La llegada de la Clementina


A chicken (una gallina) arrived about a month ago and took up residence in the neighbor’s yard. The neighbors are two people, an elderly Italian lady and her twenty-something son. Their family has been in the neighborhood more than sixty years, much like mine, and they have stayed in the neighborhood all this time (much unlike mine). The chicken has lived in their yard, pecking around in the grass eating god-knows-what, slogging through five-inch deep May downpour puddles, sleeping in the hibiscus trees in the front of the one-story 1920’s brick bungalow.

Yesterday we awoke to sounds of thrashing, the neighbor boy was running around the yard chasing the chicken with the help of his little terrier, chasing the chicken with a stick. When asked what he was doing, he said: I’m at my wits end, that chicken is terrorizing my cats, the chicken eats all the cat food, it doesn’t let the cats eat the food, it is out of control —¡that wily chicken!— and I’ve had enough.

A step back: we had tried about a month ago when the chicken first arrived to take the it before and move it to our yard, but he flew over the fence and went back to the neighbor’s yard. Now we knew why: the cat food.

But now watching the neighbor boy chase the chicken, we decided that the chicken had to have a better home. We told the neighbor boy to stop chasing the chicken, that it was much easier to catch a chicken at night as they slept.

So last night we climbed up on a small ladder, step stool type thing and took that chicken. Pero, y aquí el gran pero, nuestro amigo tamaulipeco que vive en la casa con nosotros nos aconsejo que el mejor idea sería de atar un hilito a la patita de la gallina para que no se escapara en la noche. También otros dijeron que así se hacía en el rancho. Que se tenía que atar la gallina a un árbol o ligar sus dos patitas para que no caminara tanto. So on the advice of this friend we tied a string to the gallina’s patita and tied it to a tree.

In the morning, we found the chicken hanging from the tree. Se había enrededado por completo en el árbol. We got him loose. The chicken, we thought, must have a broken leg or a broken wing. It sat still in the dirt, didn’t move, didn’t try to escape, looked traumatized. We learned from our mistake. We wouldn’t tie any chicken, ever again, so we put it in a box with chickenwire across the top to keep the gallina inside. Later, today, the chicken seemed to be fine, it even escaped from the box and tried to get away. But I caught it, put it back in the box and secured the chickenwire top.

During my lunchbreak, I went to Hendrick’s Feed Supply, Founded 1923, an oldtime feedstore on Harrisburg in the middle of Magnolia. Who knows how this feedstore survives almost a century later despite all the changes? I bought the hen a mixture of normal feed (4lbs) and special pellets that help with egg laying (3lbs). Total $2.74.

We named the gallina-hen, Clementina, on the suggestion of a friend who always wanted to name a gallina, Clemenina. Y además, Clementina es naranja y así que tiene sentido llamarle Clementina.

Clementina is like Hendrick’s is like me. Reaching for the past. A legacy of rural life, a living breathing connection to the past. To the grandmother whether here in el East End or allá en el rancho norteño que siempre cuidaba sus gallinas. For the store that refuses to die despite it all, the Wal-Marts, the agrodecline, who finds a place for feedstore on a street now full of thrift stores, Las Palmas strip mall, El Charro taquería, La Marbella banquet hall, Fallas Paredes, Firestone, murals of Lidia Mendoza playing the accordeon, cholos and agringados, old Italian ladies, and who keeps chickens anymore? A lot of people, a lot of people, in the belly of the beast, in the glossy, flossy postmodern city, in this place where there is supposedly nothing natural, where the rain is chemicals and scorched hot by the firey burn-off from the smokestacks of the refinery.

Chickens escape. Las gallinas vagan por las calles, se asentan en los patios de los viejos residentes, se enredan en los arboles y cuelgan esperando hasta que alguien las salve. And somehow Clementina found her way to our backyard. Now we just have to learn how to take care of her, how to take care of our roots, what we’ve lost, how to recover it, how not to get broken and lost, killed by the neighbor in a fit of anxiety or rage, how not to get lost in the cracks.

