by M.R. Subias
                                                              
The battered taxi up ahead weaves around a red mini and I know our guy’s spotted us. I stomp on the Mustang’s gas so our perp, Eddie Mears, can’t pull away from our headlights and lose us. I glance right. Kah-Haas my seven-foot-tall Slitha partner, knees jammed up under his scaly chin in a seat built for humans, calls dispatch for backup.

If our target keeps going straight, maybe some other feds will cut him off, if any are around. The local cops here in L.A. always take just a bit too long to assist. They don’t want other humans to think they’re too eager to collaborate with our alien masters. For them, there’s a fine line between doing the job and being a collaborator.                   
                                
The taxi heads straight at a slow scooter but before it hits, swerves a hairpin left. A couple holding hands in the middle of the crosswalk freezes in the headlights. The taxi fishtails on wet pavement and skids forward. A pedestrian goes down. A woman screams. Kah-Haas tells dispatch to send an ambulance. In a better world, maybe I’d stop and help, but that’s not the one I get to live in. I slow a little, barely enough to turn clean and miss the pedestrians, then pull straight again. I’ve fallen back, but still see our target.

Our perp makes a sharp right, but I’m ready and take it fast enough to keep up. Out of the corner of my eye, I see my partner’s long, green fingers on his gun, but he doesn’t draw it. These days, Kah-Haas values human life enough not to shoot from a moving car and endanger bystanders. And, if the tip we got is good, we need to take this guy alive. Seems our quarry is trying for a secret escape route for people running from the law. And the same source told us somebody skipped town that way a couple weeks ago, carrying something the Slitha badly want to get back.

We’re gaining on the taxi and our guy brakes hard. The taxi fishtails again, skids, then rear-ends a parked truck. A second later, the driver’s door flies open. I can tell from the broad shoulders the guy who jumps out is Mears. He hits the ground running, into the January darkness swallowing the UCLA campus. 

We pull up behind the dead taxi. I don’t wait for Kah-Haas, just get out and run after Mears. My partner needs extra time to pull himself out of a car made for smaller beings, but his long legs always help him catch up. I run down the walkway, trying not to lose the perp in the darkness.

A minute later, Kah-Haas’s voice crackles painfully loud from my earbud. “I see you. Do you have eyes on the suspect? Over.” 

“Roger that. Over.”  

The campus hasn’t completely shut down since the Slitha invaded fifteen years ago, but there’s more dark than light here. The glow from inside a three-story building outlines our man when he opens the door to go in. The perp ducks inside.

“Kah-Haas, I’ll go in. You go around. Over.”  

I jerk the door open and see movement at the end of the long hallway.  I run past a few humans talking. They do a double take when I run by yelling, “FBI, stop right there!”

The door at the far end of the building closes. A human leg disappears into the stairwell. I run to the end of the hallway, but Kah-Haas’s outside so I take the stairs up. I get to the second floor and draw my Glock. I see a bathroom and hear something inside. I bolt for the door, shove my way in, and raise my gun.

“FBI. Freeze!”

In front of me, the rust colored Slitha facing the mirror over the sink does just that. A couple seconds later, the loose skin under the sides of his jaw puffs out and flushes red. It turns around, slowly. The alien’s huge, yellow-green eyes with their black slit pupils look down on me.

I lower my Glock and swallow the lump in my throat. “Sorry, sir. I’m in pursuit of a criminal.” 

The alien lightly brushes long, sharp black nails down a tweed jacket tailored to his eight-foot height. “Allow me to introduce myself.” The alien speaks perfect English. “I am Professor Sath-Osh.” He sneers down at me. “And there are few crimes greater than a human threatening a Slitha with a gun.”

I pull my earbud out and crank up the volume so we can both hear Kah-Haas arresting Mears. I smile the practiced, professional smile I always use for our masters. “Please, sir, my apologies. My senior partner is of the Race and I’m only following his orders - Kah-Haas can explain why I overreacted. After all, humans must obey their Slitha superiors, and I was just doing my best.”

His smile is cruel. If Kah-Haas can’t smooth things over, being out of a job will be the least of my problems.          
​    

​
Work ends and I head home. Leticia and the boys are asleep. I grab a glass and a cheap bottle of bourbon and sit by the front window cradling my Glock.

I drink, look into the darkness, and wait. Slitha Internal Security could be here any time. I feel the cold metal in my hand and think about who I’ll shoot when they finally come for us. Or just me, if I’m lucky. Our masters would consider eating a bullet honorable compensation for failure if one of them did it. But they look down on humans, so from me it’d just be the act of a coward. And a mortal sin. At least that’s what they told me when I was a kid. I look down at the Glock, then towards the back of the house where my family sleeps. How far would I go to keep Leticia and the boys from dying by inches in a Lizard concentration camp?

I holster my Glock, fill my glass, take another drink, and wait. Dawn opens its eyes and Internal Security still isn’t here. Maybe pointing a gun at one of our conquerors hasn’t earned me an all- expense paid trip to a Slitha concentration camp. Or the security goons might just be giving me time to sweat. I leave while my family still sleeps.
​

#    ​

​                                                         
First thing that morning, Kah-Haas and I are standing in Deputy Director Curtis Booker’s office. Our boss’s snarling grimace tells me he’s furious and that his ulcer’s on fire.

“Listen up, you miserable excuse for federal agents, you caught your suspect but thanks to you, the Bureau’s in a whole new world of hurt.” He shakes his head. 

Booker rubs his temples, scowls at me, then shoots a frown up at Kah-Haas. “Let’s take this from the top. You apprehended Eddie Mears, a suspect one of our informants told us was planning on going underground. He’s our only lead in finding out where at least a dozen other fugitives have disappeared to over the last three years.”

Booker glares at me. “But you’re supposed to catch little fish like Mears with no problem – not cause new ones doing it.”   

Deputy Director Booker pulls a crusty bottle full of something pink out of his desk and takes a slug. “You clowns just had to turn a simple arrest into a train wreck.”

His hand shakes a little as he taps a form on his desk. For the first time in years, I see fear in his eyes, from a man who was still fighting against the Slitha invasion after most of the human race had laid down its guns.        

Kah-Haas nods. “You speak of Professor Sath-Osh, the Slitha at whom Agent Cortez aimed his firearm.”

The Deputy Director won’t glare at a Slitha, not even Kah-Haas, so he just winces and nods.

My partner picks up the form and reads it. “This is a serious situation, but one which may yet be weathered.”

We look at Kah-Haas, waiting for the good and the bad news. “This individual is a professor of Slitha studies. Professor Sath-Osh teaches the Slitha language, proper behavior for humans in the company of our race, and history presented in a manner suitable for earth’s inhabitants.”

The loose skin under the sides of Kah-Haas’s jaw tightens up for a couple of seconds, so I know he thinks something’s funny. “I have made inquiries with others of my kind. While Professor Sath-Osh is of The Race and thus may never be spoken of with disrespect, he was assigned his teaching position on earth due to behavior in a military campaign which ‘failed to achieve the level of valor expected of a Slitha warrior against the empire’s foes.”

Booker and I look at each other. He’s not as angry as a minute ago, but his eyes still remind me of a kid roasting ants with a magnifying glass.   

Kah-Haas’s mouth tenses again. “While no human should ever suggest that a member of my race lacks courage, were the fact that you pointed your weapon at the Professor to become common knowledge, some Slitha would speculate that Professor Sath-Osh felt considerable fear when this occurred. In fact, his complaint fails to mention a firearm at all, but insists only that Agent Cortez burst in and behaved with great disrespect toward a Slitha. It also suggests that my junior partner is a bumbling incompetent and that I have failed the Race by allowing my human underling to operate without sufficient supervision.” Kah-Haas’s eyes move back and forth, so I know he’s nervous and that the Professor’s still trouble for us.

The Deputy Director Booker nods. “I have to route this complaint up the chain, to Slitha Internal Security. Maybe it isn’t as bad as the Professor accusing Cortez of threatening him with a gun, but it’s still a time bomb. We’re all looking at demotion or worse.” My gut punches me and I almost ask Booker for a slug of that nasty, pink stuff. 

Booker looks at me, then up at Kah-Haas. He points at the complaint on his desk. “I can move this slow. Nobody who’ll give you trouble will see it in less than a week.” He nods at us. “Close this case. Do that, and things should calm down.”
He nods. “Get out of here and find out what Mears knows.”
​

# ​

Two days later I’m walking slow through a warm drizzle in Westwood. I keep my shoulders hunched and pull the old, black baseball cap’s brim down close to my face. I’ve got a small, brown suitcase, and phony papers inside my jacket that say I’m Eddie Mears. My weight and height are close to his, and my hair’s been lightened to match. Eddie’s still in solitary, in a dry cell, while I’m getting rained on. Not that I’d want to change places.  Of course, if we don’t find our missing man and whatever it is he took, I could soon be joining Mr. Mears.       
  
Every neighborhood in L.A. has gone downhill since the invasion, and with most UCLA classes closed down, Westwood’s worse than most. Student housing turned into cheap motels and seedy apartments. Crowded coffee houses and pricey stores are now mostly cheap bars and second-hand stores. Lots of storefronts stand empty, staring out at me, broken windows for eyes. Paint peels from the walls of once-prized homes. Here and there sit empty lots covered with blackened wreckage, squatter-set fires gone out of control. I’m old enough to remember a better time, when humanity thought it was alone in the universe.

I glance up at a brick wall. One of those big signs stares down at me—the alien metal glows with a rippling inner light. It shows a Lizard, one hand up, fingers spread out, holding up a tiny earth. Written above him in glowing Slitha letters and below in English, the sign says, “Peace and Order.” Our masters started putting up signs like that right after the invasion. Within a week, every one that wasn’t in a high-security area got tagged, usually with something obscene. The Slitha switched to ones with a frictionless coating. The tagging stopped. It isn’t that people like the new signs any better. Paint just doesn’t stick to them. A few rounds of public executions didn’t hurt either.         

Worn-down women with hungry eyes lean against walls. A pale blonde with a chipped tooth smiles at me. “I’ve got a place around the corner,” she says, then sneers when I shake my head. There are no Slitha around. It’s not that they’re afraid rebels might be hiding here. There’s just nothing here our alien masters want.      

Cheap Rooms is a bottom-of-the-barrel motel. I go into the office and breathe the musty carpet smell while I study the prices on the wall. I slide one night’s worth of cash across the dirty counter. I’ll pay tomorrow if I need to stay another night. The old man with dandruff-spotted, slicked-back grey hair slides over the key.

“Checkout’s at eleven and there’s no cooking in the room.”

 I frown. The idea of eating in this place makes me want to swear off food forever. I head up the badly lit stairs.

The room’s small, but the door’s solid, evidence of long-gone, better times. A solid door’s mostly why Kah-Haas and I chose this place. I lay on the bed, then pull out my half-dollar-sized comm unit and call Kah-Haas.

He picks up and I start talking. “I’m settled in and about to go out.”

He responds. “Any problems?”

I scratch a suddenly itchy scalp. “Not unless you count the valiant efforts of the bedbug resistance.”

Kah-Haas’s quiet for a couple seconds, so I can tell he liked that one. I smile before he talks again. “You’re starting with the leads we got from Mears?”

I study a vent on the wall. “Unless something changes.”    

“Let me know if you need anything. I’ll continue to find out what I can at my end and let you know what I learn.”

“Roger that. Later.”

I hang up and look at the vent again. Too obvious. I lift the bed and quietly drag it away from the wall. I draw the black-bladed folding knife I keep clipped inside my waistband, flick it open, then use the four-inch, half-serrated black blade to work the edge of the worn carpet loose from the floor. The floorboard pries up easy so I stash my holster and Glock and the comm unit in the space underneath. I open the suitcase. The cash goes in the hole, along with the collection of gleaming, pre-invasion Rolexes. The cash is almost-perfect counterfeit, but the Rolexes are real, part of Eddie Mears’ stash. Anyway, this juicy haul makes the story about being a rich criminal willing to pay to escape believable. Once everything’s hidden and the bed’s back where it belongs, I leave the room, stopping to stick a hair between the door and the jam. If it falls off, I’ll know someone’s gotten into my room. 
​  ​

​
 I walk out into the night. Light shines from scattered homes and struggling businesses and the street people’s trashcan fires. Among the clusters of people warming themselves, men and women with intelligent eyes in deeply lined faces hunch together. I wonder how many had teaching positions before the Slitha decided a new narrative needed to be taught. I look away from the lost souls. No good comes from thinking like that.
​
First stop is The Noodle Bar. I grab a little table in a corner and study the menu. A skinny waitress drags her feet over, tired as my soul. Her nametag says “Maria.” I order a cheap bowl of ramen and a beer.

“Anything else?” she asks.

I ask just loud enough for people at nearby tables to hear and pitch my voice just a little anxious. “Know where I can score some quality luggage? A friend of mine who passed through bought some around here.” Normally I’d be more subtle, but we’ve got to solve this mess before the Professor’s complaint makes its way to Slitha Internal Security.        

Maria flashes a bored smile. “Quality Pawn’s around the corner.” She heads off.

The beer comes. I drink and watch the customers.

The noodles aren’t bad. I take my time eating, order another beer and grab a copy of the Los Angeles Times somebody left on the next table. Newspapers made of real paper were pretty much dead when I was a kid. They’ve made a comeback since our occupiers shut down most of the Internet and new computers are rare and expensive. Tame reporters write stories about how good things are under the occupation and how they’d be even better if humans cooperated more with our masters. Still, you can find classified ads and weather forecasts and stories about what local music scene’s still around.

Somebody comes in and plays guitar for tips. I nurse my beer and work the Times’ crossword puzzle. When my drink is done, I give Maria money and ration slips, then head back to my room.

Outside, I feel eyes on me and stop at an unbroken shop window to look at the reflection, but it’s too dark to see if anyone’s following me. A car comes this way, so I move fast and cross just before it gets here. Across the street is a big dark shape. Could be a man. Could be nothing. No need to risk getting jumped to find out.
​

Next day, I check in with Kah-Haas. No new leads. I hide the comm unit under the floorboard again. I think about the dark shape and almost take the Glock but decide against it. The noodle place stays open all day, so I sit at the bar and get dishwater coffee and a dry, tasteless roll. A pale, young guy with a metallic-red ponytail works the counter. I read his nametag and meet his eye. “Morning, Roy. I’m Eddie.”
He wipes the counter. “What do you need, my man?”

“I’m taking a trip and need some high-quality luggage. You know where I can score some?”

Roy stops wiping and looks at me for a long second, then nods. He points at a cork board on the far wall with ads on it. I finish my roll and take my coffee over and look.
No one’s advertising secret escape routes for fugitives, but people are selling just about everything else. I grab a three by five card that says “Best Luggage for Sale” with a phone number, then fold it in half and stick it in Mears’ wallet by some lawyer’s business card. Another cork board ad shows a picture of a crystal ball and proclaims that Madam Sabina can provide “all life’s answers.” Don’t I wish.
​
I pull out Eddie Mears’ cheap burner phone and make the call. A mechanical voice tells me to leave a message. “A friend of mine came this way and said somebody could hook me up with quality luggage.” I pause, talk a little faster. “I want to take a trip right away and I can pay.”
​

​
It’s a slow walk down the street to Quality Pawn. I push the buzzer and an older, Asian woman in tidy jeans and a faded Metallica t-shirt comes to look.

Her sharp eyes peer through the glass and her head leans to one side. She buzzes open the door. “Good morning. Let me know if you need any help.”

I go in and look around. The place is clean and well-kept, like every store back before the invasion. A smiling, gold cat by the register waves mechanically. I browse and keep up my trying not to be afraid act. “Do you have any luggage? I’m looking for something nice.”

I say this even though I’ll look stupid, since I already saw shelves with luggage on them.  The woman looks at me like somebody must have once dropped me on the head, but I need to make sure she knows what I’m looking for. She points at the obvious row of waiting suitcases.

“Yes, but I mean something nicer.”

“Just what you see.”

I ask a few questions about the luggage and who pawned it. She brightens at the possible sale but gives me only vague answers while trying to get me to buy something. I leave empty-handed.
​

The rest of the day, I check out other places we think fugitives visited. Evening comes. I walk back to the room, go in, and lock the door.

I pull out the comm unit. “Kah-Haas, you there? Over.”   

My partner speaks with a quiet, serious voice. “I am here, agent Cortez. What have you found? Over.”    

“No breakthroughs yet. I’m waiting for a couple of leads to develop.”

Kah-Haas says nothing. I look at the time, then the power light on the comm unit. Still green. I wonder what’s causing the holdup.           

“I have called in favors and learned exactly what it is we seek.” Kah-Haas’s hissing accent lowers in pitch. “It is a journal.”

“A journal. I got it. And?”

Again, Kah-Haas keeps me waiting.       

Finally, my he speaks. “Someone stole this and passed it to a fugitive who fled two weeks ago.” He pauses. “Agent Cortez, you can never reveal to anyone what I am about to tell you.”

My hands feel damp. Kah-Haas is scared.  

“There are Slitha who keep such journals, and a senior officer of the fleet who did so was slain in battle. His possessions were recovered with the intention of delivering them to his heirs on our home world. Someone stole the journal and passed it on to one of our missing fugitives.”

That’s when I know my partner wouldn’t tell me about the journal unless he thought it was the only way to crack this case. Kah-Haas’s also warning me that learning too much about this journal could get both of us disappeared.    
 
I barely hear him speak. “This senior officer wrote extensively about the course of the war. He documented certain embarrassing defeats our fleet has suffered which have, as you humans say, been hushed up. Such details, should they come to light, could ruin the careers of several of our top political and military leaders and bring chaos to the empire.” 

No wonder the Slitha want this back. Somebody might read it and figure out how to contact the aliens the Lizards are fighting, maybe even recruit them as allies against our occupiers. This journal could be a goldmine for the resistance, maybe even give humanity the political leverage to make the Lizards stop grinding their boot on our necks. No wonder our alien masters want it back so badly.

“I have said too much, Agent Cortez. If anyone should learn what I have told you, our lives would be forfeit.”

“If anyone asks, all I know is that we’re looking for a journal written in Slitha, but that I don’t know who wrote it or what’s in it. If it comes to that, I’ll also tell them that my Slitha isn’t that good.”

Kaah-Haas responds. “You’re clever – for a human - Frank Cortez.”

