heart, anger festered deep
          in his brain,
          voice upon voice upon voice arose,
          unleashing word upon word,
          talking all at once, all at once, until

          something snapped, snapped
          in his head. He saw giants whirling
          on the horizon,
          saw fearsome knights
          riding out of the dark, dark woods,
          saw giants whirling on the horizon,
          heard from the voices
          that acid licked from the back of stamps
          would make the giants
          friendly,
          heard that sips
          of red liquid from the bottle
          would make fearsome knights
          riding out of the dark, dark woods kindly.

          I have known this Salvador Quintana
          forty years,
          I knew the other Salvador Quintana
          before he was twenty.
          I saw the change from that Salvador Quintana
          to the present Salvador Quintana.

          Today Salvador Quintana and I will
          leave Rosy his Chevy
          in the garage, we will walk to, then sit
          at McDonalds,
          drink coffee, eat apple pie, smoke
          a cigarette,
          drink coffee, eat cherry pie, smoke
          a cigarette,
          drink coffee, eat apple pie, smoke
          a cigarette.
          It’s Salvador Quintana’s birthday.
          I will celebrate with my brother on his sixtieth.



Luis prefaced this second poem by saying it was about his very critical father. Later, when Luis talked about his poetry during a break in our retablo class, he said writers often write about their parents as a way to deal with issues carried from childhood. This wasn’t that poem for Luis, although he has written a lot of poetry about his father. The following poem is light-hearted and captures, I think, a sense of acceptance.



          so I left him fuming
          by L. Luis López

          why do you come here from that South
          saying y’all
          and not hardly speaking no Spanish
          my Dad says

          you went away speaking good Engllish
          and good Spanish
          and
          now you come here with y’all and
          down the holler instead of alla
          or over there
          and I say Dad I just like
          to talk like where I am

          so now I will say ese and alla
          and to get more on his nerves said como esta usted y’all
          mon pere because I spent part
          of my South in Louisiana
          among the cajuns

          and he said I mean he really
          said nada and lit a Chesterfield
          and that meant he said nada
          even more
          so I left him fuming



I asked Luis about his path to becoming a poet. He told me he started writing at age 30 because he liked to describe the people around him. His first pieces were plays. He also wrote short stories before finally landing on poetry.

Luis told me he gets he gets up every morning at 4:30 and writes 2-3 hours. Every poem he writes by hand first then inputs it into the computer, and as he does so he begins the revision process. He said he loves revising his poems and knows when he’s done once the poem “clicks.”

Luis was born in Albuquerque in 1938. He currently lives in Grand Junction, CO, where he teaches English and Classical Languages at Mesa State College. He hosts a poetry writing and reading group that meets monthly at the downtown library. You can catch him at Ghost Ranch most summers, where you can watch the night sky with him or listen to him read his poems at Coffee House. Oh, and if you see Luis, make sure to ask him to show you his retablos. It turns out, he is a wonderful folk artist in addition to everything else.

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Reflection of Llorona, drawing © 2007 by ybonesy, all rights reserved
Reflection of La Llorona, ink and watercolor © 2007 by ybonesy. All rights reserved.


-From Topic post, Water Wings.

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