El uso del "Foreign Tongue"

Bueno pues, I came across a text today that purported to provide the rules for using a “foreign tongue” when writing in English. One can only use “foreign” language as one would use a dialect, to emphasize the foreignness, to make the foreignness more present for the reader as in: I want to eat chilaquiles or That boy loves these tacos or My mom makes great pasteles. Pero cuando se explora un concepto más grande o se utiliza una frase más larga (but when a larger concept is being explored or a longer phrase utilized) one must repeat the meaning of the phrase in English in order to never ever lose the monolingual reader. Me cae super-gordo todo esto. I don’t want to always think about the monolingual reader. My favorite writers don’t always worry about the monolingual reader. I remember about six years ago at a Queer Aztlán conference in Austin, I heard Cherríe Moraga say, I want to read writers who write for me. I’m sick of reading writers who aim for el lector promedio. I’m ready for writers who push the boundaries, who aren’t afraid to lose el lector promedio, monolingüe, who write for bilingual Chicana lesbian feminists and caring tampiqueña Move-On members who studied in Iowa and over-educated red diaper Jews who study Zion and tijuanenses bilingües que leen este bloguito. Como dicen en la radio aquí en Houston: ¡And Proud! Y que vayan a la chingada todos los demás (and fuck all the rest).

The "Personal"

I've been thinking for a while about this blog, about how to write about "personal" topics. I mean, I know I want to write about political things, literary things, but the personal piece seems a whole lot harder...like who checks this thing? What do I want whom to know? And it all becomes complicated. After all, do I (or we) really control what other people know anymore? Have we ever?

Rumors have always taken the secrets of people and transmitted them. People have always had images of other people, ideas about how they are that get transmitted from one person to another. But now, Google has worked wonders to tear down any shred of personal or private life left. A quick search of anyone's name gives a whole panorama of who that person is, a window on what they have done and how they have registered him or herself in the world. Especially if you have a particularly unique first or last name.

Intellectually, I can take apart the entire concept of something personal and private, removed from the communal. I also reject privacy as an end. As a means it might be productive, but as an end, it seems to only lead to bourgeois comfort and seclusion from the rowdy, unwashing masses. But emotionally, it is a lot more difficult. What does privacy protect? What can we keep private? What is it worth keeping private?

Maybe it's like the kid who comes out of the closet to his friends and family and everyone says, "Yeah, we knew the whole time, we were just waiting for you. Wondering why you hadn't talked about it yet." Everyone probably already knows or can find out just about everything about you anyway. No use hiding then.

I have been looking at some other blogs too, to see how other people are negotiating these questions. See
Gwendolyn Zepeda's blog. Or Liliana Blum's blog. Or Heriberto Yépez' blog. Or Moorishgirl. There are a lot of ways to talk about yourself or not talk about yourself.

Clearly, I won't resolve this in this post, but anyhow, just putting it out there as a question seems important. How do you, if you blog, deal with this?

We are Mexico. They are the United States.

There is a great article by Heriberto Yépez here. In it, he (a prolific writer in Tijuana) writes about the relationship between the US and Mexico on the eve of May 1. It seems like he wrote it just before the "Day without an Inmigrant" reflecting on what the boycott means and what our national relationship means.

Más allá del sicoanálisis que varios intelectuales han aplicado, sin éxito por cierto, a México, lo que debe hacerse este 1 de mayo es un terapia de pareja México-Estados Unidos, porque ambos países son un mismo cuerpo, son dos aspectos de una misma co-dependencia. Hay entre ellos una esquizofrénica relación: la del amo frustrado y el esclavo saboteador. Un danzón donde se cuela una terrible realidad: Estados Unidos somos nosotros. Y ellos son México.

His conclusion is "We are the United States. And they are Mexico." My conclusion is "We are Mexico. They are the United States." It's a great article. Maybe I should translate it? If you want me to translate part of it, say aye!