“You’re not too slow for a big lizard either.”

“Goodbye, Agent Cortez. Until tomorrow.”       
          ​

#    ​

I try to sleep before going out into the night but thinking about the journal keeps me up. The rain’s ended by the time I head into the darkness. I walk to Rocco’s Tavern, a dark wood and brick bar where a now-dead informant spotted two Human Defense Force bomb makers before they disappeared. I do the same drill and ask about luggage and friends who came through here. The waiter gives the same useless answers.

I feel something in my gut and look around the room. A man walks up to the table. He limps just barely enough I can see it. He’s got coal-dark skin and a buzz cut and wears an oversized military coat. The guy sits down and pulls a plastic case out of his pocket. He opens it with gloved hands. The open cover hides its contents from passersby. Inside is what looks like a sniffer for finding bugs. Seems like leaving the comm unit in the room was a good call. He pulls an earbud out of one of his pockets and plugs it into the sniffer and his right ear.

Some kind of West Indian accent comes out. “Let’s see the phone.”

I pull Eddie Mears’ cheap, burner phone out of my pocket and slide it across the table.
“Password?”

I tell him. He uses it and hooks the phone to the sniffer. I’ve made some calls consistent with being the fugitive I’m impersonating. I watch the crowd, drink my beer, and let him work. He finishes, slides the burner back, then puts away his gear.

“Call me Sharp. You’re looking for a way out and can pay.”

I could ask how he knew, but Sharp probably wouldn’t tell. He’d probably think I was stupid for asking.

I ask a different question. “How do I know I can trust you?”

We shut up while a waiter stands by the next table for too long. Then he talks. “Lester Moore, Bill Carson, Libby Schultz, Ignacio Salazar.”

I let the smile spread out. Two of those are aliases used by the Human Defense Force explosive experts who went missing. The others were criminals who also disappeared around here. Sharp probably figures I know at least one of those names. No common thief or con artist would have that information.

Sharp pulls a shapeless dark green beanie out of a pocket. “Wait ten minutes. I’ll be out back. Keep your distance and follow me.”

His expensive gear and what he knows tells me he’s no common criminal. Just in case, I say something to protect myself. “What I have that’s valuable isn’t on me.”       
     
Stifling a laugh, Sharp gets up and leaves. Ten minutes later, I settle my tab and follow.
​

I get to the alley behind Rocco’s. There’s a human shape at the far end of my vision that looks like it’s probably Sharp. It starts moving. I follow.

I listen to night noises. A loud argument from an open window. Atonal Slitha classical music, just loud enough to hear.  A cat’s rising yowl. Something big breaks loose from the shadows.  

A fist the size of a small ham flies at my face. I drop down and raise my left arm. My forearm moves the punch off-line, just barely, but huge knuckles scrape my skull and rock my head. I drive my right fist at the center of mass. My punch lands solid, but there’s barely a grunt and my hand feels like I drove it into a side of beef. The big man steps to my right so I circle to keep us face to face, left shoulder forward. My left hand stays up while the right drifts low and close. I’ll be on the ground if this monster lands a solid punch. The big man shuffles forward, hands up like a boxer. I move back. He throws a jab, then a cross. I slip to my right, just in time to keep from ending up on the ground. He pulls back his next cross and I step in fast and whip my open left hand at his face.

One of my fingers hits his eye. The big man curses. Before he can do anything, I pull the knife from inside my waistband with my right and I flick out four inches of steel. The big man backs up a few feet and raises his hands. Smart move. I’m about to tell him to run when I hear a gun’s hammer pull back.

Behind me, I hear a slight Jamaican accent. “Drop the knife.”

I do what Sharp says, slowly, then raise my hands. The big man lifts a hand and rubs his angry eye.

Sharpe says more. “My friend and I have a proposition.”

Somehow, I don’t think they’re really giving me a choice. These guys are smart and cool-headed, and no common criminals. I’d bet my badge they’re Human Defense Force.  

The big man slides over to my side. I tense my stomach, ready for a revenge gut punch. Instead, he pulls out a little flashlight, turns it on, and gently searches my pockets. I get my first clear look at him. Male Caucasian just under six feet, huge chest, thick arms and legs, bearded blond, but bundled up too much for me to see more. He finds my fake papers, reads them, and puts them back. He digs out Mears’ wallet, takes out the business cards, looks at them, shows one to Sharp.

A deep bass rumbles. “Lawyers.”

Both men laugh.

The big man keeps looking through the wallet, “And Doctor Delaveau’s luggage.”

Silence follows. The bearded man gives me back the wallet and puts away his little light.                      

Sharp says something I half expected. “You’ve been asking around. My friend and I are also unpopular with the Lizards and need the escape route you’re looking for.”
I start to speak but one big hand grabs the back of my head and the other covers the half of my face my mouth is on. The big man squeezes, and lifts and my feet leave the ground. My head feels like it’s in a vice. The big man could break my neck without trying. I sweat, but don’t do anything stupid.       

“The man who left this card, Doctor Delaveau, he controls part of this escape route. You need to make contact and find out if he can get us out.” He pauses. “Now you can talk.”

The big man puts me down and takes his hands away.

Now I understand why these two jumped me. They needed to know how I act under pressure, if I could walk into a dangerous situation without falling apart.

“Why don’t you two just go in there yourself?”

“Things are not always what they seem. Who knows? Maybe Delaveau’s working with Lizard Internal Security and they’re sending anyone who looks for help to some concentration camp.”

I take my first relaxed breath in days. These guys have given me my big break. And if this Doctor Delaveau is a stooge for Slitha Internal Security, doing what Sharp wants is just going to help me close this case faster. The journal Kah-Haas and I need is probably still sitting on the doctor’s desk or maybe waiting to get processed in some backlogged Internal Security property room.

This wouldn’t be the first time two law enforcement agencies worked the same case from different ends without either one knowing about it. 

I make my voice tremble but add a note of defiance. “So, I could end up in a concentration camp?”

“We don’t consider it likely, but, as I said, no need to take chances… at least on our end.”

I nod, “So, how do we do this?”

Sharp’s quiet for a few seconds even though I know he already has a plan.

“My friend will walk you to your stash. Then you’ll make contact with Doctor Delaveau.”

“How do I know your big friend won’t put my head through a wall and take everything I’ve got?”           

Sharp grabs my right shoulder and turns me around. His black, snub-nosed revolver is leveled at my right eye. I take a deep breath. Sharp lowers the pistol and presses it into my hand.

He looks me straight in the eye.

I flip open the cylinder. It holds five, .357 rounds. I check them one by one. None are blanks. Sharp must think whatever valuables Eddie Mears has are worthless compared to a chance for freedom. He also believes I’m smart enough to understand that. I nod and slip the gun into my right coat pocket and pick up my knife. Of course, he and his friend might try to rob me later. But with any luck, Kah-Haas and I will arrest them first. The big man, who I’ve decided to call Silent, walks with me through the dark. We reach Cheap Rooms and head up the stairs.       
 
The fight’s adrenaline rush fades. I’m tired and my head throbs where Silent’s fist rocked my skull. I open the door and we walk in. The big man stops just inside the room and shuts the door. I put the suitcase on the floor, pull the bed from the wall, and kneel on the carpet. My body blocks Silent’s view. I glance over at him with my peripheral vision. The counterfeit bills and the Rolexes go in the case. I leave the Glock and the comm unit. I can’t talk to Kah-Haas with Silent here and, if I take it, Sharp might run another scan and figure out I’m a cop. I replace the board, carpet, and bed.

Now for my doctor’s appointment. ​

Silent walks me most of the way, but I go alone the last block to Dr. Delaveau’s house.   Homes and yards are big, though not like the Beverly Hills mansions a couple miles east. Thick-leaved trees line the street and create a sense of privacy. My head aches from when Silent hit me and my left forearm throbs where it blocked his punch. Maybe the Doctor can do something about that. 

Before I go up to Delaveau’s house, I hide the suitcase by the bottom of the stone steps leading to his door, back behind a black, wrought-iron bench mostly hidden by sweet-smelling lavender.  


I climb the steps to the two-story house. Before the invasion, doctors didn’t work from home. Now, many do. I hammer the front door with the tarnished brass knocker.
A tiny metal hatch opens near the top of the thick door. An eye examines me.  
A man speaks. “Is there an emergency?” 

“My name’s Mears. Someone said I could buy luggage here.”

A pause. The man has a slight French accent. “Do you have references?”

I name a criminal who told the real Mears about the escape route before he disappeared. I hear a bolt slide. The door swings open. Male Caucasian with a medium build, just under six feet, with swept-back iron-grey hair. He wears a loose, grey jacket and keeps his right hand in his pocket.  

Light shines from inside and he looks me up and down. “I’m Doctor Delaveau. Please come in. But don’t make any sudden moves.”

I walk in with my hands by my sides. We head down the hall to a dining room. “Please sit. Would you like coffee?”

I sit. “Sure… please.”

He returns with two cups. There’s cream and sugar on the tray, but neither of us use it. He gestures towards me. “You’re injured. Is it anything serious?”

“I wouldn’t turn down some aspirin.”

Delaveau gets up. “Please excuse me.” He leaves the room.

I look around and drink up, hoping coffee will fight my fatigue. The rich, smoky, dark-roasted flavor is like heaven. Twelve years of alien occupation and food rationing hasn’t cramped the doctor’s style. I see expensive furniture and shelves heavy with leather-bound books and beautiful crystal sculptures. If this is a Slitha sting, the doctor left to call his bosses. After they show up, I’ll identify myself. Then, maybe we can figure out where the journal went.

The doctor comes back with aspirin and an ice pack. I swallow the pills and hold the ice pack to my head. “Thanks.”

“I enjoy taking care of my guests.” He smiles. “And speaking of that…”

He takes our empty cups and comes back a few minutes later with fresh ones, and a pot on the tray. “You may wonder how I came to provide the service you seek.”

I stay quiet and drink. Delaveau’s the kind who likes to talk.  

“I lived well before the Slitha arrived, though their arrival made maintaining my lifestyle difficult. But strange as it seems, the invasion improved my life. As with others, events forced me to live by my wits in a way I never would have otherwise. Consider the black market. Everyone uses it, and by so doing, all become lawbreakers. And those who survive best are the ones who have become exceptional criminals. So, while I still practice medicine, my humanitarian sideline supports a fine lifestyle and gives me the pleasure which comes with being exceptionally clever.”

I finish my coffee. He pours me a new cup.

Delaveau talks about how humanity had become soft and how the Slitha occupation sharpened our dulled minds and put us in touch with our primal instincts. The doctor barely lifts his cup as I suck down my coffee, instead going on and on about how the invasion was some kind of great gift.

I yawn, too wide. “Can I use the bathroom?”

“Of course.” He smiles. “In the hallway.”

I nod, get up, use the bathroom, throw water on my face. I step back in the hallway, but decide to lean against the wall, just for a second. As I slide down, I think about how Doctor Delaveau kept talking and talking after he finished his first cup of coffee while I drank deep.

My head feels fuzzy when my eyes open. I see a ceiling, but not in the hallway. I try to get up but can’t. I look down. Three heavy, canvas straps pin me to a stainless-steel table with a raised metal rim. One goes across my chest, the second crosses my upper forearms and lower stomach. The third holds down my legs, just above the knees. My jacket’s gone. Shoes too. I blink and look again. My head feels fuzzy. I laugh. At least I’ve still got my socks. I shake my head and look around.

This room’s bigger than the dining room. There’s an incinerator in one corner, probably for medical waste. By that, gas cans. Between my feet, not far off, I see a metal door with a heavy bolt. I turn my head to the right. There’s a desk maybe five feet away. Spread out on the top are Eddie Mears’ identity papers, his wallet, the burner phone, and Sharp’s revolver. Other IDs sit in an “in” basket nearby. Next to that is a thick, yellow folder and a big book with the black, metallic cover Slitha like to use.

Slitha words glow in silver on the black book’s tall spine. I shake my head and make myself focus. Chronicles of a Time of War. I exhale slowly. I’ve found what Kah-Haas and I need, but I might not live long enough for it to do us any good.  
     
I notice something else. Next to the desk sits a row of mismatched suitcases. Above those, on hooks, hang backpacks, a few purses, and a single, lonely baby carrier. I fight my bonds and arch my neck. Fifteen feet from my head, I see a normal-looking door. Much closer sits a tray of medical instruments, heavy on knives and the surgical saws. Directly above my scalp, built into the table, is a drain. My throat goes dry. I know where all the fugitives have gone. Piece by piece into Doctor Delaveau’s incinerator.
I listen for an opening door but Delaveau is taking his time. When the Doctor stripped off my jacket, he pulled the bottom of my shirt loose from my pants. I reach under the loose fabric for the knife clipped in my waistband. One finger touches the handle, but the strap pinning my arms keeps me from doing more. I inhale deep, then exhale everything. The bonds still feel tight, but not as bad as before. I keep my lungs empty for a couple of seconds, just long enough to grab the bottom end of the knife handle between two fingers. I draw the folder, breathe in, get a solid grip, then flick it open with my thumb. I lay the edge under the strap holding my forearms, inhale to make a tiny bit of extra room, then saw away with the serrated half of the blade.     
          
Just when I’ve cut the strap a little over halfway, the doorknob rattles. The strap doesn’t feel as tight as before. I slip the knife inside my waistband, flip some loose fabric from my shirt over the cut I made, and move my hand back by my side. The door opens, Doctor Delaveau walks in, wearing green surgical scrubs. His medical mask is down, and he has a clear, plastic visor ready to be lowered. The final touch is a white, plastic apron.

He’s right over me and I see his quiet smirk. “My dear Mr. Mears, you had a bit of a fall, so I decided you needed to lay down.”

“Doc, I’m feeling a lot better. I think I can get up now.”

He smiles wider. “Be my guest.”

I can tell he likes the banter, so I shut up.

Doctor Delaveau frowns. “I see you’ve discovered my escape route.”

I keep quiet. His smirk turns into an icy frown. 

“I’m disappointed in you Mr. Mears. I found nothing of value on you.”

I get an idea. “I’m not a fugitive.” His frown gets bigger. I talk faster. “Just hear me out.”

He stares. “I was hired to recover an item. What you do for criminals isn’t of interest to me. There’s a big reward.”

He nods. “Go on.”

“A collector wants that black book on your desk, no questions asked.”

Delaveau purses his lips, then smiles. “Though far from fluent, I am a student of the Slitha language. Over the past weeks, I’ve had few patients, and been translating this diary in order to further my education. The contents is quite fascinating.”

He pauses, as if he wants me to say something, maybe to beg. Maybe to tell him how smart he is. I can tell Delaveau isn’t interested in my offer, so I stop talking again.
   
The doctor raises his voice. “Do you know what, Mr. Mears? Like more than a few of my clients, I believe you hid your ill-gotten wealth before you came to my door.” He watches my face. “Some who come to me in search of sweet freedom hide their valuables in one of my neighbors’ yards, or even my own.” He shakes his head and smiles again. “Please excuse me for a moment.”

Delaveau walks to the desk and picks up Sharp’s revolver. “As you’ve just learned, one can never be too careful.” He flips open the cylinder, smiles, and closes it again. “Never fear. I’ll be back soon.”  

The door closes behind him and I attack my bonds again. Seconds later, I cut through the middle one. Now my arms are free.

That’s when I hear the first gunshot. I jerk my legs, trying to pull them out from under the strap that holds them down, but it’s too tight. Two more shots go off; one close, the other farther away. I start cutting the strap over my chest. Voices echo through the house. More shots ring out. I tell myself Kah-Haas could be out there, but I’m lying to myself. None of those shots came from a Slitha weapon.  

My chest is free. I sit up, but whatever drug Delaveau gave me makes my head spin. Only the strap over my legs keeps me from falling off the table. My knife saws at the last strap. A gunshot again, just on the other side of the door. I cut too fast and slice my leg. The last bond splits. I stand up. My legs buckle. I grab the edge of the table to keep from falling.   

Another gunshot cracks down the hall. I take a breath and stumble towards the door. I reach out to lock it. Before I can, it starts to swing open. I see part of a plastic visor and red-spattered white apron. Another shot pops. A muzzle flash lights up the hallway. A dull, wet slap sounds on the other side of the door. I fall against it, turn the lock, take another deep breath. It looks like Human Defense Force has come to avenge their murdered friends.  

My legs almost feel steady. I walk to the desk fast, stuff the burner phone in one pocket and grab the journal. I rush to the back door and yank the bolt. The other door crashes wide open. A gunshot cracks and a bullet slaps the wall by my head. I shove the back door open and run into the night.

When I’m sure no one’s following, I stop, get my breath back, and flip through the journal. My fingers smooth pages passed hand to hand across years and lightyears. Flowing Slitha cursive documents fleet logistics and weapons systems. Tables list kills and casualties. Star maps show enemy positions and battles. I wish I had the time to sit down and read it. 

Finally, I use Eddie Mears’ burner phone to call Kah-Haas for backup.

I got the journal, but maybe Sharp and Silent will find Doctor Delaveau’s partial translation. They might escape before Kah-Haas arrives with reinforcements. The resistance could get the leverage it needs to become a force for real political change. And now that we’ve got the thing back, I doubt our masters will pay much attention to complaints from some puffed-up Slitha night-school teacher.  
​
I could have grabbed Delaveau’s notes when I took the journal. It would have been easy. But I didn’t. I need to return the journal to my alien masters to keep my family safe. But the Slitha don’t know about the Doctor’s notes and I don’t have to tell them. Like I always say, there’s a fine line between doing the job and being a collaborator.                                                   
​

​Long-time science fiction fan and longer-time Chicano, M.R. Subias prowls the frontiers of the imagination, seeking strange beauty. As part of the Greater Los Angeles Writers Society, he founded the speculative fiction critique group Westside Weird and ran it for more years than he can remember. He’s currently editing Intrusion Zone, a hopeful YA cosmic horror novel set at the end of the world. 

by ​Armando Gonzalez

Maria was in her room, sitting in a chair next to her bed, praying while holding her wooden rosary necklace. She was waiting for her husband to come home. She prayed that Miguel, her husband, wouldn’t work so much. Even on weekends, instead of being with her, he mostly spent it working. His wife used to tell him to stop telling people he was available to work because then he would have a lot of work, and most likely would end up working all week with little to no rest. Miguel didn't seem to mind though. He liked working.
 
Miguel left around eight in the morning. That morning, before he left, as he sat on their bed and was putting on his pants, Maria asked him what time he thought he would be back. He said probably eleven in the morning. While Maria was currently praying, it was soon going to be one in the afternoon. She hoped he didn’t lie to her.
 
After she felt satisfied with the amount of praying she had done, she began thinking of what could still be done around the apartment. Although she had basically completed all the necessary work, she still behaved like an employee on the clock, trying to find something to do so as to avoid being seen by their bosses doing nothing. She first went to the kitchen to see if the floor needed to be mopped. There were some footprints on the kitchen floor, most likely from Miguel’s boots when he was mowing lawns. It should have only taken somewhere around five minutes or less to clean it but she took her time. After she was done mopping the kitchen floor, she checked to see if there were any dirty plates in the kitchen sink. There were only two dishes and three glass cups. She washed them, just as slowly as she mopped the floor. After the dishes, she checked the wooden living room floor, but unsurprisingly, it was pretty clean. She checked all around the apartment to do any kind of cleaning, but there just wasn’t anything to clean. She thought of praying some more, but she didn’t think it was necessary, as she was taught by attending mass over the years, that it’s more about the sincerity behind a prayer than the amount of praying one does in a day. 
 
Suddenly, Maria got the idea to go to church. If Miguel wasn’t going to come home anytime soon, then she would go to church, even if it wasn’t Sunday. She knew that Miguel would get annoyed if she did this, and ask her why she went to church, even if she told him there was nothing to do at home. She ignored these thoughts.
 
She changed into a loose fitting dress, brushed her hair and put on black block heels.  Before she left, she told her kids if they were hungry, to serve themselves a bowl of the albóndiga soup she made. She told them that she would be back in an hour, and if their dad asked where she had gone, to tell them she had gone to church.
 
On her way to church, although she felt like she was partially going to church out of spite, she felt happy. She was happy because she felt like she was improving, becoming a more resilient person, each time she went to church. This happiness slowly faded away though, when she tried to push open the front doors of the church, only to find they were locked. She was very confused. She thought the church was open at all times. She went to the back of the church to see if there wasn’t possibly a mistake. When she was in the back of the church, standing behind a black steel gate, she expected there to be parked cars and people walking across the parking lot of the church, but instead she didn’t see any cars and or anybody walking. Just then, she saw someone. There was a man, coming out of the side doors of the church, who then started walking across the parking lot.
 
As soon as she saw him, she yelled: “¡Señor! ¡Oiga!”
 
The man stopped and turned towards the direction of where the yelling was coming from. He squinted his eyes, trying to find whoever it was who was yelling. Finally, his eyes met hers, and he began walking towards Maria.
 
“¿Está cerrada la iglesia? ¿Pensé que estaba abierta toda la semana?”
 
“Antes sí. Pero ya no porque gente de la calle se estaban metiendo, y eso estaba molestando a la gente.”
 
“¿De verdad? Nunca sabía que eso podía pasar. Bueno, gracias por decirme.”
 
She walked away, a bit saddened and disappointed. She was looking forward to going to church, especially since it was her first time going to church on a weekday. Unsure of what to do, she began walking home. All she wanted was to spend some time with Miguel. Now she couldn't even go to church on a weekday, which she thought wasn’t asking for much.
 
When she came back home, to her surprise she saw Miguel’s green truck parked on the curb right in front of their apartment. She remembered when he first brought the truck home, it was so bright and shiny. Now, because the car stood out in the sun for some years, the green paint was so faded that it almost looked like there were clouds painted on the hood and roof of the car. He bought the car from his boss, who sold it to him cheaply. When he brought home the truck, it seemed to Maria like a luxury, to be able to have another car. Now, she despised the truck, just the sight of it made her angry, because it symbolized one thing to her: money. Part of the reason her husband had bought the truck wasn't only because he wanted another car, but because he saw an opportunity to make money. The green truck enabled him to go quickly from lawn to lawn, with all the necessary equipment in the bed of the truck.
 
She opened the door to the living room. One of her sons, Daniel, who although wearing headphones that prevented him from hearing her come in, still did not turn around even when a line of sunlight directly hit the screen of the computer he was using when she opened the door. She was about to tap his shoulder to ask if his dad was home when she heard someone coming from the kitchen and down the hall to where she was. It was her husband, wearing his gray, long sleeve shirt, which was now sweaty and dusty and grass stained. Sweat poured down from his balding head. On top of his head were thin, short strands of hair, which were matted down from wearing a hat, which almost made him look like a newborn baby that was just taken from their mom’s womb. He was sucking on his long neck bottle of Corona.
 
“¿A dónde fuisteis?” He took a sip of his beer.
 
“Fui a la iglesia, pero no estaba abierta.”
 
“¿A la iglesia? Pero no es el fin de semana.”
 
“Ya sé.”
 
Her husband said nothing, just took another sip of his beer.
 
“¿Qué hiciste de comer?”
 
“Albóndigas.”
 
She walked to their room. While she was taking her block heels off and putting them under her bed, she asked him, “¿Pensé que ibas a llegar a las once de la mañana?”
 
“Yo pensé que iba a llegar en ese tiempo, pero los chinos querían que hiciera otro trabajo, y los acaparadores también me pidieron que hiciera otra cosa.”
 
“¿Por qué no les dices que no puedes, pero que lo puedes ser para otro día.”
 
“Pues, es que no quiero quedar mal con la gente. Es importante que les diga sí, o no sería capaz de hacer más dinero.”
 
He reached into his pocket to get his black worn out wallet and took out four twenty dollar bills and showed them to Maria. When she saw the bills, this did little to nothing to change the indifferent expression on her face.
 
“Gané ochenta dólares hoy. Y todavía hay dos personas que no me han pagado.”
 
“¿Son las mismas personas que no te pagaron la última semana?
 
“Uno sí. Es el blanco.”
 
“Deberás parar de trabajar por él. Nomás se está haciendo tarugo.”
 
“Ya sé, ya sé. A lo mejor sé.”
 
“¿Ya quieres comer?”
 
“Sí, dame.”
 
Maria walked to the kitchen to heat up the pot of albóndiga soup and got the griddle to heat some tortillas. Miguel took his time drinking his beer and then slowly walked over to the small kitchen. Once he sat down on a chair, Maria asked him “¿Cuántas horas trabajastes?”
 
“No más de cinco horas.”
 
“¿No más cinco horas?”
 
Miguel, unsurprised at his wife’s reaction, chuckled.
 
 “Cinco horas no es mucho.”
 
“Y te aseguro que no descansaste.”

“Los hombres no se cansan,” he said.
 
“Ya para diciendo eso. Los hombres pueden sentirse cansados,” she said with her face hardened, tired of the joke.
 
Miguel laughed, his head bouncing up and down, and said, “Okay, okay.”

​Once the albóndiga soup was hot enough, Maria got a bowl from the cupboard and started pouring the soup into the bowl. As she was pouring the soup and albóndigas into the bowl she was holding, Miguel asked her “¿Por qué fuistes a la iglesia a hoy?”
 
“Pues, no más se me ocurrió.”
 
Her husband, suddenly serious, didn’t immediately answer.
 
“No creo que sea necesario ir a la iglesia hoy.”
 
“Ya sé, pero me gusta ir a la iglesia cuando puedo.”
 
Maria placed the bowl of albóndiga soup in front of him. He didn’t eat more than one albóndiga when he asked: “Deberías enfocarte en lo que ser en la casa en vez de pensar en la iglesia.”
 
“No había nada que hacer aquí. Terminé todo.”
 
“¿Y no te vas a cansar mucho yendo a la iglesia durante la semana?”
 
“Si vamos a hablar de quién se cansa más, vamos a hablar de ti.”
 
Her husband laughed.
 
“¿Por qué te rías?”
 
“Okay, pero yo me canso por una buena razón,” he said with a grin on his face.
 
For the first time, she laughed, too, out of impatience for the way her husband spoke to her.
 
“De verdad tienes un problema. No más quieres trabajar, trabajar y trabajar. Dices que trabajas de necesidad, pero te pasas, como si no tuvieras dinero. Algunas veces, en el momento que vienes del trabajo, ya te quieres pelar para trabajar otra vez, no comas muy bien o no me dices que ya te vas a ir. Y cuando–—no me callas, deja mi de hablar–—llegas de tus otros trabajos a la casa, estás irritado, te enojas cuando los niños o yo no te ayudamos rápidamente a bajar todas tus herramientas del camión. Tú solo te haces infeliz por hacer algo que es de necesidad.”
 
“¿Qué quieres que haga? Si trabajo mucho, me canso, pero tengo dinero. Si no trabajo mucho, no estoy cansado, pero voy a tener poco dinero. Si realmente quieres que trabaje menos, ¿por qué no me ayudas o encuentras un trabajo?”
 
“Miguel, tú ya sabes que no puedo ser eso.”
 
“¿Por qué no? Creo que puedes hacer la mayoría de lo que no haces ahora y seguir trabajando.”
 
“¿Qué estás diciendo? ¿Que no trabajo?”
 
“¿Piensas que estar sentado casi todo el día es trabajo?” he said and laughed a mocking laugh, which made him appear like a child.
 
“Ya me estás ofendiendo.”
 
“Pues, no te mates.”
 
“¿No me mato? ¿Tú piensas que pudieras tener un trabajo y llevar a las niños a la escuela, comprar y hacer de comer, llenar la botella de agua, llevar los platos, limpiar la casa, lavar la ropa, tirar la basura, juntar a los niños de la escuela, y dar atención a los niños?”
 
“Todo lo que dijiste son trabajitos que se pueden hacer rápido.”
 
“No se puede prestar atención a los niños rápido, solo se puede hacer lentamente y con paciencia.”
 
Fed up with her arguing, he got up and left.
 
“¿A dónde vas?”
 
“Voy a regar el zacate.”
 
She was going to say more to him, but she knew when to stop talking, because at some point, in the middle of an argument, her husband would eventually start to tune out everything she said, even when she did have a point. She noticed he had barely eaten anything from his bowl. From where she was sitting at the small kitchen table, she could hear him in the backyard getting the hose to water the front lawn. She didn’t know what to do. After sitting in silence for a few minutes, she got up to get her wooden rosary from their room, and started to pray once again. 

by Matias Travieso-Diaz and Eloy Gonzalez-Argüelles

[I want to speak, I want to speak, tell everyone Albertico Limonta is my grandson,
the child of my oldest daughter Maria Elena.]
Don Rafael del Junco’s silent litany in El Derecho de Nacer by Felix B. Caignet

In mid-2047, the Instituto Cubano de Radio y Televisión (Cuban Institute of Radio and Television, or CIRT), received a proposal for a revival of the 1948 radio soap opera El Derecho de Nacer (The Right to be Born) by the Cuban radio writer Félix Benjamín Caignet Salomón. At the time, El Derecho, as it was called, swept Cuba by storm, and then spread to all of Latin America in a run that lasted over fifty years. It was regarded as one of the most influential soap operas of all time, and had been the subject of numerous radio, television and movie adaptations. The revival (in the form of a TV series to be aired in Cubavision) was to start in April 2048 to coincide with the centenary of the original radio broadcast.
 
José (“Pepe”) Cubero, a brilliant movie and TV producer and director, was the proponent and strongest defender of the project. He acknowledged that the 1948 soap opera would have to be modified a bit to make it consistent with the culture and politics of twenty-first century Cuba, but felt the changes would be small and well within his creative abilities.
 
The proposal met opposition from some of the most orthodox members of the Communist Party. They claimed that the original story was rife with the type of bourgeois, capitalistic ideology that had been eradicated after almost ninety years of Socialist rule. Other opponents, more practical, pointed to the chronic economic crisis that bedeviled the island with words like these:
 
“Anything we broadcast must encourage the Cuban people to work harder, make sacrifices, concentrate on rebuilding the economy in the face of the heartless Yankee blockade. El Derecho is a frivolous, escapist diversion that would get us sidetracked from our mission. And it will run for many months, compounding the damage.”
 
The matter was kicked upward to land on the lap of Miguel Diaz-Canel, who had been President and First Secretary of Cuba’s Communist Party for almost thirty years. He was in his mid-eighties and getting ready to step down, so he was in no mood to mediate in ideological disputes. He ruled:
 
“Let Pepe Cubero come up with a proposed screenplay and give it to the President of the CIRT and the Minister of Culture. Let those guys decide what changes to the screenplay are required to render it acceptable, make those changes, and run with it. Don’t bother me with this shit again.”
 
The Minister of Culture, Haydée Alonso, who had studied in Paris, quoted Sartre, and prided herself on being open-minded and liberal (within the ideological bounds of the Party), was enchanted with the idea of a revival of El Derecho, so she was inclined to give Cubero a relatively free hand. This was good news to Cubero, although no one else liked Haydée. No one forgave her for her unpatriotic preference for smelly Gauloise cigarettes that stunk up the studio, and that she did so “in the land where the best tobacco in the world used to be grown.”
 
The CIRT President, Danylo López, was an old, dried-up bureaucrat concerned mainly with toeing the Party line and avoiding controversies, and was not amenable to letting Cubero get away with much. Torn between polar extremes, development of the new version of the soap opera proceeded in painful fits and starts.
 
The first bone of contention was the character of Don Rafael del Junco, the villain of the story. Everyone agreed that Don Rafael, a haughty unscrupulous landowner, was a proper embodiment of the pre-Revolutionary capitalistic class. However, at the end of the original 314 episodes, Don Rafael reconciled with his daughter and grandson, and ended up being presented in a somewhat favorable light. “We have to change the ending” argued Danylo. “There can be no redemption for the enemies of the people.” Cubero reluctantly agreed to modify the end of the series so that Don Rafael got his comeuppance. He was hoping against hope that by the time the last episodes were filmed Danylo would have changed his mind.
 
Then there was María Elena, the daughter of Don Rafael and mother of the hero of the series. Again, everyone agreed that she showed courage in refusing to have a late term abortion and insisting on giving birth to her illegitimate child. However, in the original series she sought shelter for her grief in a convent, where the nuns and other members of the community treated her with compassion and understanding. Danylo was loath to include any episodes that praised religious people. “Religion is the opium of the masses, and the State must not condone it in any manner.”
 
Cubero had to change the script to have María Elena become a sort of hermit, seeking solace from the apparent loss of her child on a deserted shore. That in itself was problematic, since Cuba had implemented an internal passport system that was rigidly enforced. In the new Cuba, there was nowhere to hide. At the end, this discrepancy was allowed as poetic license, hoping it would not be noticed by anyone who had the power to object.
 
In the original El Derecho María Elena leaves her newborn baby boy in the care of her once wet nurse, the black María Dolores, who saves the infant from being slain on orders from Don Rafael, manages to give Don Rafael the false impression that she and the baby are dead, and escapes with the infant to a remote village. There, she raises the boy as her own child, naming him Alberto (“Albertico”) Limonta.
 
One salient and recurring problem was the relationship between “son” and “mother,” due to the fact that María Dolores claimed he was her son, even after his infancy. Yet, the actor chosen by Cubero to play Albertico, Ontario (“Guapito”) Ledesma, was white. Very white. Blondish. On the other hand, the lady portraying María Dolores was black, as stipulated by Caignet in the original soap opera. Coal black. No one seemed to find the discrepancy odd except for Haydée, who said that the role of María Dolores seemed taken out of Gone with the Wind. Her remark was met with a deadpan silence, for nobody in Cuba remembered or cared about old Yankee movies.
 
The racial disparity problem did not fully surface at first, because the boy who played Albertico as a child had a darker complexion that made his relationship with María Dolores more credible. But later on in the show, when Ontario assumed the role of 25-year-old Albertico, María Dolores’ claim that he was her son began ringing hollow. Different suggestions were considered: darkening Ontario’s skin with blackface make-up like Laurence Olivier in Othello, other things of that nature. Haydée opposed them all, because, she said, it was not impossible that Albertico could still be María Dolores’ biological son. So, things were left unchanged. There was one scene, however, when the script called for older Albertico to run up to his mother and say, “Mamá, I love you so” as he hugged the black woman. The scene had to be redone many times because the crew in the studio—and later on, even Albertico and María Dolores—could not control their laughter. In the end, the scene was filmed as it was and prompted sarcastic comments among the viewers once aired.
 
Much was done in the original series to highlight the discrimination and ill treatment that both María Dolores and Albertico endured on account of her race. Danylo liked that and wanted to accentuate the criticism of the racist society that existed in the country before the Revolution, but was opposed by Haydée, who warned not to overdo that aspect of the plot. “Remember, Danylo,” she said, “there are still people left in this country who believe blacks are inferior, although they won’t openly admit to it. There is no point in rubbing their noses on our commitment to equality among the races.” At the end, Danylo carried the day. Albertico, who was white, would be repeatedly abused and discriminated against for having a black mother and being a mulatto.
 
In one scene intended to bring more “realism” to the story, a classmate of Albertico has a fight with him and calls him an “hijo de puta” (a bastard), not an uncommon insult in Spanish. Danylo objected to the use of such foul language, as it was not in keeping with Socialist morality. Haydée replied that this choice of words was used by ordinary people and prude sentiments to the contrary were a bourgeois atavism. A heated debate ensued and, at the end, Haydée seemed to say that the language in the series should not be controlled by a “partido de hijos de puta,” which many people took to refer to the Communist Party. Haydée, however, swore that she had not said “Partido” but “partida,” meaning “bunch” or “group,” without any political connotation. Since no one could produce a definitive argument, the matter was dropped, along with the entire scene.
 
Many episodes later, thanks to María Dolores’ innumerable sacrifices, Albertico manages to make it through the university and becomes a famous doctor. In the original version, Albertico gets to be rich and lives in comfort with his aging “mother.” Both Danylo and Haydée objected to this turn of events. Cubero was required to rewrite that part of the story to have Albertico live modestly, see indigent patients for free, and travel to Haiti to help treat the victims of a devastating earthquake. In the rewrite, Albertico returns to Cuba with a newfound social conscience, alert to the inequities of the capitalist society and committed to fighting them.
 