Rick Noriega y la frontera

Rick Noriega, the balding man in the yellow tie, surrounded by students in front of City Hall in Houston, students rallying in March for immigrant rights, for Latino Pride, for a future despite the deafening roar of a city bent on growth at the expense of the vast majority of laborers. He stands in the middle in all his complicatedness. Rallying with them, monitoring them, encouraging them to go back to school and concentrate on their standardized tests...

Rick Noriega - a state representative who represents my neighborhood, the East End and other Latino/Mexican American/Chicano barrios on the East Side; he just got back from a tour of duty in Afghanistan with the National Guard. His wife Melissa has functioned as politician while he has been out soldiering. Now, just after getting back to Texas, Bush and Rick Perry, the Texas governor, are sending him to the Texas-México border to work on the new National Guard mobilization to further militarize the border.

I find this Houston Chronicle article on Noriega compelling. It reflects his position, between it all, unable to clearly articulate a position against the mission now that he is being deployed to the border. And now, he contradicts everything he said to "serve the nation." Sad. Troubling. So indicative of where Texas is right now, in the middle of wars, border fortification and hurricanes, praying that someone it all goes right. Steadily unaware of how all our labor is serving to create contradictions, destruction, a superior position for Texas, but on such unsteady ground.

Girodet

The Met in NY has an expo on Girodet. The NYTimes writes about it here.

The "Portrait of Citizen Jean Baptiste Belley" from 1797 was the one that most quickly caught my eye. The painting is in the Musée National des Chateaux de Versailles. I think it is beautiful and someone, if they have not already, should incorporate this image into an amazing dissertation on any number of subjects including, but not limited to: African colonial imagery, the place of liberty and freedom in the time of slavery, gayness and the body...or any number of other topics. The painting is amazing. The expression and the wrist/hand are to die for...

Anson Jones Closes

The elementary school at Canal and Navigation in Houston, near the "Bienvenidos al Segundo Barrio" sign has been closed. The principal had this to say at a ceremony:

"To many, it will be remembered as merely the familiar stoic landmark anchoring the gateway to the Second Ward. But for those it embraces, its memory will be etched on their hearts and seared in their memories forever — its legacy secure, its mission complete."

A sad day in Houston, Texas. Gentrification rears its ugly head...and not for the last time. Read more here.

El mundo old

In Eshpaña for a conference on Chicano Studies, presenting a paper, "A brother in the desert: La obra poetica de Arturo Islas". This is my first time in Western Europe and it is wild. Punks, tourists, old men in suits, loads of blind people with canes, colombianos, other Latin American immigrants, Africans, Arabs, and the occasional eshpañol peninsular con raices aquí de verdad. I wasn't going to come here at first when I heard the news that I had a paper accepted at la Quinta Conferencia de Literatura Chicana but, igual y, I came, what with el dinero que me dieron y todo. Por un lado, me gusta aquí. Es bonito, the air is not humid and thick and sweaty, the wind blows, it is cool at night. Everything smells like a mix of freshness, cigarrete smoke, faintly sweet. Wandering from place to place in the Metro or in the tren, walking as if it was New York up and down flights of stairs in long, long tunnels, advertisements.

I came with a group of compañeras from the programa de español en la Uni de Houston. We started in Madrid and Alcalá de Henares. Then when this was over, two of us wandered Madrid and then in the 10pm alsa.es bus came to Barcelona para quedarse con un novio de esta amiga. The bus stopped twice in strange locales, one hillside with a convenience store that sold comida típica, bocadillos de tortilla, que es huevo con papa en un baguette. The doorways were made of thin see-through plastic tubes, a kind of curtain to cover the portal. And outside the pollen, thin white puffs, like dry snow, blew about in the wind, in the light from across the road, a bright light that illuminated everything, the bus, everything. One tall, thick, bulging blue jeaned eshpañol beauty seemingly cruising me, or I cruising him, but who knows, really? That feeling of, ¿is he looking at me? ¿is he? and if he is, qué bueno, and if not, he will probably enojarse y atacarme en una rabia de loco y machista. Me divertí bastante con la onda del dese.