Later in the series, Albertico is doing night duty at a public hospital’s emergency room when several injured people are brought in after a traffic accident. One of them is an old man who is bleeding to death. The victim’s blood type is AB negative, the rarest type, which is unavailable at the ill-equipped public hospitals of pre-Revolutionary times. Albertico, AB negative himself, gives a transfusion that saves the man’s life. The victim, who is no other than Don Rafael del Junco, recovers and as he convalesces, he invites his savior to come to dinner and meet his family. There Albertico meets Isabel Cristina, daughter of María Elena’s sister Matilde, and a budding romance blooms between the couple, unaware that they are cousins. Danylo was not in favor of retaining potential incest as part of the plot, and Cubero had to add another twist at the end of the story where it is revealed that Isabel Cristina is not the natural daughter of Matilde, but only an adopted one, eliminating another potential offense to Socialist morality.
 
Don Rafael, now fully recovered, is one day taking a stroll near an outside market, when he spots an old black woman that he immediately recognizes as María Dolores, who he had written off as dead many years before. He follows the woman, overtakes her, and confronts her. María Dolores acknowledges that she and Albertico are alive and well, and rebukes Don Rafael for his cruelty. Cubero is asked to add language to the confrontation scene wherein María Dolores lists once again all the aristocrat’s misdeeds and concludes with a stirring pronouncement: “Beware, for your days are numbered. The people soon will hold you accountable for all the crimes you have committed against your family and against society.”
 
Staggered by these revelations, Don Rafael returns home, where he promptly suffers a stroke (“derrame cerebral”) (a common mishap in soap operas) and falls into a coma. In the original version, Don Rafael stays in a coma for many months, burning with desire to impart the crucial news of the existence of his missing grandson to his wife and daughter, but is paralyzed and unable to speak. Here, however, science rather than politics interferes with the progress of the story. By 2047, a process had existed for years by which an artificial intelligence (AI) could accurately decode words and sentences from brain activity. Using only a few seconds of brain activity data, the AI can guess what a person is trying to say and translates it into a voice recording. The AI was commonly used throughout the world, including Cuba, to help people unable to communicate their thoughts through speech, typing or gestures.
 
The existence of the AI technology rendered a crucial portion of the original version of El Derecho vulnerable to ridicule by the viewing public. There was no way Don Rafael could linger, speechless, for several months. Cubero and his creative team struggled with the problem for weeks and finally had to come up with a lame solution: Don Rafael suffers a “derrame cerebral,” but recovers almost immediately and, instead of bringing the existence of his grandson to the attention of everyone, has a change of heart and continues to cover up his earlier nefarious crimes by accusing María Dolores of theft and charging Albertico with complicity in the black woman’s schemes.
 
Isabel Cristina, whose love for Albertico has not been diminished by Don Rafael’s accusations, alerts her boyfriend before the police can seize him, and Albertico escapes to a bitter exile in Tampa, where his mulatto identity subjects him to additional discrimination and mistreatment at the hands of the American imperialists. Meanwhile, María Dolores lingers in jail and ultimately dies of sorrow.
 
From that point on, the plot of the revival diverges entirely from the original radio show. Albertico becomes a revolutionary hero and travels back to Cuba to take up arms in the mountains against the corrupt government. He alerts Isabel Cristina of his whereabouts and she joins him to continue, together, their fight for justice. Through one of his comrades, who knew Isabel Cristina’s parents, it is revealed that Isabel Cristina and Albertico are unrelated, whereupon the couple is chastely married in a civil ceremony conducted by a rebel leader. They are enjoying a brief honeymoon when they learn that Don Rafael has been killed in a terrorist attack against the Presidential Palace, where he was attending a reception. Albertico and Isabel Cristina kiss and hug each other, relieved at the evildoer’s death, and the series ends.
 
As the first six episodes were filmed, José Cubero had increasing misgivings about the product he was going to set before the public. Technically, the series was as good as he was capable of putting together: photography, score (instrumental renderings of Cuban ballads going back to the 1800s), sound effects, customs, editing, were all first class. He had assembled a cast of experienced actors and actresses, with a famous Spanish TV personality in the role of Don Rafael. Much of the series was shot in locations selected for their beauty or historic interest.
 
Artistically, though, Cubero felt he was doing a disservice to—actually, betraying—Caignet’s original work and regretted all the compromises he had been forced to make to get the project approved. As a way to hide his guilt, he made sure of the destruction of all copies existing in Cuba of the audio, TV and movie versions of the series, be they from Cuba, Puerto Rico, Ecuador, Peru, Brazil, Venezuela or Mexico. Cuban censorship saw to it that no written materials describing the 1948 series were available to the public.
 
Since there was nobody alive who had listened to the original broadcast, Cubero felt confident that he would not be confronted by critics of the savaging he had been forced to perform on the original. Still, he went to bed the night of Tuesday, March 31, 2048 with a heavy heart, in anticipation of the premiere of the series the following evening. He tossed and turned in bed all night and, in the few minutes of actual sleep, was accosted by the image of a dapper slim man sporting a trim moustache and a mane of black pomaded hair, who appeared and disappeared before him making menacing gestures and repeating incessantly a single word: “Why!!?”
 
The first episode of the new rendering of El Derecho de Nacer was shown on Cubavision at 9 p.m. on April 1, 2048. The show ran, Monday through Saturday, for 310 episodes, the last one playing in the spring of 2049. While initially garnering much public attention, interest in the series wore off quickly, so that the last episodes were seen by almost nobody. Many concluded that much of what was shown and said in the series was predictable and no different, except for its excessive duration, from other political indoctrination efforts by the government.
 
José Cubero finished producing the last package of ten episodes and sought and was granted permission to take a short vacation abroad to recover from his massive effort. He was last spotted taking an Iberia plane bound for Madrid on April 15, 2049.
 
He was never seen again.

Matias Travieso-Diaz was born in Cuba and migrated to the United States as a young man. He became an engineer and lawyer and practiced for nearly fifty years. He retired and turned his attention to creative writing. Seventy of his stories have been published or accepted for publication in paying short story anthologies, magazines, blogs, audio books and podcasts. Some of his unpublished stories have also received “honorable mentions” from a number of publications. A collection of some of his short stories, The Satchel and Other Terrors, is scheduled for publication in February 2023.

Eloy González Argüelles was born in La Habana, Cuba, and came to the United States in 1961. His studies culminated in a PhD in Romance Languages at the Ohio State University. He taught at Wheaton College (Norton, Massachusetts) and the University of Massachusetts (Harbour Campus) before moving to Washington State University (WSU), where he taught Spanish literature and literary criticism for 38 years. For ten of his last twelve years before retirement he was Chair of the Department of Foreign Languages and Cultures at WSU. His output includes a novel, a book on the chivalric novel, and articles in scholarly journals and conference presentations. Upon retirement he became an Emeritus Professor at WSU.

by Angela Acosta

Humanity’s voyagers always came on ships, back when Sol was the closest star and home stayed within the ecliptic. They came from the places the maps would no longer show as star charts guided them towards lands where Terra would be but a distant memory. With skin colored from equatorial sunbeams and languages forged from centuries of cultural contact and strife, they were ready when the Exodus finally occurred, and generation ships whisked them away across a sea wider than the Atlantic.

Marcela tore her eyes from the screen that displayed the full weight of generations of ship born ancestors when a thin stream of light coming from the hallway alerted her of Zamora’s presence.

“¿Tienes chisme?” Zamora asked, sauntering into the room like only a little sister could.
​
Marcela relaxed her stiff shoulders and let out a breath she didn’t realize she was holding in.  She’d tracked enough of the gamma lineage for this wake cycle. With the lights back on, she started reshuffling the notes she printed out on carbon copies that littered her desk.

“Yeah, turns out they meant to put you on the Calabaza ship and got the paperwork mixed up,” Marcela smirked, waving one of her notes in the air.

“No way! You know I can’t even cook frijoles right; I don’t belong on a restaurant ship. Unless, you know, I got to be the engineer and eat up all those delicacies.”

“You wish!” Marcela nudged Zamora with her elbow.

“So, made any progress today?”

“Five generations of lineage gamma from three centuries ago found in the data sent by laser from the Prerromano ship, no está mal,” Marcela shrugged and looked back at the data in front of her.

She continued, “It’s strange, really. There seem to be fewer lineages than active ships. I can’t find us in all the data. You know even Tía Flora gave up ages ago on this project.”

“¿A qué te refieres con lo de ‘find us’? I thought this was about the ancestry of the whole fleet. What do we have to do with anything? What does our ship’s history matter?”

“It means everything! I know I’m supposed to be collaborating on this project for the good of the fleet, but you know I’ve been doing some research on the side.”

“But they’re always telling us that we’re all siblings and that race doesn’t exist anymore, that we’re all homo sapiens. Somos de la raza…”

“Cósmica, literalmente. Pues ya lo sé, pero es un mito, uno de esos que vinieron con los primeros cohetes.”

Having just finished her own school lessons for the day, including a lecture on how the old ways no longer applied, Zamora was utterly perplexed. She perched herself on a free corner of Marcela’s desk and took a closer look at the branches of the family tree, thinning out as they got closer to the present moment of year 534 of the Exodus. 

“Mira Zamora, where is our family in this?” Marcela zoomed into a patch only a few years removed from Zamora’s birth in year 523. 

“It doesn’t matter…”

“Humor me.”

“¿A quién le importa?”

“Pues a nosotras, a todos los del Arbolito. Look, before I crunched in the data for gamma lineage, I already noticed some irregularities from the beginning. They’re telling us we’re doing something meaningful by putting together these lineages, that it’s for the good of the fleet and our history. It’s just busy work, Zamora.”

“Fine. I don’t know who all our family is, but Marcela tengo haaaaambrreeee. Can we pleaseeeee go the mess hall now? I heard Tío José is making pupusas and I want one that isn’t spicy.”

“Ya vamos, but I still want to learn more about this. Maybe I can bug Tía Flora about the genealogy research after dinner.”

Sure enough, Zamora piled her plate high with pupusas and maíz, freshly made from their onboard hydroponics garden. Marcela, ever the apprehensive about her research, took a smaller portion of food and joined the other kids and teenagers huddled around a game of dominos made from scrap cardboard. Zamora enjoyed the camaraderie but couldn’t wait to finally talk to some adults. For some reason they always stayed quiet about what they knew of their families, and though they praised her for her research, they never asked many questions or gave her any good leads. She always had to look elsewhere, like taking chances asking the Prerromano ship with a complicated array of laser networks to reach them five lightyears away.

Tía Flora was watching her favorite zero g handball game and knitting. Approach with caution, Marcela thought to herself. She sat herself next to her only biological aunt and engaged in the requisite small talk. By the second half of the game Marcela had steeled herself for the conversation.

“Tía, you know I’ve been doing a lot of work on the lineage, and I don’t need to bore you with it, but…”

“Mi’ja, I’m glad you’re doing that research project, but it doesn’t interest me anymore. What are you doing, hunting down lineage omega or something?”

“I’m working on lineage gamma now actually; I have five more generations worked out. In fact, I’ve already sorted out adopted and biological parents and have some diagrams for the research team I’m going to send by laser tomorrow…” Marcela needed to stop herself before she lost sight of what she came to talk to her aunt about. Tía Flora had already focused back on the game, the clinking of the knitting needles in synch with the pace of the game.

“Sorry, force of habit. Tía Flora, I want you to tell me about us. ¿Quiénes somos los del Arbolito? ¿De dónde venimos?”

Tía Flora finally perked up and cracked a smile, “It took you seventeen years to ask me that, eh? It took my friend Adriana over twenty and she quickly became disinterested again.”

Marcela relaxed in her chair and tucked herself into the story Tía Flora was inevitably going to launch into. Tía Flora switched to Spanish, as she was wont to do when talking about the past, but her tone of voice changed, and it was as if she saw herself somewhere else. The youth proudly tout the fact that the past was light minutes away and wholly unreachable while elders grieve that chasm of memories.

“Hace ya treinta años, Adriana me preguntó sobre nuestros antepasados. Y, a pesar de la falta de información que tenía, yo sabía que había que compartirla con cualquier persona que tenía el mismísimo deseo. Me imagino que hasta la Zamorita sabe recitar las historias oficiales de quienes somos, ¿cierto?”

Marcela smiled, “Justamente me las estaba contando según lo que va aprendiendo en la escuela.”

“Pues, la Adriana me dijo una frase que nunca jamás saldrá de mi mente. Me dijo basta con esas historias del Éxodo con las ramas de los árboles y que ‘I don’t want your tender history, give me the truth’. So I did.”

“Tender history, huh? Is it, though? Now that I really think about it, es un cuento de hadas. I’ve always wondered about how the data was received on these family trees and why I couldn’t ever find myself on them. You know, I always thought I was different for asking about my own heritage. Pero, there’s something they’re not telling us and it’s going to be bittersweet.”

“Yes, but I have no doubt you are as ready as you’ll ever be to hear it. Éramos muchos durante los primeros cohetes y hemos venido desde zonas muy lejanas de la tierra. Había gente de los ríos, de la selva llamada la selva amazónica, de islas y grandes continentes. Había de todo.”

“Pero nos han dicho que han venido todos de la península de Florida y que allí empezó la migración.”

“Que no, que la península solo tenía las bases de lanzamiento.”

Marcela muttered to herself, “that sure does make more sense…”

Tía Flora stared at the screen transfixed in thought, as if recalling the very thread of the ancestors she was to spring forth from her mind like Athena.

She continued in English, “I found…a packet of data. I was going through some of the earliest data sent about the different lineages and I found a diary. It was a real book too, scanned of course, but I hope somewhere those pages are still preserved. I had half a mind not to tell anyone about it and keep minding my business, especially since it’s not mentioned anywhere in the ever-expanding literature on Exodus genealogy. It was the diary of someone named Hortensia from the beginning of the exodus. She talked about several ships we still have in the fleet, la Calabaza, el Ateneo, el Dominicano, however there was something greater I learned that day. People who couldn’t afford passage on the Exodus fleet sold the only thing they had left. It confused me, because I know those people were so connected to their plastic items and chucherías.” The clicking of her knitting needles reminded Marcela of the noise of plastic toys her sister played with.

“But you figured it out, right?”

“Mi’ja, they had nothing left to give, no currency or valuable metals and they could barely even secure a kilo in the bulkhead, so they sold their names.”

“¿Qué dices? Ya tenemos todos los nombres. Nos han nombrado a todos nosotros.”

“Pero tú y yo solo tenemos un solo nombre, la María Victoria tiene dos, pero así son todas las Marías.”

“But we each have a name, tía. I still don’t understand.”

Tía Flora put down her knitting needles and beckoned Marcela closer. Parting her wavy dark hair, she began making a large braid.

“Nos han dicho que nosotros del Arbolito somos latinos. Somos de distintas regiones del continente de las Américas y todos hablamos español e inglés. There are at least five other ships like us with slightly different accents and facial features, and they make us believe we’re all the same.”

“We come from Terra, there’s no difference, is there? The skin color is just from the different melanin produced in sunnier, warmer places compared to colder ones.”

“Eres muy inteligente, you know there’s more than that. Yes, these colors used to define us and now we think more logically, but the Exodus took away our names and our culture. We had special foods, and, while I know most aren’t religious anymore, there were special ceremonies and festivals just for us. We gave that up the moment we named ourselves part of the fleet.”

Left, right, middle, Tía Flora’s fingers made quick work of Marcela’s hair. Marcela thought the braid felt odd, a bit lopsided, but she didn’t want to criticize her aunt. It’d be easy enough to readjust later.

Tía Flora secured the bottom of the braid with an elastic band and Marcela went in search of a mirror and finally saw what her aunt had so lovingly knitted into her hair. Her thick hair had been carefully sectioned into different braids, all coming together to form a larger braid that ran down the right side of her head.

“Mira, ¡qué bonita!” Tía Flora exclaimed, admiring her work.

“Thank you, tía. It’s your best creation yet. Where’d you learn to do something like this? We almost never wear our hair in braids. We’re supposed to keep it tied neatly away from our face with a ponytail or bun.”

“I got the idea from our ancestors. Thousands of years ago, our ancestors, the ones with wavy hair, textured hair, and hair dark as the hulls of our ships wore braids as a source of cultural identity. They wove patterns into braids to chart maps towards the homes they left behind just as we leave drawings as marks of each ship in the fleet.”

“That’s really beautiful,” Marcela reflected. She felt a tightness welling up in her chest and a newfound appreciation for the ancestors from Terra bloomed within her. Not even when conducting her research did she ever truly feel the full weight of the bygone generations who attempted to pass their knowledge to her. She was the product of dozens, if not hundreds of generations of sentient homo sapiens who kept humanity moving forward without forgetting their roots.

“It suits you well, your ancestors would be proud of you.”

“Thank you, tía. I have to ask; did you ever figure out any of the names they gave away?” Marcela was suddenly anxious, knowing she’d remember this moment for years to come. This was to be the moment when everything clicked, when she no longer was one of a multicultural fleet, but the daughter of people from countries she could find on the old globe.  

Tía Flora harrumphed, ostensibly at the terrible play that had finally ended the handball game, but Marcela knew it was really meant for her.

“Pues, ya te lo conté, we gave them up centuries ago. We tucked our braids into our helmets and some of us were smart enough to use the braids to spell our histories in Nahuatl, like the Calabaza ship. They’re the Xolapa from México. But us, we weren’t so lucky.”

“But couldn’t we take a DNA test? Contact other ships for information that might’ve been overlooked in the existing lineage. We could…”

“It’s too late for that. We’re never going to have their names or the certainty of knowing who our ancestors truly were, but I do have something you might want to see.” Tía Flora turned off the projector and sent her off to find Zamora. She needed to see this, too.

The chefs had already gone off duty and the sisters and Tía Flora huddled under the dimmed light of the mess hall. Zamora looked unsure of herself as she shuffled her feet in place, and Marcela wished the photons from the nearest star system could illuminate the dark portholes but they were once again too far in the black.

Tía Flora flipped through a few recipe books and finally settled on the one that looked the most battered and full of stains from centuries of moles and salsa.

“Pues mira. Ni el dedo de Colón podría apuntar a lo que está escrito aquí. Zamora, can you read for us?” Tía Flora put her hand on her shoulder in encouragement.

Zamora twisted her face like she’d just eaten a lime. “It’s in Spanish?”

“Claro, mi’ja. Así fueron escritos todos los libros de nuestros antepasados.”

“Pero solo hay una lengua escrita, el inglés,” Marcela chimed in.