As I was getting to, Barcelona: wide avenues, Chanel, Zara, design stores, hordes of tourists standing in line seemingly without reason, waiting for quién-sabe-qué each one with their pull-behind suitcases in the middle of the avenida alongside the Plaza Catalunya. Palm trees and German tourist girls in designer cutoff capri pants and gold, yellow, lemon green, women in veils with bright-eyed, curly-haired children and Catalán everywhere. The center of Catalunya, the would-be capital of the independant nation-to-be.

Like the lady's bag in the Metro said, Le centre du monde et partout. And that is how I feel. A bit disoriented by all the motion, a bit as if, oh yes, I live in a small corner of the world, comforted by my things, by the flatness, by the comfortable bilingualism and not tri or quad. And now it is as if, oh, look at this world, these old men on benches, these old women in stylish brown skirts with a fashionable uneven cut. These old ladies with their short hair in various shades of old - blue, green, grey and dirty yellow. These ladies on the widest sidewalks imaginable in a group of four, each one touching the other and each one rattling on to the other their stories, their moments, todo en Catalán, as hordes of international tourism afficionados storm by on the Ramblas, making their way to the sea and to the statue of Christopher Columbus, off all of us to the end of the city, to the end of the metropole to drown in the port or in the Straits of Gibraltar and if not there than to speed across the Atlantic and if not to drown in the Canarias or in the open sea to make it all the way to the other side of the earth and not to fall off and at all and then to be somewhere, to have made it somewhere, and then, there, to make it, to forget that mundo viejo, its ways, its superiority. To imagine ourselves somehow alone.

In the bookstores, piles of books I want to read, Nina Marie Martínez, Pedro Lemebel, so many authors, so much writing, piles of translations of literature from around the world, and I am reminded how little I know, how little more likely it is possible for anyone to know, o pretender saber, porque nuestras mentes son demasiado chiquillas y nuestras imaginaciones igualmente empobrecidas por las condiciones de la vida monótona y diaria. Europe brings out something in me and to be honest, I am fine with coming back. Fine with being American (in the continental sense), but fine with perhaps experimenting with largeness, with Whitmanlike Atlanticism.

Shut up, striver, go back to Telephone, there's nothing for you here but being lost, no cosmopolitanism that can save you, no way out, no break, no going away that will not ultimately end in going home. No escape from your grandmother, from the bench where her Negro washerwomen worked, no way out but back, no way out at all entonces, no way out at all. But still, the beat of Eshpaña, the neo-mullet hair cut, the way things could be, if only, if only, the Conquista, the Manifest Destiny had never happened, had never clashed in your land and created you in all your meanness.

Seamouse Ink

Seamouse Ink is my friend Seamus' website that has his amazing cartoon books that he makes, some on view and some on sale for ridic. cheap. They are the most plaintive little cartoons, they really tug the heart strings. I remember one day in Austin in 2004 and reading one of them and I just broke out crying because of one of the clouds in the book and one of the little bubble men and it made me weep right there about something, the smallness of life, the hardness of it, the difficulty of pushing through it, the weight of it. Life was heavy, the cloud was light, the little bubble stick man was weighted down. And I cried because the little bubble stick man understood me and I understood him. On beauty...

Check out new website: Seamouse Ink. The prices are so cheap. I am buying one of them all. You should too. You will be happy about the decision.

In Memory of Sakia Gunn


I remember hearing about the killing of this young person in Newark three years ago. Well, it's the three year anniversary and it is good to see some people still remember. Kim Pearson writes in a May 11 post on her blog:

Today is the third anniversary of the murder of Sakia Gunn, the 15-year-old African American lesbian from Newark whose killing ignited a movement and led to New Jersey's first bias-murder prosecution. Gunn was stabbed to death when she and four friends were attacked by two menafter rejecting their sexual advances by declaring themselves to belesbians. In April, 2005, Richard McCullough, 32, drew a 20-year prison sentence after admitting that he stabbed the Westside High 10th-grader in the heart whileyelling homophobic slurs.According to poet, scholar and activist Cheryl Clarke, "[Sakia's] death was symbolic, or emblematic instead, of the psychic and emotional death of so many of our young people." Gunn did not conform to the expectations of how she should behave, [her killer's] expectations of what women should do. For that ... she was slaughtered."

Everyone seems to fixate on more media-ready images of "innocent homosexual" deaths like Matthew Shepard. It's worth reading about what happened to Sakia...and remembering.

Words for Peace

For all the crowds of people who read this blog but were not there tonight at Words for Peace (anyone?) it was rockin. Yall missed it. That is all... Leí en español también, lo cual me dio cosa, pero igual y lo hice, y me siento bien. Bueno, es todo...nada más que tengo que decir que me encanta el sentido de comunidad que tenemos ahora en Voices Breaking Boundaries, la riqueza de nuesto trabajo y voluntarismo, la capacidad de dar y de disfrutar. Es super-padre...That is todo...

I go to Tijuana

For all my non-espanish speakers out there. I go to Tijuana for to write workshop for on border six weeks. Happy me to be like cloudy skies go away. Yes. Yes. These top four photos on Google of Tijuana. English go bye bye. Let's learn español:

el mapa - the map

el centro cultural tijuana - the cultural center t.j.

la calle de ajonjolí - sesame street

la joda - the border

Voy a Tijuana

¡Acabe de recibir las noticias de que me aceptaron para participar en el Laboratorio Fronterizo de Escritura este verano en Tijuana! Aquí está el email que me mandaron hoy...

Hola, estimados todos:

¡FELICIDADES! El Comité Dictaminador integrado por el poeta Reynaldo Jiménez, la poeta y traductora Jen Hofer y la narradora Cristina Rivera Garza, los seleccionó para participar en el Laboratorio Fronterizo de Escritores/Writing Lab on the Border.

En el transcurso del lunes 8 se publicará la carta del comité en la página de internet y se les enviará la información relativa a los trámites que corresponden.

Atentamente,
Rosa Elisa Rodríguez


Voy a estar estudiando y escribiendo con Cristina Rivera Garza y muchos más...me suena increíble...estoy super-emocionado...

Bueno, les quería avisar de mi suerte...

Baghdad Burning

If you have not read the blog Baghdad Burning, you should really look at it. It is written by a young Iraqi woman writing from Baghdad, this is a piece of what she wrote this week:

The big question is- what will the US do about Iran? There are the hints of the possibility of bombings, etc. While I hate the Iranian government, the people don’t deserve the chaos and damage of air strikes and war. I don’t really worry about that though, because if you live in Iraq- you know America’s hands are tied. Just as soon as Washington makes a move against Tehran, American troops inside Iraq will come under attack. It’s that simple- Washington has big guns and planes… But Iran has 150,000 American hostages.

You should read more here...a totally different perspective than one normally finds here in the U.S. of A. Scary stuff.

¡Voices of a People's History!


Here's another event I will be in. It's this Sunday...

Voices Breaking Boundaries
presentsWORDS FOR PEACE 4 ¡Voices of a People’s History!
Sunday, May 7, 2006, 7:00pmDiverseWorks, 1117 East Freeway, Houston, TX 77002
Admission $5 (no one will be turned away)
For reservations, call 713.524.7821, or email
info@vbbarts.org
More info:
www.vbbarts.org

Intros by Howard Zinn (via telephone) and Anthony Arnove, editor of Terrorism and War (in person)·

Featuring local artists/ activists rendering a dramatic version of Howard Zinn’s Voices of a People’s History. Artists include: Paula Anicete, Hitaji Aziz, Duane Bradley, City Council Member Ada Edwards, Chuck Jackson, Autumn Knight, Vivek Mittal, John Pluecker, Sehba Sarwar, Anita Wadhwa, students from Lee High School and Community Builders Cadre·

Open mic and poetry led by Equality, graffiti art by Hyroglifx Koncepts, capoeira by Grupo de N'Golo, music by Free Radicals, refreshments by Nusrat Malik, drinks and much more.