“Pues me parece otra ridiculez de esa escuela…obvio que todos los seres humanos podían escribir con pluma. ¿Creen que los latinos iban a escribir sus historias en el idioma de otro contiente? Sound it out, you’ll figure out what it says pretty quickly.”

Zamora began, “Las galletas de Elisa. Se preparan con…con sus ingredientes favoritos. A ella…le gustaba hornearlas para días festivos como…como los cumpleaños y las quinceañeras.”

Looking over Zamora’s shoulder, Marcela read the recipe to herself and said, “It’s a cookie recipe, but it’s telling us about someone named Elisa. And the one on the page next to it says ‘Los pasteles de tío Oswaldo’. What is this, tía?”

“Girls, when they sold their names and left Terra with the Exodus, they made these recipe books to share their favorite dishes. They turned recipe books into the ancestors they couldn’t take with them. These are their obituaries.”

“But there’s hardly anything about Elisa in this…” Marcela protested.

“You must read the whole book; each recipe gives you a little more about each person’s story. I’ve been piecing together when people were born and that sort of thing.”

“So we can finally put together this lineage?”

“No, so we can read about their lives. We can honor them even without the branches on the Arbolito all filled out. Many of these people likely aren’t related to us anyway.”
“Marcela, basta con your research. Tía, have you ever made these recipes?” Zamora interrupted.

“We still make some of them, but without the animal products they had access to on Terra they probably don’t taste the same.”

“Can we still try?”

Tía Flora chuckled to herself, “I’d thought I’d never see the day when you’d want to try to bake something. Sure, tomorrow morning you don’t have any lessons so why don’t you bring some of your friends to the kitchen and we’ll whip something up.”

The next day, Zamora and a few of her friends were busily churning out cookies under the careful watch of Tía Flora using ingredients rationed for those who weren’t on the team of cooks. Notwithstanding Zamora’s occasional clumsiness and trepidation around the oven, the lunch rush was ecstatic to try something new. A few of the adults even petitioned to add the sugar cookies to the dessert menu, the highest honor for the young bakers. Zamora later tearfully told Marcela that it was all her fault if they ship her off to the Calabaza ship now that she can properly bake.

Marcela sometimes wished she were as capricious as her younger sister, but age and her research kept her curious. She wanted to beam to everyone else on the research team that it was just a project to keep people busy. They were fed packets of data and crunched the numbers all day long so the ships with the most resources could continue chasing after habitable planets and building new spaceports. Those very families must have taken her own ancestors’ names hostage centuries ago.

Indignant, Marcela clenched her hands and closed her eyes. She breathed deeply, imagining a warmth spreading through her body as if she were spirited away to her ancestors’ hot and humid homelands.

She closed out some of the programs she had been running with the ancestry data and set aside a data packet for herself to send to a few trusted friends she had on the Arbolito and other ships. Speaking clearly into the monitor in front of her, she spoke a language she hoped to one day be able to write.
​
“Soy Marcela, del Arbolito. Créeme cuando les explico que nuestros antepasados tenían nombres para sus familias. Mi tía me dice que sus nombres fueron vendidos a los que controlaron el Éxodo y que fueron tirados como basura de plástica. Ya no quiero repetir esa historia, así que quiero que nos nombren. Hasta que tengamos anclados a los linajes todos los nombres, me llamaré Marcela Nombremos. Puede que parezca contra los deseos de la flotilla, pero quiero identificarme como persona con una historia. Cualquier interesado puede usar este nombre. No lo daré a mis hijos si los tenga. Es un nombre a alquiler, un nombre que declara su intención. Espero que les sirva.”

​Angela Acosta is a bilingual Mexican American writer and Ph.D. Candidate in Iberian Studies at The Ohio State University. She won the 2015 Rhina P. Espaillat Award from West Chester University, and she was recently nominated for Best of the Net. Her speculative writing has or will appear in On Spec, Eye to the Telescope, Radon Journal, 365tomorrows, and Shoreline of Infinity. Her work has been featured in Latinx magazines like Panochazine, Somos en escrito, and Latinx Audio Lit Mag. She is author of the speculative poetry collection Summoning Space Travelers (Hiraeth Books 2022) and chapbook Fourth Generation Chicana Unicorn (Dancing Girl Press 2023). She enjoys rock climbing and biking in her free time.

by ​Richie Narvaez

From the fanzine The Missionary, dated July 1990, by Willie Colon (real name and address withheld by request)
 
My favorite episode of the classic TV series Mission Venus (1) is without a doubt “Major Juan.” That episode was significant not only to science fiction and to Latinos, but especially to moi. The strange thing is, it only aired once (on October 9, 1970).

The low-rated series, which ran only October ’69 to May ’71 on Friday nights on ABC, achieved cult status in syndication in the late ’70s. The series was never a favorite of network executives, one of whom infamously deemed it “not cerebral enough.”

Yet the “Major Juan” episode—while undeniably campy in some respects, which you have to remember was part of the aesthete of the times (2)—demonstrates how clearly wrong that executive was.

As all of you know, the series has not been released on video. But this spring at I-Con IX in Stony Brook, I was fortunate enough to obtain a pirated cassette of the episode. I had not seen the episode since that one time it originally aired, so it was with great anticipation, as well as a giant bowl of popcorn, that I sat down to rewatch it. And rewatch it I did, 17 times in a row.

As with every episode of the series, this one started with a brief cold open.

A Terran rocket ship nears a planet. A navigator announces, “Approaching Jupiter, captain!" (The planet Jupiter is played by a rather good matte painting of Saturn by legendary sci fi artist Emsh.) We see the captain of this ship and his crew are handsome men and women, who seem to spend more time giggling and flirting with each other than attending to their duties. The camera closes in on a short, swarthy man with a thick mustache who is mopping the deck. (Yes, in the future they still use mops!)

His overalls are dark and drab. Two male officers dressed in primary-colored uniforms walk by. One of them, with a nametag that reads “Abbot,” stops and gives the janitor a mock salute. “Aloha, Major Juan,” he says. The other man, with a nametag that reads, “Costell,” takes the mop, spilling the bucket, and says, “I’m sure you could use this to fight evil aliens, Major Juan, huh?” The two officers exit laughing.

The janitor, crestfallen, looks down at the mess they’ve made.

An imposing authority figure then comes by. His nametag reads “Capt. Jackson” and he says, “Don’t just stand there, you lazy git! Get to work! What are we paying you for?”

The camera lingers on the spilled mopwater and at that moment the transparent form of the Dutchman rises up through the riveted floor to his waistline. The janitor continues to swob the deck, sometimes passing the mop through the broadly smiling apparition.

Played, as we all fondly remember, by veteran actor Van Johnson, the Dutchman (3)  was the spirit of the dead skipper of the ill-fated Earth ship Dutchman. In exchange for having lost his entire crew, he was cursed to wander through the galaxy and witness the misadventures of humans in space. (4)  He would materialize out of thin air or emerge through a bulkhead or hover over an alien world, and, unnoticed by that episode’s characters, would introduce the story and then reappear at the end to wrap up things with a piquant moral.

In this episode, hands across his broad chest and in Johnson’s distinct baritone, the Dutchman intones: “Meet Jose Ortega, a simple, hardworking man with a dream: To own and operate his own space ship. His fellow crewmen on the United Earth vessel Maine laugh at him and his dream, but they won’t be laughing . . . for long.”

As the camera pulls back from the Dutchman and out through a porthole, he adds, “The Maine’s mission: reconnoiter a fleet of UFOs heading directly toward planet Earth. What do these aliens want? What will happen to Earth when they arrive? And can one simple man make a difference?”

The series’ music and credit roll at this point, accompanied by the infectious theme song, with its distinctive mix of theremin and surf music, and the lyrics we all know:
                        We're out of space and we’re out of time, my love
                        Let’s go where no one can see us
                        Out of here before we lose our minds, my love
                        Let’s go . . . let’s go on a mission to Venus!(5)

A commercial break follows, with ads for Goodyear tires (“When there’s no man around…”) and the Frito Bandito.

After the commercial break, we see Jose putting away his mop and bucket. Judy, a scantily dressed blonde communications officer, is sitting nearby, smoking a cigarette.

“Don’t let those bullies get you down,” she says. “There’ll be a time for you. A time for both of us.”

​Jose shakes his head. “I don’t know, Miss Judy. All I have ever wanted was to have a ship of my own to go gallivanting around the cosmos.”

“Such a man! Major Juan, why don’t you settle down with a good woman and have a few bambinos?”

She hugs him tightly, and we can see from Jose’s leery reaction and the bawdy musical cue that he thinks she could be that good woman, but she just smiles and turns away.

Suddenly, alarms blare! Red lights blink! Three alien spaceships looking a lot like pie tins dwarf the Maine. (According to The Mission Venus Compendium, these were indeed made of old pie tins.) At her post, Miss Judy (how she got there so quickly is never made clear), the scantily dressed blonde communications officer, tells Capt. Jackson that she can’t get the aliens to respond. Jackson orders nuclear missiles to be armed. The camera cuts to two empty chairs on bridge. Then there’s a smash cut to the crewmembers who are apparently in charge of the missiles frolicking in a radioactively-heated hot tub not noticing the “DANGER OVERHEATING” sign (which we’re led to assume is being caused by their ardor).

At that moment, Ortega is outside in a patch-covered space suit scrubbing the sides of the ship. (How he got there after putting away his gear is never made clear.) No one has bothered to warn him or call him back inside. Suddenly, the ship begins to rock back and forth, we hear explosions, and then see a blinding flash of light. We see Van Johnson’s ghostly image waving as Ortega’s spins away into space, unattached to the ship and out of control.

Suddenly, after a cut to black, we find Ortega unconscious in a circle of light. Next to him is the unconscious Capt. Jackson, for some reason. Dramatic theremin music plays. As he stirs, three tall, silver aliens with big heart-shaped heads emerge from the darkness. (According to The Mission Venus Compendium, these were made of papier-mâché and footballs.) Their expressions are fixed, wide eyes and eyebrows up in big curves. Ortega holds up a scrub brush to protect himself when, suddenly, one of the hyperencephalic alien speaks: “¿Que es su nombre?” The subtitle reads: “What is your name?”

Ortega is dumbfounded. To himself he says, “Madre de Dios!” Which is translated as “Oh my!” Then when he finally makes his reply, it’s fascinating. He says, proudly, “Me llamo Major Juan."

This—this is an important moment! This janitor, thought of as lowly by the rest of the Maine’s crew, has appropriated their derisive nickname for him in order to empower himself.

“We have come to seek friendship,” says the head alien--in English. But we are meant to realize the rest of the conversation is still in Spanish, which is admittedly confusing. Per the Compendium, the producers thought switching to English made it easier for the predominantly English-speaking audience and/or for the people who hated subtitles.

“Tell us of your planet, Earth,” says the leader,

“There is so much to say. I don’t know where to begin,” answers Ortega. “It is blue and green and beautiful. It is rich with resources, enough for everyone to live and live well.”

“Humans such as you are in charge of this world?”

“Well, such as me and not such as me.”

The lead alien looks surprised still, but with the musical cue we are meant to realize he is horrified. “Are all the humans on Earth not treated fairly?”

“Well, some of us could be treated a little better.”

The lead alien remains looking horrified.

Capt. Jackson rouses himself them. He says, “What’s all this Martian gobbledygook?” He grabs Jose by the color and shakes him.

“They’re speaking my language, captain. They are speaking Spanish.”

“What?! That’s impossible!”

“But they are!”

“Listen here, you nitwit: If you collude with these aliens, you’re betraying your country and you’re betraying your planet! But most importantly your country!”

“Mucho gusto,” the aliens say (returning to on-screen Spanish; the subtitle reads “Hello, friend”).

The captain’s eyes almost come out of his skull. “Jesus, Mary, and Joseph!”

There is a flash of light—and then we cut to commercial! Some of the old ads included Kool-Aid (“Kool-Aid, Kool-Aid, so great, once you try it no can wait!”) and Fresh Stick (“I did everything you said, but my boss still hasn’t asked me to lunch!”).

We come back to what looks like a courtroom situation, with the three aliens behind a tall bench, and Ortega and the captain in two docks. The lead alien asks if the society of Earth is a fair and just society. Capt. Jackson vehemently says it is. “Everyone on Earth, at least in my country, gets a fair share. But they have to work for it. We can’t just give stuff away. That would be Communism.”

The lead alien then turns to “Major Juan” and asks him what he thinks.

Ortega is silent for a long time while the show’s suspenseful theremin music plays. Sweat beads on his swarthy face. (Note: The Greek actor’s ethnic features were amplified with dark makeup). His first words are “The burdens of generations of poverty . . .”—and then suddenly, as if someone somewhere pulled a giant switch, the screen goes blank!

I remember this happening in 1970. I was five years old, and I remember screaming at the television, “Wait! What happened?!” And I remember my father, rarely at home in the evening, pounding the box on the side forcefully, to no avail. The screen went to a test pattern, then commercials until it was time for that week’s episode of Judd, for the Defense.

We know that the decision to cut off the broadcast came from the network, but we do not know who made the decision. Rumors abound that an affiliate or an accountant or a lawyer finally read the script or saw the completed cut and decided that America was not ready for it.

What we do know of the ending comes from Ready to Explode, the biography of the script writer, Corinthian Tody, aka the pen name of the late series co-creator Jack Hoffman Sr., as well as his collection of essays, Under the Electric Udder. Apparently, he had written several endings. Here is a reproduction of his own personal notes:

--Jose allies with aliens to conquer Earth. Speaking only Spanish they swoop down and start invading. (Forget this! Will put me on FBI list. I hate my life!)

--Jose befriends aliens and brings them to Earth to celebrate. Note: Reject inevitable request by Scott to play “La Cucaracha” during this scene. FUCK ME.

--The aliens capture Judy and Jose rescues her, and they fall in love. Would have to be careful about casting. She couldn’t be too pretty or viewers would balk.

--Jose leaves solar system with the aliens to find himself. Very Ram Dass. Very Razor’s Edge. Could be backdoor pilot to series, like Route 66 or Then Came Bronson, but in space! (Fat chance getting this greenlit!!!)

--Aliens cook and eat Jose like livestock. Serling did already, no? He did everything already!

--Jose somehow at ship’s helm. In the background, Capt. Jackson and ensigns are swobbing the deck. Cut to an exterior shot that shows Jose leading the alien ships toward Earth. To what end? Who knows! Jose asks the comely communications officer to hail Earth: "This is Major Juan to ground control. I’m coming home." (6)  Then, floating into the control room from stage left, the Dutchman turns to the audience and concludes: “What happens next? At the very least, we can say that, to the people of our small blue marble of a planet, the stars are going to be looking very different from now on. Buenas noches all, and to all a good night." Note: Network will never let me do this!
 
So which one was actually filmed? With Hoffman dead, every one of his four wives silent on the matter, and no existing original finished prints of the episode, we may never know!

But I will tell you it is Hoffman’s final idea here that I would have killed to see. Here we have Jose finally fulfilling his dream of owning a space ship. It would have said to me at that age, a four-eyed, little Hispanic boy who barely spoke anything at all, let alone English, that I could be a space hero one day! (7)

Maybe one day, someone will find the finished shooting script. Maybe one day the truth will be uncovered. (8) — Willie Colon.
 
FULL CAST
Jose Ortega Michael Constantine
Captain Jackson Robert Culp
Ensign Abbot Frank Sutton
Ensign Costell Ron Masak
Communications Officer Judy Lynne Marta
Ensign in Hot Tub Dick Gauthier
Girl Ensign in Hot Tub Judy Carne
 
 
1 As we all know, Mission Venus was the brainchild of writer Jack Hoffman Sr. and producer Scott Forbin. Hoffman wanted to do a serious anthology show, but it was Forbin who retooled the pitch and sold the show as “a sexy romp to the stars.” Why Venus is in the title is also never explained—though a star chart of Hoffman revealed he was “Pisces, venus rising.” Each week the ship encountered different humans and alien species in crisis—like the mad scientist who searches for his lost android in “Robby Come Home”; the superintelligent insect man who starts a rebellion at a research facility in “Ant Misbehaving”; or the meek bookworm who gets stranded on a planet with a beautiful woman but no Dickens in “Almost Paradise.”

2 Many fans have noted the series could be characterized as Twilight Zone meets Star Trek meets Love, American Style.

3 Obviously a play on the Flying Dutchman legend.

4 As you know none of this was stated in the actual series. But we know the Dutchman’s origin story from the pilot script, written by series creator Jack Hoffman, which was never filmed and never aired. Forbin attempted to rewrite but gave it up because he said, “It gave me the blues, man.”

5 Every schoolboy knows the dirty version of these lyrics, so there’s no need to reprint them here.

6 David Bowie was a close friend of Scott Forbin’s and a frequent visitor to the set of Mission Venus. Whether this episode inspired his song “Space Oddity” in any way is the subject of another column. But we have to note: He was listed as co-owner of the famous Mission Venus disco in Manhattan.

7 However, I ended up becoming a pornographer.
​
8 The truth was never uncovered.
 

​
Felisa flipped off the translator and raised her head from the brittle manuscript she had been examining. “¿Qué estupidez es esto?” she said to her lover.

Zita turned from the console, where she had been struggling to map planets that no longer existed, that had been swallowed by a swollen star, whose hydrogen was slowly depleting. Meanwhile, their ship’s computer steered them through a field of space dust and debris. “Cualquier tonto que fuera tenía una gran imaginación.”

“Todas hablan español en el universo.”

“Lo sé, mi amor, ciertamente cualquier persona con inteligencia.”

Felisa wrapped her arms around Zita and kissed her. “No puedo creer que perdí tanto tiempo leyéndolo.”

“Es nuestro trabajo examinar lo que encontramos en este sistema muerto. ¿Eso estaba en la caja de metal?”

“Sí, pero la mayor parte se desintegró cuando abrí la caja. Lo que sobrevivió fueron figuras anatómicas de las criaturas que deben haber escrito esta tonta historia.”

“¡Basta de estas criaturas muertas! Guarda eso y ven al hidromasaje y muéstrame tu figura anatómico.”

“Pero tenemos trabajo.”

“Olvídate de trabajo ya. Hueles a polvo. Ven aquí.”

“Estas tan fresca, mi amor!”

“Déjame mostrarte cuánto.”

by Russ López

“Watch out,” my sister Elena warned me, “Abuelita Marisol has decided you are too old to be single. She’s hired Señora Alba to fix you up with a suitable young man.”
 
Grandmother wasn’t the only one who thought I needed a partner. My mother gently told me last month, “I keep looking for a saint we could ask to help you find a novio.” I didn’t have the heart to tell her that the chances of the Catholic Church creating a patron saint of queer relationships was infinitesimally small.
 
It didn’t matter who or what you were, my family thought no one should be single. My Aunt Davida kept pushing me to go out and meet guys. “Sleep around until you meet one you like,” was her advice. “That’s the best way to find true love.” This from a woman who married my uncle when she was sixteen and was still blissfully with him nearly fifty years later.
 
One cousin suggested I should sign up for a dating service, not knowing all the apps I had on my phone, and another told me it was time for me to think about children. “You aren’t getting any younger,” he admonished. They preferred I meet a nice Mexican man, of course, or at least someone Latino. But that wasn’t necessary. Everyone just wanted me to be with someone.
 
I had four siblings, all of whom had at least embarked on a long-term relationship even if they didn’t last. It was my turn, if only to give everyone something to gossip about. “I’m sure there is someone wonderful out there for you,” Elena promised me. “And we will all talk behind your back about why he puts up with your annoying habits.”
 
I was twenty-six, out of school, and living on my own. I had graduated with a business degree and was an independent adult gainfully employed. On paper at least, it was time I acted like an adult. While my family was otherwise proud of me, Mom still had a picture of my league champion soccer team from my high school up in the hallway, they thought that being single made me incomplete.
 
On the other hand, I felt like I was just starting out in life. Despite the low-cost education I received from the California State University system and living at home my first two years, I graduated with huge student loans I can barely make the payments on. I drive an old car that embarrasses me and live in a studio apartment my brother Mike calls the smallest in Silicon Valley. I have far too much Indian blood in me to pass for anything but Mexican so if that isn’t a guy’s taste, I am out of luck. An accountant for a real estate company, my only luxury is my gym membership. Now that I think about it, maybe I was too dull to be marriage material.
 
If you want to hire a matchmaker, Señora Alba is a great choice. Not only is she a well-respected bruja, she also dabbles as a curandera, and during tax season prepares returns for half the neighborhood. Thus, she knows everyone: the good, the bad, the broke, and the single. In my family alone, she found Uncle Rodrigo his second wife, cured my cousin Manuela of hiccups by brewing a special herbal tea, and helped Elena straighten out her 401(k) roll over. “You weren’t too proud to go running to Alba to have your taxes done,” Elena taunted me. “What makes matchmaking so different?” Still, the idea of Alba assessing my physical, emotional, and financial strengths and weaknesses disturbed me. And though Alba has excellent taste in men, her love life is legendary, I was put off by her meddling. Angry that they thought I was a pathetic loser at romance, I vowed to Elena, “I am going to reject anyone that Alba picks out for me.” Childish, but they had hurt my feelings.
 
The next evening at the gym, I found out my humiliation had gone public when Mike and his buddy Alejandro teased about the matchmaking going on all around me. “No ring yet,” Michael reported to Alejandro as he held my hand up. “I’ve heard Alba has interviewed over a hundred men in three languages and none have agreed to woo my hermanito.”
 
“It’s his baby face,” Alejandro suggested as he pinched my cheek. “He’s cute in that muchacho next door kind of way but dating him would be like going out with a puppy dog. That’s not everyone’s taste.” Michael and Alejandro laughed while I turned red. They were best friends, having met when they started working at Mayfair High School where Mike taught Drama and Alejandro ran the ESL program. Though Alejandro was handsome and gay, I never paid much attention to him because he never expressed any interest in me. However, he had the key as to why Abuelita had made my love life her priority.
 
“Last Saturday, your grandmother was at Pancho González and Julian Chávez ‘s wedding. You should have been there, it was spectacular,” he explained. “They wore matching tuxedos and arrived in separate coaches drawn by white horses. There was a sit-down dinner at eight prepared by a chef from Oaxaca, and a midnight buffet that featured sushi and a taco bar. They had a band inside rocking the best norteño music I’ve ever heard, and a DJ blasting party tunes out on the patio. Your grandmother danced for hours. Everyone did. Sometime after her third glass of champagne, Abuelita told me you were her only chance to have an over-the-top gay wedding in the family.” I was doomed.
 
Over the next several days, I kept my eyes out for a setup, but nothing happened until Friday when Abuelita asked for a favor. “I bought a new television online and didn’t want it stolen off my porch, you know how bad the crime is on my street. So I had them deliver it at Santiago’s Market where I need you to pick it up for me. When you get there, see Tony, Santiago’s son. He’ll help you get the TV into your car and then come over with you to bring it up the stairs to my apartment. I arranged it all.” This was so obvious that I had a hard time not laughing. Still, if Abuelita asks me to do something, I do it.
 
Again, my humiliation was public and there was a crowd at the market when I got there including my mother, two aunts, my brother, and Alejandro. It was as if someone had sold tickets. “This is too entertaining to pass up,” Alejandro said, smiling.
 
To punish him and to thwart Alba’s machinations, I asked Alejandro to help me with the television. I admit I was tempted by Tony. He was mad handsome and still as built as he had been during his high school wrestling days when I had drooled over him. But I was determined not to let Grandmother run my love life and refused Tony’s offer to help. Abuelita must have been surprised when Alejandro and I carried her television into her apartment, but she didn’t say anything. I had won the first round in this war, but I didn’t gloat.
 
Afterwards, Alejandro and I went out for burgers to dissect the setup. “You know Alba would lead with a Dominican, she loves their music,” he teased. “Let’s face it, your family could use some outside blood.” That was true. Just about everyone in the family had married someone from Coahuila. Abuela had married a second cousin from her little village while Mom and Dad had lived across the street from each other growing up. My family never went too far afield to find our mates.
 
“Nothing against Tony, I’d have a roll in bed with him anytime.” I wondered why we had never hooked up. Maybe I was too timid to act on my crushes. “But he has no ambition beyond running his father’s store. I want someone who wishes he could go to Mars, even though he knows it will never happen,” I told Alejandro. “I want a guy who lives in his dreams. Tony is too literal.”
 
“Dang, you are tough,” he replied. “I’m lucky that Alba isn’t pushing me on you.” We both laughed.
 
Thanks to Alba, I started getting all sorts of strange requests. A guy I barely knew wanted me to be his date at his sister’s quinceañera party, a one-night trick from two years ago suddenly resurfaced to ask me to dinner, and a man at the gym invited me to go home with him. “You’re hot as hell, bro,” he said as he stood next to me in front of one of the wall mirrors by the free weights. “I want it right now.” Fortunately, Mike and Alejandro didn’t see us leave together. Gym guy was not one of Alba’s setups, however. Though I had a good time, it turned out he had a boyfriend.
 
The hits kept coming. A guy on Grindr texted me that he was “Grandmother approved” while a bartender asked me how the matchmaking was going as he slipped me his phone number. “I am exhausted from all this,” I complained to Alejandro the next evening at the gym.
 
“Cheer up,” he said as he hugged me. “Now you know everyone wants your hot body.” His arm around my shoulder felt good.
 
The next Thursday, everyone went to see Mike’s students perform Romeo and Juliet. With a party of thirty in an open seating auditorium, it was chaos with people trying to figure out where to sit. At the very last second, Alba ordered Kyle Moon, a gym coach, to take the seat next to me. This may have been innocent, but with Alba in action, I suspected everything. As far as I knew, Kyle was straight and I was pretty sure that Abuelita would prefer me to date a Latinx guy, but under the circumstances, I was annoyed by this blatant setup. To make matters worse, Alejandro was sitting on the other side of Kyle, rather than next to me, and by this point, I was convinced that he should be the one I go out with. But of course, he wasn’t anyone’s idea of a proper boyfriend for me. Keeping my anger hot, Abuela and Alba sat behind me, and before the play started, they loudly assessed the romantic potential of every young man in the audience. I seethed.
 
The family had found out I was gay ten years ago when I stupidly left a Valentine’s Day card from a classmate on the kitchen counter. Billy Martínez was a dream and had worked for a week to create a giant card that opened up into a three-dimensional football stadium with our names in a pink heart at the fifty-yard line. My parents were cool, though I was mortified when they put the card up on the mantle to show off. Elena helped me through that time. “Be grateful,” she told me. “Mom is trying to tell you the family loves you more than anything.”
 
Not everyone was nice about my being gay. Aunt Julia’s boyfriend is always making crude jokes, and a cousin pointedly told me that I was never allowed to be near her kids. There were guys at my high school who threatened to kill me, and a group of girls nicknamed me mariposa rosa and painted pink butterflies and obscene drawings on my locker. I was happy to get out of there alive.
 
Watching the doomed romance unfold on stage, I kept wondering why I was single and ultimately decided I was too shy. There were several men that in hindsight would have loved to become involved with me, but nothing ever happened because I was too scared to initiate a relationship. When this matchmaking ended, I vowed, I would go out there and act on my feelings. Then I decided not to wait. I abruptly asked Alejandro to go on a date as we walked out of the auditorium.
 
“Sure, if you want,” was his response. I didn’t find that reassuring.  
 
Regretting my spontaneity and fearing more public humiliation, I said, “Please don’t tell anyone about this. You know how everyone is watching me.” He agreed to keep it quiet.
 
Alejandro is so handsome, he makes me nervous. He is two inches taller than me with a perfectly proportioned body, well-muscled arms, and a widow’s peak that draws attention to his big sparkling eyes. We are about the same dark shade of brown and he has a way of talking with his hands that I find irresistible. Three years older than me, he was much more grounded than I could ever be. Though he likes to laugh and is always full of jokes, he is serious while I am all giggles. Thus, I didn’t have high hopes for us going forward. I figured he was only going out with me out of pity.
 
It turned out to be the best date I had ever been on. We were blissfully happy and totally in sync with each other. At one point I was suppressing the urge to laugh and tell him I was having a great time because I didn’t want him to think I was a gushy romantic when Alejandro leaned back, laughed, and said, “This dinner with you is so wonderful, I don’t want it to end.” I was hooked.
 
He spoke a lot about his family. “As the youngest, I am the only one with status; everyone else stays in the shadows so they don’t get picked up. From the start, I had to interpret for them and represent them when we faced the outside world.”
 
I felt all of my privilege for being born in the US, but I also knew the pushes and pulls he had experienced. “We all have to work together to protect the most vulnerable of us,” I told him. “A lot of folks are here without documents. We live intertwined together, we share our lives. If we lost any one of them, we all would suffer,” I felt helpless as I always do when the topic is immigration.
 
“I teach ESL to help the kids who are like me when I was young,” Alejandro told me. “There is so much pressure to get ahead, yet at the same time, their families so depend on them that they can’t keep up.” Mike had told me how Alejandro’s students adore him and how he is always helping them navigate the bureaucratic mess that ensnares non-citizens.
 
“I know how our families frame our lives,” I said. “My father wouldn’t let me become a social worker or a community organizer. No. I had to major in something practical like business. ‘We gave up your brother to teaching to help our people. You have to look for other ways to make something of yourself,’ he told me. You’ve met my father. I couldn’t ever go against his wishes.”
 
“I understand. We are all still trying to figure out our way between our families and the world,” Alejandro nodded. He still lived at home, though Mike told me he wanted to move out. “I’m always second guessing myself. I wonder if teaching is the right way to go. Sometimes I think I should run for office to change things. My father thinks that I am crazy when I talk about that, but I like to aim high.” I just stared into Alejandro’s eyes, lost in their possibilities.  
 
After a brief silence, Alejandro said, “When you give me that cute puppy dog look, I have to ask if your apartment is really as small as your brother says it is.”
 
“It is pretty cramped,” I answered. “When I have a guy over, we have to be on top of each other all night long.” I let that sink in as I explained, “I moved out of my parents’ place when my sister and her three kids came to live with us. I was too old to sleep on a couch every night.” Then I took another bold step. “Want to come back with me?”
 
When Alejandro looked around my tiny apartment, he smiled and said wistfully, “You are so lucky. I wish I had a place like this.” Then he pushed me down on the bed.
 
Within a week Alejandro was spending every night with me. By the end of the month, he had moved in. We alternated Sunday dinners, one with his family, one with mine, and we did everything together: the gym, soccer, and knocking on doors to get our candidate elected to the city council. Still, as far as I knew no one had a clue we were seeing each other, and I was happy I had outsmarted Alba. I wanted to keep things quiet but the news of our relationship began to leak out. Elena saw Alejandro’s car parked in front of my apartment early one morning, and Mike caught us sharing a drunk sloppy kiss after our soccer team went out to celebrate a big win. He confronted us when he saw me wearing Alejandro’s beat up Mayfair High tee shirt at the gym. “Listen up, lovebirds. Either you go public, or I am going to tell everyone. I can’t keep a secret.”
 
It is hard to overstate the status of Mexican grandmothers. Fathers may love us to pieces, but they always have unreasonable expectations. We have to have perfect in every way. My father even had an opinion on what car I should drive. “Get a dark sedan. Cops always pull over a Mexican driving a red SUV.” Daughters have it even worse. Mexican fathers’ primary role in life is to make their daughters miserable by being overprotective. They hate every boy who even glances at their virginal little girls.
 
Mexican mothers are similarly ambiguous. They will fight to the death to protect us, but they also feel it is their duty to wheedle, threaten, prompt, and cajole their sons to do what they think is right. It drove my mom to madness if I left the house in a wrinkled shirt, for example. “If the teachers see you disheveled, they will blame me,” she said, tears running down her cheeks at the thought of the humiliation. Again, Mexican daughters have it worse because their mothers try extremely hard to prevent them from making the same mistakes they did. Daughters are too much like their mothers to get along.
 
Grandmothers, however, are the warm source of unconditional love. There are never any fights, never an argument or raised voice, and they never hurt our feelings. Abuelita would slip me cookies when my parents weren’t looking, and she let me stay up late to watch spooky movies when she babysat me. I admit to being annoyed when she made me say the rosary with her, and I grew bored the hundredth time she told me how bad things were in Mexico before she left. But those were minor quibbles.
 
Abuelita was the tough matriarch of our family. Denied the opportunity to go to school, she had taught herself how to read and write Spanish and after she moved to California, learned it all over again in English. She organized everyone to come to the United States, and when the window to citizenship opened up in the eighties, she had everyone apply. She and Abuelito raised seven children, and thanks to their force of will, none of their children or grandchildren succumbed to gangs or drugs. After a lifetime of hard work cleaning hotel rooms, Abuelita was at last retired, but only because her children demanded she rest. We all did whatever we could to please her.
 
Imagine my fright that I was going to confront her, perhaps the first time since the time of the fifth sun—the Aztec creation myth says we are in the fifth world—a grandson was going to directly contradict his grandmother. But I owed it to her. I couldn’t let her keep spending her money finding me a match.
 
My opportunity came while we were at Tía Agueda’s house. Alejandro was out back teaching Mike’s four-year-old and the other kids how to merengue; by now he had spent so much time with my family that if I showed up someplace without him, everyone asked where he was. My parents and their siblings were playing cards around the dining table while arguing over who was responsible for the latest defeat of the Mexican National Soccer Team. Abuelita and I were cleaning up in the kitchen. She is a tiny woman; I could easily lift her up over my head. Her short hair had turned gray before I was born; now it was mostly white, which made her dark skin glow. While she talked about her volunteer work at the parish, I kept looking at her to assess her mood. But she is as undecipherable as a marble statue. No one knows what Abuelita is thinking, but we always know what she wants. And here I was about to go against her wishes.
 
Surprisingly, it went very well. “Alejandro is a good boy. His family is very proud of him.” That is the greatest complement Abuelita has for anyone. “Es muy guapo,” she added. “Though both of you need to put on some weight.”
 
“No hard feelings?” I asked. “I am so sorry you were worried about me. I apologized for making you go through all this.” It was heartfelt.
 
“Pues, it was worth a try. I only wanted to help,” she said with a smile. I offered to reimburse her for Alba’s fee, but she refused. “This is a business transaction between the Bruja and me. Don’t go poking into it.” I backed off and put it out of my mind because I was excited that I was in a full blown, open, happy relationship with Alejandro. And I was with him on my own, without anyone pushing us together.
 
My sister finally told me what happened. “You really are a fool,” Elena rolled her eyes at my innocence. “No one can outsmart a bruja. It’s impossible to stop an abuela when she sets her mind to do something. Everyone knows that Alba planned to set you up with Alejandro from the beginning.”

Russ López is the author of six nonfiction books as well as book reviews and journal articles. After an extensive career of community organizing and social justice advocacy, he is the editor of LatineLit, a magazine that publishes fiction by and about Latinx people. “Matchmaking and Taxes” is part of a planned collection of short stories tentatively titled, The Lesser Saints of Silicon Valley. Originally from California, López has degrees from Stanford, Harvard, and Boston University. He currently divides his time between Boston and Provincetown, Massachusetts.

​I’ve just returned from my very first visit to Magdalena de Kino, Sonora, México where I attended the most spectacular birthday celebration for the miraculous San Francisco, the town’s patron saint. Magdalena was the town where both my mother Dolores and my grandmother Conchita had been born and raised. And in this same town in 1923, my Nana Conchita busted my grandfather’s antique black clock with a hammer, divorced him and with just my ten-year-old mother and a mochila, came to Nogales, Sonora where my grandmother’s two sisters, Carmela and Dolores, lived. After a short stay, my Nana Conchita found work as a laundress in Arizona and she and my mother ended up in Barrio Anita, one of Tucson, Arizona’s poorest barrios, and that’s where my four older sisters and I were born.
 
I sincerely believe that if you’re very lucky, in your life there is someone whose words you will never forget, and for me, it was my Nana Conchita. She may have never told me that she loved me, and I may have never told her that I loved her, but in both of our corazones, in our hearts, without these words, we knew. So, right here I have to declare that I truly love and remember everything that my grandmother told me and I will never forget her words. I no longer have her in my life, and I do not remember exactly when she gave me this advice, but here it is: She said that when a very esteemed person in your life leaves this earth and you can no longer see them, their spirit, their essence, will continue to visit you in your dreams, your memories, and they will even walk right next to you even though you will probably never actually see them; but if you’re really lucky and have faith, sometimes you can feel their presence.
 