WORDS FOR PEACE 4 ¡Voices of a People’s History! is cosponsored by DiverseWorks and KPFT Pacifica Radio 90.1 FM.

Secret Garden

Can't keep the prisoners from gardening, damnit!

Guantanamo Bay prisoners plant seeds of hope in secret garden
By Andrew Buncombe


With their bare hands and the most basic of tools, prisoners at Guantanamo Bay have fashioned a secret garden where they have grown plants from seeds recovered from their meals. For some of the detainees - held without charge for more than four years and who the US say are now cleared for release - the garden apparently offers a diversion from the monotony and injustice of their imprisonment.

Read more
here.

Coming Back

The event at iFest went really well. Thanks to everybody who came out! This is a copy of the piece I read:

I’m coming back—I remember—as the plane comes in from the East Coast, the air is transparent, I can see the bayous, the wetlands, the coastal marshes leading out into the Gulf of Mexico, then Anahuac and the San Jacinto monument near Baytown. Then hitting the refineries, the plumes of white smoke so high and so dense they obscure the view from the airplanes window, looking ahead of me into Downtown Houston, a dense smog of chemical byproducts and looking back, clarity.

Getting off the airplane, walking out of the terminal and the thickness of the dirty, gasoline scented air envelops my body, crushing it a little, revenge, flooding the lungs with hot, heavy moisture. I gasp for breath, and know that this can be a home.

I moved back to Houston in 2001, to the city I was born but not where I grew up. I moved into a cramped one bedroom apartment in my dad’s old neighborhood, in the East End. The first day, I set up an altar in the corner of the main room.

I put everything on the altar, a rickety cobblers bench from my grandma: candy-raver bracelets from my teenage days, Arabic tea glasses from an ex-boyfriend, a small ceramic flute shaped like a bird, ANC flags, pictures of me in drag...

But mostly the altar was home to random relics of my family: my paternal grandfather’s decommissioned police badges and a rifle he used to go hunting. Pictures of Telephone Road, of the signs from the 50’s for the Jimmy Menutis Club. A photo of an old family ranch in Lockhart in Central Texas clipped from a 1950s newspaper; the headline reads “Mystery Farm.” A photo of my maternal great-grandmother in Mexico on vacation. A stocky, thick woman, she wears thick glasses, sensible black heels, a black skirt with matching jacket, a black hat with a tousle of black tulle hanging off her hat on her back. An indigenous woman half her height looks on in seeming disbelief at this white woman all in black, she wears a dress that reaches the dirt road they are walking on, a serape covers her head, an apron draped across her front . Mountains loom in the background.

It’s all a mystery. I can’t look away from these things, they’re proof to me of my conflicted place in the world.

My mother always says, “Remember who you are,” probably the one comment that really identifies her class, well-to-do white Southerners who doggedly pass their status and their privilege on to their children. Of course, my mother doesn’t mean this when she says it. She means, don’t get into trouble, don’t be mean to people or let them be mean to you.

When I moved back to the East End, I said, look, I not only want to remember who I am, I want to discover this place anew.

***

I took down my altar in 2003 when I realized the past had become present, altars are built for the dead, not for something alive in my life. All the objects covered with dust, grime and dirt. A dark untouched, untouchable corner. One day, in a bittersweet emotional flood, I threw everything into boxes and stowed them away in a storage closet.