And if you find yourself all alone in a desperate, dangerous situation and in need of guidance and help, that’s when you will hear and maybe even see them because they will always come to help you. When she said this, I almost wanted to ask her if she would be by my side and come to help me if I ever needed it, but I thought it would be disrespectful so I didn’t say anything. She did not say anything either, but she looked intently at my face and the next thing she did was smile and pat my shoulder, the very same shoulder that she always used to hoist herself from any sitting position.
 
I thought that with my crazy imagination I would surely see spirits like Lola, my mother, sees Dusty, her best friend long gone, but I never saw any until tonight. And it could very well just be a myth, but like I read somewhere what a folklorist wrote about myths: If you believe that they’re true, then they’re true. So, for me, this is true: I believe that my grandmother will always be by my side forever, and she will come to help me if I need her just as she did tonight when she appeared and helped me save that little girl at the dry riverbed in Magdalena, Sonora, Mexico.
 
And tonight, right before I go to bed, I am remembering very clearly my grandmother’s precise description of the fiesta that she told me about over fifty years ago when she was around sixty years old; I was around twelve, newly-arrived from Salinas, California where I had lived the last four years speaking only English. But even so, my grandmother and I had many long conversations because she understood my English perfectly and I, slowly, eventually, learned her Spanish.
​
In my saved-memories, very vividly I can picture my Nana dressed in a faded flannel nightgown and robe and praying the rosary every single night before she went to bed. She would slowly kneel next to her dresser where she had an improvised altar with her eight favorite saints. In between the rosary’s misterios, she would abruptly stop her praying and with her soft, sleepy voice and in great detail, she would describe Magdalena’s wondrous fiesta and the authentic Sonoran culinary delights that no other state in Mexico or Tucson restaurant could ever hope to duplicate or beat.
 
These two were her fondest memories and she never stopped telling me this. “¡Pos sí, Quinta, créyemelo o no, pero de veritas, anque hiziya un pinchi calor de la tiznada—y esto anque juera o no juera ya en el mes de octubre—no cave duda que la fiesta del milagroso San Francisco en mi pueblito de Magdalena de Kino, Sonora, era la fiesta más grandiosa de todo el mundo y con la mejor comida en todo México!”
 
Yes, these were my grandmother’s exact words in her very own distinctive and unique “imperfect” Spanish which included a truly impressive range of misuse, mispronunciations y las muchas malas palabras that I surely hope won’t offend anyone. And guess what? I now have to totally agree with my grandmother: The fiesta for San Francisco is the grandest celebration in the whole world and with the most delicious dishes in all of Mexico, especially the pozole de gallina pinta which is made with beef, pinto beans and hominy, and it is absolutely not a painted chicken! ¡Pero, híjole, Chihuahua, it was just like she’d said, for it being the month of October, it sure was tiznada HOT!!! 

​What you will never ever imagine when you see me standing anywhere looking toda rascuachita, chamagosa, y cochambruda, holding onto my notepad, my beat-up and battered famous quotations book, thesaurus, and Spanish and English dictionaries in my hands, is that I have the audacity to call myself a writer; but honestly, I do!!! I do!!! I mostly write about my good, bad, joyful and sad memories; lots of descriptions of my days, music that I love, my crazy relatives, my typing clients and all of our inane nonsense and shenanigans. I started writing the day that I got my book of famous quotations and my English and Spanish dictionaries sometime before my twelfth birthday. I remember when I told my Grandmother Conchita that I wanted to be a writer, she told me with her usual enigmatic words whenever I came up with an impossible, quixotic goal: “Ay, Quinta cabrona, ¿pos cuantas veces te voy a dijir que ‘del dicho al hecho hay muncho trecho,’ eh?” Which crazily translates to something like this: From the saying/statement to the action/deed there is a very long distance/space.
 
My Nana always felt that my writing (grouped along with my reading, daydreaming and my obsessive counting) was nothing but another one of my “puras bavosadas y pendejadas despilfarradas,” saliva-drooling nonsense that would make me waste and fritter away an entire day doing absolutely nothing. But anyway that didn’t stop me. First chance I’d get I would sneak away somewhere to write, but without fail my grandmother would find me, then she’d sigh, sniff and snicker, and—THUNK!—right there’s when she’d smack me on the head with her shoe or with the end of the broom or with whatever else was in her hands.
 
Well, believe it or not, in spite of the literal and figurative chingazos that life and my grandmother gave me, I still continued to write every chance I got because I wanted and needed to make some sense of my life that was filled with empty blank areas and horrific nightmares and of course this has turned out to be a super-long and difficult endeavor without a final resolution in sight.
 
Well, besides claiming to be a writer, I have another delusion of grandeur: I could’ve become a photographer like the woman who went around 14 La Quinta Soledad taking pictures of very sad and very poor people during the Great Depression. I forget her name—but it’ll come to me when I least expect it—anyway, just like her, I would have plenty of these gloomy subjects around here, except that I would prefer to take photographs of smiling people if I could find any.

And I would’ve been a good photographer because I have a tendency to view life like as if I was holding my hands out in front of me, my two thumbs together making a square, but missing the top line, and I am always checking out the lights and shadows and colors. For dramatic and most gripping effect, I especially like either the stark blacks and whites like in negatives, or a kaleidoscope of the latest-invented eighty-four Crayola rainbow colors to place over people’s heads.
 
With the camera in my mind I can very expertly create the most riveting dramatic images and scenes to either photograph plainly or to film with plenty of freezes, slow and fast motion speeds, super-impositions, compressed times with rolling white meringue clouds, deliberately out-of-order flash-backs to the past, flash-forwards to the future, intentional blurs for dramatic effect, and instant replays for the dumb ones who missed it the first time.
 
And because I like to write, I can even write the piquant and racy dialogue and deep-voiced narrative voice-overs, or else the people can talk sentences with just their eyes or with their words in bubbles over their heads like in the comic books. Or in contrast, I can even imagine the most tranquil inky-dark absolute silence like in a black bottomless abyss where a giant octopus awaits with its eight lazy floating tentacles.
 
Plus, not only that, but to accompany these scenes or images, I always then select the background music that will perfectly fit the mood, themes, or even the wild pacing of my photographs or films like from the most soporiferous sleep-inducing gringo classics like from Brahms’ “Waltz in A Flat Major, Op. 39, No. 5,” to any of the raunchiest and liveliest Mexican corridos norteños like from Los Alegres de Terán, or even the beer-drinkers’ favorite anthem: “Volver, Volver,” sung loudly by just about any drunk chorus of borrachentos desentonados right before the serious fistfights begin.
 
Needless to say, if you’re going to have delusions, you might as well go to the very top pinnacle, like up to Mount Everest, and that’s precisely why, in all of my daydreams and fantasies, I myself could’ve become a famous photographer just like Dorothea Lange—somewhere in my memory bank I found the answer that I needed: Dorothea Lange was the Depression photographer’s name and the name of the woman in her most famous photograph was Florence Thompson.
 
Or, you know, I could’ve even become a movie director like Alfred Hitchcock and I would give myself lots of cameo roles, and then I’d unobtrusively stroll in and out of all the different murder scenes, like maybe I could be a detective taking copious notes in a red spiral notebook, and plus I would get to mingle with the real actors and eat the fabulous catered meals under a rented tent.

At present time, I am a typist for my relatives, friends, felons, juvenile delinquents and a few law-abiding citizens, and I like to introduce myself as a “writer” to them. Although to be sure you could rightly say that calling myself a “writer” is quite a hyperbolic exaggeration because I truly believe that my command of both the English or Spanish languages is almost non-existent due to the fact that I have a very wonky manner of speaking and writing in a very mixed-up hodgepodge manner with improper bad English, pocho-mocho Spanish, Spanglish and code-switching.
 
But before you know it, like an uninvited intrusive comadre mitotera butting into the conversation, my Past always inserts itself into my Present every chance it finds, and then I can’t find margins or seams to separate the two. At these times I even think that I could be like Joanne Woodward in the movie “Three Faces of Eve,” where she had multiple personalities because when she was a little girl she was forced to touch her dead grandmother. But I know for a fact that I never touched my Nana Conchita to give me this kind of trauma because I never even went up to her coffin. And besides, to be honest, sometimes I think that I don’t even have one personality, much less three!!!
 
And added to that is the bad habit that I have of always hesitating before answering anything because I have to first, calmadamente, translate the words in my mind, Spanish to English, or English to Spanish, until I form a mental picture of them like as if I was going to take a photograph of them for my favorite Graphic Arts class at Tucson High way back in 1955 to 1956 when I was almost sixteen years old, in the ninth grade, and right before I dropped out of school for the first time.
 
Because of my high vocabulary score on my last exam when I ended the eighth grade at John Spring Junior High in 1955, I was mistakenly placed in Miss Benvenuto’s Advanced Reading and Writing English Class at Tucson High School where I surely had no business being there. In Miss Benvenuto’s class I had to read novels and short stories, write essays, and learn grammar and punctuation. Of these, what I did learn to enjoy the most was the reading of the assigned short stories and novels and then writing what I thought about them.
 
But learning the punctuation and the grammar gave me the worst headache that not even my Nana’s sliced raw potatoes on my forehead could take away. Las desgraciadas commas, I just tended to willy-nilly insert them like as if they were raisins in the oatmeal cookies, and I walked out of the class before I learned what a semicolon or a colon was really good for. But I do love the dashes that interrupt whenever and wherever they want—just like I do—and the parentheses that I stick in anywhere and anytime always remind me of those know-it-all viejas chismoleras that you can always count on to give you that extra, sometimes trivial, information. As for the exclamation marks, Miss Benvenuto insisted that only one was needed, but sometimes if something’s exciting, frightening or terribly important, I use three!!!
 
So without any nalgas huangas excuses or apologies, in April, 1956, I walked out of Miss Benvenuto’s class and dropped out of school before I even finished the ninth grade. In September, 1956, I did start the ninth grade all over again at Belmont High in Los Angeles, but I only lasted almost two months and around the end of October I dropped out for good this time and I returned to Tucson. And to be honest, I can sincerely say that in both of those ninth-grades, except for maybe the Typing and Gregg’s Shorthand classes, I didn’t learn anything even remotely worthwhile.
 
But now, in my writing, like as if it was a fence separating any of the feuding barrio neighbors, I just stick a semicolon in wherever I want; and the colon I use like as if it was a trumpet announcing a list or something important, or else it’s right before a famous quotation. To this date I still forever use the sacred punctuation marks without respect or boundaries or even omit them completely, but, really, put simply, what almost anyone really needs is two things: a question mark that wants an answer and a period that stops everything in its tracks, like this: period.
 
There’s lots of things that I’ve forgotten, thrown away or left out intentionally, and there’s still many more things that I’ve confabulated, obfuscated, sugar-coated and glossed over and which surely proves or confirms why Miss Benvenuto called me an unreliable narrator who had no form or structure!!!
 
And sorry, here I’m not “copping a ‘tude,” an expression that my juvenile delinquent clients always use, but I don’t even give a tiny rat’s pizzle about my sentences that tend to run-on untethered like cucarachas when you turn on the kitchen light with a can of Raid in your hand, and I ignore all of the rest of that boring English chicken-cuacha which included all the pendejadas like predicates, split infinities, dependent and independent clauses, sentence fragments; past, present and future tenses, transitions, points of views, diction, active and passive verbs and all the other chingaderas that never agreed and that I either violated, abused, mis-used, mis-placed, or like as if they were limp huevos boludos, I just simply left them somewhere dangling.
 
Right off, no matter how much I try to learn what Form and Structure means in writing, I obviously have no grasp of whatever that is. So, I do have to admit that I am just like as if I was a chapulín hopping around with all the other grasshoppers in a green alfalfa field. I have a tendency to either over-write or under-write and I do repeat a lot of senseless things or jump forward and backwards with the subject, point of view, time, place, mood, transitions and dates all out of order. I also create a very confusing syntax where the arrangement of my words inevitably either leads to muddled confusion or to scornful disdain. I don’t know how or why, but I even somehow manage to turn my statements into questions. Like this, you see?
 
But anyway, who cares what I violated to my heart’s content and even though I may not have learned the perfect punctuation and grammar before I walked out of Miss Benvenuto’s class, for sure what I learned was how to take very good notes because to this day I sagely and diligently follow the advice of an Italian man named Dante Alighieri who in my battered book of famous quotations wrote: “He listens well who takes notes.”
 
I have a perfect photographic memory (eidetic is the exact word in my English dictionary and in the newspaper’s crossword puzzle). So, with my notes I can recall anything with the most exquisite details in either English or Spanish, and I can describe, almost word for word, the things that I see, hear, touch, smell, taste, or feel. And of course, inevitably, to spice things up, I add my own music, imagery and dialogue. Well, sometimes I do forget the names of famous people or movies or words to a song, and I mix up a few places on the map, and some dates and even some years. But when I really need or want to remember something, it just comes to me, and conversely or reversely, when I don’t want to remember something, it doesn’t.
 
To be honest, with any one of my stolen pens or pencils that I have an overwhelming compulsion to steal, I can fill up pages and pages with my writing. When I am finished, I put them in a folder and label them as “Chapter” and I add a number and a few descriptive words to help me find something without going through all the pages. Some of these “chapters” are long, some are short, and most are choppy and wacky! Then I stuff them into my Salinas suitcase along with the stash of pens and pencils that I bundle into groups of hundreds.
 
On my “feeling good” days, I take out some of what I’ve written and I try to bring things up to date or to provide more information. I label it with capital letters: “UPDATE” and add descriptive words like I do on the “Chapters.” I think it’s like when you write postscripts in letters or film flash-backs and flash-forwards in movies. Some of these are brief and some are long with more details, but still not counting as a chapter.
 
This, of course, wreaks havoc with my past and present tenses, and in some of the dizzying transitions where I jump from there to here or from here to there, and get my dates mixed up, but I believe that’s exactly how people talk, so why not in writing? Anyhow, in my defense, all I can say is that when I’m not purposely avoiding something or else leaving out important information, I try my very best to stay truthful and really, aside from the lies in the letters and forms that I have to type for my quasi-law-abiding or my truly-felonious clients on another one of my client’s stolen electric typewriter—and these surely don’t count because I only type what they tell Mack or me—I never knowingly tell a lie, and so, on this you can trust me completely and implicitly.
 
But not to brag, I really think that if anyone will give me a word and its meaning, I can easily write a sentence with twelve or more words and it will be perfectly coherent and intelligent-sounding even if I can’t pronounce the word itself, and which is why I never could appear on “Jeopardy,” and that’s irregardless—yes, I do know that’s not a word—of how much I adore the handsome Alex Trebeck, but there really wouldn’t be one solitary interesting thing about me that we could discuss when he comes back after the break to chat with the contestants.
 
And although I’ve probably been speaking English all my life, I still speak it with an accent, and this I only know because when I was a student at Belmont High in Los Angeles, I applied for some kind of student/worker telephone operator job, and after the woman extolled my high test scores, she told me I couldn’t be hired because I had an accent! Well, I don’t know where the accent came from, but I suspect that it is in the genes before we are even born. So, yes, it’s an example of bitter irony at its best because when have you understood what any foreign telephone operator in New Delhi tells you nowadays? And sometimes, can you believe this, I’ve even been asked by some jackass what country I’m from?!!!
 
Well, if my English is horrid, you can bet for sure that my gobbledygook Spanish comes close to jack-shit, and I always like to make jokes about it because I surely cannot explain all that baloney about the assimilation and acculturation process; I just know that I am a product of a school system where speaking Spanish was forbidden, Treaty of Guadalupe or not.
 
So, anyway, pues, here’s where I think that I started to speak Spanish. In July, 1952, at age eleven and seven months, I came back from Salinas, California to Tucson, Arizona to help take care of my grandmother at 937 North Contzen in Tucson’s Barrio Anita. My Nana Conchita had just had an operation on her hips, and she had a cast on her left side from her waist to the beginning of her thigh, and on the right side, the cast went from her waist to her knee. Since she couldn’t move up from her bed for around six weeks, I was there to attend to her needs which were quite extensive, but the main one was to keep her entertained with lively conversations so she wouldn’t get into a bad mood or all sad and melancholy about the Mexico she’d left behind in 1923.
 
I don’t remember what language I spoke the first eight years of my life here in Tucson, 1940 to 1948, because those years are a total blank, but for the next four years, I had lived in Salinas, California from 1948 to 1952, where no one would be caught dead speaking Spanish for fear of being mistaken for a piojoso bracero field-worker from Mexico. In turn, my Nana Conchita was from Mexico and in the United States since 1923, but she wouldn’t be caught dead speaking English and be mistaken for an officious social worker from the welfare department even if it meant being called a guacha, or one who still wore guarachis on their feet and the cotton calzones de manta underwear, like as if she was a peasant soldadera in the revolution with Pancho Villa.
 
At first my Nana’s Spanish, even before her sleeping or pain pills started to work, had sounded like plain gibberish to me, but it seemed as though since my arrival that hot and windy afternoon, by pure force, but most likely because I had spoken Spanish in the first eight years of my life when I had lived before in Tucson, already I was re-learning Spanish by the minute, and by constantly interrupting and asking questions and forming mental images with the answers, I could instantly translate to English the gist of what my Nana was saying in Spanish, and somehow she always understood what I said in English.
 
To me, young as I was, some things that my Nana said made sense, others didn’t, and some I may have invented as the years went by because my memories always tend to jump around like pork chicharrones on the hot grill. In some strange way, I managed to memorize most of what she told me, and that’s why even now I try to write her words exactly as I heard them, and I don’t care who objects to them or who dares to correct me. And for sure, I really don’t care if someone tells me that they are “imperfect,” or that they don’t know what they mean because like I always like to say: that’s precisely why dictionaries were invented. (Hint. Hint.)
 
Anyway, I could talk to her and jabber away as much as I wanted to in English and she would answer me in Spanish, and if ever I had become a movie screenwriter and had written the dialogue for the scenes with my Nana Conchita, the actor portraying her would only speak Spanish and my grandmother’s words would be shown in English subtitles at the bottom of the screen, like in those foreign movies where you have to read really fast so you won’t miss seeing the actors’ dramatic facial expressions or subtle movements, and her bad words would be like this: @#%$^&*%# like in cartoons where someone smashes their fingers with a hammer!!!
 