Now, the past is present, the present is past is future always. Living in a house a few blocks from the bungalow my grandparents built in the 1920s and my parents sold in the seventies. In the taqueria on the corner, Por Mis Cazuelas, where we buy our morning tacos. In Candé’s hair salon where my cut hair falls on the floor, the same floor my father swept when it was the New System Laundry. Riding bikes down the abandoned railline, now a hike and bike path, small houses abut to the trail, backyard clotheslines, barbecues, old ladies sitting in chairs watching the pedestrian traffic. These same houses where my dad’s family first settled when they arrived to Houston in a duplex in Magnolia on Avenue H. Walking with my boyfriend in the park under the Lockwood bridge over Buffalo Bayou, at the very place where it starts to widen into the Ship Channel. Laying on the newly placed blocks of sod and playing with a lone ladybug in the Spring before the heat hits. The park is built on ground that used to be a Taxi Station that my police officer grandfather patrolled in the thirties.

But I can’t be too wildly nostalgic. The privilege and status is born from oppression, wrought out of a bloody history.

The past rears its ugly head every day. When students walk out and a city condemns them for their foolishness, instead of celebrating their involvement. When a mentally ill man is killed by the police and no real changes result and the killings continue. Yesterday was the anniversary of the battle of San Jacinto, of Texas independence from Mexico, anti-immigrant protestors commemorated the event with signs reading, Texas is not a Mexican Colony. The past lives on. The streets are still maintained wildly better than River Oaks, the Bush family dynasty’s retirement community. Traveling down perfect streets in River Oaks, palm trees, Christmas lights twinkling yearround. But in every community meeting across the city, the complaints pour out. Back in the hood, back in the barrio, there are open ditches, sewage backs up, the sidewalks jut and expand as trees push them up. Kids walk in the street to get to school and get hit.

I have a vision here, somewhere between the beauties of our present moment and the raw injustice of the conflicts rooted in this city, the city itself a product of a blood-stained, broken history.

Somewhere in there—a way to recognize. I have no special claim to this place, I don’t want to be in the center. The view from the margins, the bedraggled outsider watching the palaces, the skyscrapers. What Houston has given me is a sense of place, a sense of root. But staying stuck in geneology and legacies defeats the purpose.

Walk out. The kids had it right. Walk Out. One of these days, we’ll just walk out and keep on walking. And it’ll be one hot sweaty August (or April) day, the kind that soaks you in sweat and in wetness, the sun beating down, and we’ll walk out, scurrying to catch patches of shade where it’s a little bit cooler...

Houston iFest Lit Stage


I spent most of the day at the Houston International Festival Literary Stage where some writing friends and I will be reading tomorrow afternoon...5pm on Sunday...with music from New Orleans musicans, David and Roselyn. The stage is chock full of some amazing writers, from Ishle Park (pic on the right) to Chris Abani and Lolita Hernandez. I stayed out there as long as I could take the heat. If you are in Houston and read this blog, you should go. There is a full calendar for the Literary Stage here.

The Anti-Orientalist

There is a wonderful story on Juan Goytisolo in the New York Times today...










Considered by many to be Spain's greatest living writer, Goytisolo is in some ways an anachronistic figure in today's cultural landscape. His ideas can seem deeply unfashionable. For him, writing is a political act, and it is the West, not the Islamic world, that is waging a crusade. He is a homosexual who finds gay identity politics unappealing and who lived for 40 years with a French woman he considers his only love. "I don't like ghettos," he informed me. "For me, sexuality is something fluid. I am against all we's." The words most commonly used to describe his writing are "transgressive," "subversive," "iconoclastic."

For much of the last 25 years, Goytisolo has lived in a kind of Paul Bowlesian exile in an old house in Marrakesh's medina. In Morocco, he has been able to indulge his passion for Muslim culture — a passion that includes a scholarly interest in Sufi theology, the finer points of Arabic and Turkish grammar and a self-confessed predilection for working-class Arab men.

Read more
here...