I never really wanted to speak any Spanish, but not understanding my Nana when she told me that when I’d gone to California I’d left Guatemala for Guatepeor, made me resolve to pay more attention to the Spanish because, who knew, maybe, unlike the people in Salinas, California, here in Tucson, Arizona they were so backwards that that’s all the people spoke. But still, my Spanish must’ve been good enough because anyone in Barrio Anita that was allowed to be my friend spoke the same “improper and rascuacho” Spanish that I did, and so without going into details, that should tell you enough.
 
So, in less than a month after arriving in Tucson, I start to speak Spanish effortlessly—well, almost effortlessly—and soon I could easily switch from English to Spanish and from Spanish to English. Maybe it was like I remember René Martínez, the dishwasher in Salinas who started to speak English from one day to the next like as if he always had the English stored in his brain without his even knowing it; or maybe it was because I must’ve spoken Spanish earlier in my life; or maybe it was just because I was surrounded by it, here in this Tucson Barrio Anita.
 
That same summer when it was raining so hard that I could not go outside, not even to feed the chickens, and I only had the “Confidencias” magazines that my Nana Conchita’s two sisters sent to her from Nogales, Sonora for reading, so I taught myself to read in Spanish, slowly and by mouthing the words. In these “Confidencias” magazines, my Nana detested the monthly horoscopes that she called “puras brujerías fraudulentas,” but which I avidly devoured. Eventually, though, I believed these horoscopes had to be the most stupidest things I’d ever read, because even if the “Confidencias” had been up-to-date, and even when I cheated and tried three different Zodiac months, the actual December, and then November and January, none of the horoscopes even came close to fruition for me.
 
These magazines consisted mostly of what my Nana called las vaquetonadas y sinvergüenzadas indecentes, but which really just described nicely and circumspectly the latest escapades of the beautiful movie star María Felix and the results of the latest crooked political elections and what the newly-elected officials were already planning to steal next after they dedicated a new dam for the applauding campesinos. The two things that my grandmother really liked to read were the maudlin and soppy advice for the lovelorn, but only if she agreed with it and if it didn’t call for any of the forgiving “mierdero,” and the recipes that didn’t require strange ingredients like plantains and alcaparras and habichuelas, ingredients that were unknown to the Chino grocers, so she never made any of these dishes.
 
Well, I did manage to learn Spanish, as the saying goes, something like this: “de el trote y al moche,” and today I can brag that I can speak, read and write Spanish, albeit very badly—so, go ahead and call it an “improper and rascuacho” Spanish. And even so, by stretching the definition somewhat, you could say that I’m bilingual, which supposedly is a good thing to put down on any employment application, especially here in Arizona where probably over half the population speaks Spanish, or at least until some tapados get it outlawed.

​A native of Tucson, Arizona, Silviana Wood received her M.F.A. in creative writing from the University of Arizona and has been involved in the local theater community since the 1970s. She is known for her bilingual comedies and dramas as well as for being a professional storyteller, actor, director, and teacher of literature and Chicano theater. Silviana has twice won the Chicano/Latino Literary Prize from the University of California, Irvine: once for short story, and once for drama. She has also received playwriting fellowships and done several residencies at the Guadalupe Cultural Arts Center in San Antonio, Texas. She has been a member of TENAZ (El Teatro Nacional de Aztlán), Teatro del Pueblo, Teatro Libertad, and Teatro Chicano and is a founding member of Mujeres Que Escriben, a Latina writers’ group that was formed in 1991 and is comprised of professional women whose poetry and fiction have been published in various anthologies. In 2016, Barrio Dreams: Selected Plays by Silviana Wood was published by the University of Arizona Press.

​I could no longer control the shaking throughout my body.
 
Like a possession my body was no longer mine. Like a possession she was no longer herself…….or was she? Was this really her? The real her who I kept trying to be in denial of, making excuses for. Her blue eyes that made strangers do a double take everywhere we went because they seemed unreal, gorgeous, piercing, wolflike, now looked sinister, pitch black, soulless. she looked at me with anger that I didn’t cause. But that didn’t matter. I was the one here. I was the one who chose to stay. Of the many who came before me I chose to stay. her beauty and PUBLIC persona pulled so many in but just as quickly ran them all away. The other side she couldn’t hide for long would always come out at the smallest things. “It’s the stress of her demanding job, the drugs and the alcohol that caused the extreme mood swings,” I’d tell everyone, “its really not who she really is, don't worry.” The smashing of glass dishes and expensive rare art pieces she’d splurge on often became her throw toys in her fits of rage. I finally spoke up. “Stop ruining these things you’ve spent all your hard earned money on, this makes no sense! You’re mad at ME, not the $10,000 vase!” I shrieked over the sound of glass hitting another wall. She stopped and looked at me, sweat dripping down her face, neck. She looked at me like she had forgotten I was there. Her bouts of rage were so intense once I yelled it was like she was startled by my presence since she had been so engulfed in that dark world her mind often went to. She kept staring at me breathing heavy, her chest rising and falling fast. It was like I could feel her adrenaline, like a static in the air when the television was on, even on mute, you could feel it. The same adrenaline that she had when making her legendary hits that everyone idolized. The legendary hits that were a perfect distraction for everyone around us. She began twisting her hip length hair and pinned it on top her head. “You’re right, these things have value,” she said monotonously with a cold chuckle. She walked towards me. At this time we had only been in verbal fights in the past so the voice in my head telling me to run was foreign, so foreign that I didn’t listen. I stood there as the first punch hit my face. The force of it made me fall to the ground. I sat there with all of the voices of her exes in my head laughing telling me they told me so, telling me that I’d been warned for years about what she’s capable of. “They’re just jealous,” she’d reassure me. “They were there before my success and you’re here after it so of course they’d be envious of you and try to break us up, don’t be so naïve,” she’d tell me all the time. “Don't call us when the demon everyone says she is finally appears,” I could hear my friends repeatedly saying after I blew them off and cancelled plans yet again with them for her. Or when they’d see the holes in the walls she had made with her fists in the mansion or another gossip blog posting of her ruining yet another hotel room. That first punch was the first of many to come over the next 5 years. The rumors in the blogs of our "troubles in paradise" were always laughed off as "two girls crazy in love," the rumors of her going into jealous fits of rage were romanticized. The consistent music hits and awards and broken records were so much of a distraction that no one paid attention to the gravity of the situation. Yes our physical statures weren't much of a big difference but it was the mental that kept me imprisoned.
 
Before the first punch she had beat me up and down so much mentally that there was no escape in my mind. My self esteem and view of self was so warped that the idea of standing up for myself or leaving was almost impossible. 5 years into the beatings along with my newly acquired vodka habit and overall not taking care of myself and my health, my body was so weak. I began losing a lot of weight. The night of the last gut punch I knew this was the end. I had no more fight in me. As the usual disarray of objects in the room around me faded I prayed that others in my current predicament would see my death and it would scare them enough to leave IMMEDIATELY.

by Tommy Villalobos

Giggles walked like she was dancing to Oldies But Goodies, Volume One. But she also looked sad all the time. It was like she wanted to be sad. Her friends already had a Sad Girl so they called her Giggles.
 
People called me Gordo. I wasn’t fat. Maybe just a little.
 
But let me get back to Giggles. She was the finest one in the Projects, 1950’s.
 
One day, Lil’ Chango, skinny with a face that not even a madre could love, tried talking to her. He was barking like a seal up the wrong playa. I looked at her face when she was listening to the bato. Her lips were twisted. Like he was making funny noises with his nariz.
 
He walked away with his head looking down, like he didn’t care if a carucha hit him. She looked at me and I made a serious face. Inside, I was laughing like when I saw that cartoon where the coyote gets hit by a giant rock when he’s chasing the pájaro loco.
 
Giggles started walking again with that special wiggle. I wanted to tell her something like a priest. I walked fast.
 
“Hija, you can tell me,” I said.
 
She turned to look at me like I was a cucaracha walking around her sopa.
 
“I don’t know you.”
 
“I want you to.”
 
“I like someone.”
 
“Never saw you with someone. Never saw you with anyone.”
 
She looked at me like I was another cucaracha but this time in her sopa.
 
“Are you following me around?”
 
“Even when I sleep.” I was trying to sound romantic like in a song.
 
“Don’t!”
 
“All girls like being looked at.”
 
“Not me.”
 
“We’re meant to be.”
 
“Uh-uh.” She walked quickly away. Almost ran.
 
People could ask me why I didn’t give up. You know, chase other girls who liked gordos.
 
I would tell them that girls act in different modos. They can hate you but then you say or do something they really like, they grab you and put your arms around them. You feel like an octopus wearing a Pendleton.
 
“Where have you been, Felipe?” said my mother as soon as I walked in the door.
 
“Getting fresh air.”
 
“There isn’t any.”
 
I wanted to tell her about Giggles but she might not like her walk.
 
“Áma, I like this girl and—”
 
“She won’t be the last.”
 
“This one is the first and only. She is special.”
 
“She lives in Beverly Hills?”
 
“Huh?”
 
“Take out the garbage.”
 
I took the garbage outside. A chavalo called Freddie saw me.
 
“Hey, Phillip,” he yelled. He was the only one who called me by my name.
 
“What?” I said to the mocoso.
 
“You want to play baseball?”
 
He didn’t see that I was grown up. Baseball was for chavalos. Girls were more fun now.
 
“Freddie, I like girls now,” I said like I was confessing to a priest.
 
“What?”
 
Freddie was stunned, making a cara like I said I liked wearing dresses now.
 
“One day, you’ll throw your baseball to your sister because you won’t be able not to.”
 
I really thought of saying that because his sister Lydia was a better baseball player than him and she was only seven.
 
“You’re talking crazy, Phillip. Go get your mitt, let’s play.”
 
“Maybe later,” I said, knowing “later” really meant never.
 
He turned and walked away. He turned back to look at me as if he wasn’t sure who I was. Then he disappeared into the Projects. I felt kind of sad. Like my childhood was disappearing with him.
 
Then I thought again about Giggles and I wanted to kick Freddie and my childhood further into the Projects. God made something more fun than baseball.
 
Then my friend since I forget how long, Jimmy, saw me. We were the same age. He was more serious than me. Of course, my mother would say everyone was more serious than me.
 
Jimmy loved math and collecting baseball trading cards. His cards took up most of his life.
 
And the girls all looked at him like he was Elvis. It didn’t seem to matter to him. He spent his time with his math books and cards. Everything else was for other guys.
 
“Gordo, why are you standing there?” he said.
 
“Thinking.”
 
“About what?”
 
“Not sure. Where are you going walking all fast?”
 
“My mom needs butter.”
 
“You still run mandadas?”
 
“Sure. You don’t?”
 
I nodded slowly.
 
“Jimmy, oh, Jimmy!” said a high voice belonging to a running flaca with flying pelo.
 
It was Lorna Ritas. She was in a race for Jimmy with Sally Lomenez, Linda Mistasosa and Maria Lobermie. They had a better chance with the real Elvis. Jimmy barely said “Hi” to them but each time they took it like he wanted to make out with them at Belvedere Park.
 
Like that song, Jimmy only had eyes for Rachel Apenuz.
 
Rachel Apenuz had no personality I could see. Jimmy saw something the rest of the world didn’t, like in those spooky movies.
 
Compared to Rachel, Giggles was a shiny pair of spit-shined calcos. Rachel was like my sister’s paper dolls she used to play with. She was like cardboard. Her hair looked tired. In fact, she looked tired.
 
But I was glad Jimmy didn’t see Giggles. Then I panicked, my mouth turned dry. Maybe he hadn’t seen her glide like a lowered carucha down Brooklyn and Mednik.
 
“So, are any new girls waving at you?” I said, my mouth even drier now.
 
He looked at me like I said something in Chinese real fast.
 
“New girls?”
 
“Yeah, like hot off the comal?”
 
“What are you talking about?”
 
“Is Rachel still your, you know…?”
 
He nodded with a strange smile.
 
“I still like Rachel.”
 
I could breathe normal, again.
 
Jimmy’s sister whistled for him from away off. She had the loudest whistle in the Projects.
 
Jimmy ran off. I went back inside.
 
I played “Earth Angel” by the Penguins on my sister’s record player. I played it over and over. The title said what I wanted to sing to Giggles. Then I fell asleep on my sister’s cama. The record player needle was stuck on the end of the record.
 
“What are you doing?” my sister screamed, making me jump. My heart wanted to leave my chest and jump out the window to find somewhere better to live.
 
“Man,” I screamed back, “you nearly gave me a heart attack.”
 
“And I hate to fail. Now I’m really mad.” She got good grades in school. I think that’s why she said that. But she also had a big mouth my mother was always trying to slam shut.
 
Hearing my sister’s big mouth, my mother came running like my sister was on fire.
 
“¿Qué está pasando?” she screamed louder than even my sister.
 
“I have to wash everything,” my sister said, looking around the room like I spread pulgas all over.
 
“Don’t exaggerate,” my mother said.
 
“He’s a pestoso,” she screamed in her chavala voice so all the Projects could hear. I think all the people in the Projects were smelling the air.
 
My mother was quiet as if my sister said something like the president.
 
“I was only playing a record,” I said, explaining things to the judge, my mother.
 
Like a bailiff, my mother escorted me out of the room. My hermana had a crooked smile. The door slammed behind us. I would aim pedos into her room next time she wasn’t home.
 
To feel better, I went back outside. In the Projects you always ran into someone who either made you laugh or was madder than you.
 
Right now, it was Pete. He never made you laugh or mad. But he always had a problem to share. I tried telling him that was why he had a mother. That’s how they got gray hair.
 
But today, I think I caught him at a moment when people feel like unloading a problem on the first person they catch.
 
“Gordo,” he said, “I have a problem.”
 
“You’re the last bato I would guess had one.”
 
“What?”
 
“What happened?”
 
“I met the finest weesa ever made.”
 
“Ever?”
 
“Ever.”
 
“Why?”
 
“When you see her walk, it’s like seeing the ocean at Long Beach.”
 
“Go write a poem.” I said. It sounded like he was talking about Giggles and I didn’t want to hear.
 
“I have to win her heart first.”
 
Pete wasn’t a bad looking guy like some of the truly ugly ones around, but right now he looked like the ugliest feo of all time.
 
“I love Giggles,” he continued and I wanted to give him a Popeye-sized cachetada.
 
“Who is ‘Giggles’?” I said with a shaky voice. I was a nervous liar.
 
“She is a walking angel, like in the song, ‘Earth Angel’.” He said this with a stupid, faraway look.
 
“You okay?” he then said.
 
I felt mad then sick then mad again.
 
“Sure.”
 
“Are you sure-sure?”
 
“Sure.”
 
“My problem is that she is related to Jimmy and likes Loco.”
 
I sat on the sidewalk. I saw Loco’s crooked right eye. I think he hated the world and everyone in it because of that eye. He was born that way. God wanted him to look loco so he took the hint and became one.
 
“You look weird, man.”
 
“Why Loco?” I croaked.
 
“That’s what I want you to tell me. He is one ugly bato with an even uglier way with people.”
 
“And she is Jimmy’s cousin?”
 
He nodded weakly.
 
“How do you know that?”
 
“My sister.”
 
“Oh, yeah. Your sister Rosie talks with everyone about everyone. The Queen of Maravilla Chisme.”
 
“Hey, that’s my hermana.”
 
“Everyone knows Rosie, Pete.”
 
“Yeah, but you’re wise.”
 
All those times talking to Pete, I was mostly trying to get rid of him.
 
“So, what do you think?” he said. He wasn’t going nowhere till he got an answer.
 
“Loco has that name for a reason. Jimmy is probably thinking of a way to stop his prima from getting hooked up with him.”
 
I said that for myself.
 
“What do you mean?”
 
“He wants to stop him.”
 
“Oh.” I always liked hearing Pete say “Oh.” It meant he was accepting what I said and would go away. Not today.
 
“You know, Jimmy invited Loco to the show with Giggles?”
 
I lost my words and thinking.
 
Pete batted for me. “I saw them walking back to the Projects after they got off the Kern bus. Loco was laughing like a hyena.”
 
My mother said life has surprises. One just kicked me in the head.
 
“Should we jump him?” said Pete.
 
“He would wrap you around me like a pretzel.”
 
“So, what are you going to do?” he said.
 
What I wanted to do was pluck Loco’s good eye out and do a pachuco hop on it.
 
“It’s up to you.”
 
“Then what should I do?”
 
I felt like I was running his life when he should be running his own.
 
“Find another one.”
 
“Another what?”
 
“Chavala.”
 
“There ain’t no other around,” said Pete, looking around as if to prove it.
 
“All good times don’t lead to Giggles.”
 
At this point, I think I was again giving advice to myself.
 
“Yes they do.”
 
“What if she hates you? And your family? And your dog.”
 
“She don’t know me. Or my family. And this is the Projects, we can’t have a dog.”
 
“Maybe she has a drinking problem. She’ll start making ojitos at other batos.”
 
“How do you know she has a drinking problem?”
 
“Just looking at all angles.”
 
“She could wet her bed, chew food with her boca wide open, have a voice like Jimmy Durante, and I would still like her.”
 
“What if she has a record?”
 
“Even if she was serving life at juvie, I would still visit her every day.”
 
He was almost as crazy over her as I was.
 
“Don’t you have a girl you liked? What about Edith?”
 
“Edith was in the second grade. Her family moved out of the Projects when I was nine.”
 
“Too bad.”
 
“Huh?”

He looked at me real let down. He walked away.
 
I went and sat on my porch. I saw a girl coming toward me on the sidewalk. She was walking like a wave at Long Beach, like Pete said.
 
It was Giggles.
 
“Hello,” I said, trying to sound like some actor I heard in a movie.
 
She kept walking like I had been a squawking perico.
 
I was hoping for a “Hello” back or at least her head to turn up all conceited. But she kept walking.
 
But then for a little bit, she turned her head toward me. Not mad or happy.
 
Jimmy would make everything right. He would talk to his cousin and tell her that he and I were closer than gum under a zapato and she should grab me, crying.
 
Jimmy said that they were cousins when he came to the door.
 
“So, she just likes him like a cousin?” I said.
 
“She and Loco are closer than gum in your hair,” said Jimmy.
 
“So she likes him like a favorite cousin?”
 
“She likes him like she likes to kiss him.”
 
“That’s all?”
 
“He kisses her back.”
 
“You know Loco. You know what he’s like.”
 
“Since we were babies.”
 
I swallowed hard. Then I swallowed hard again. Then a third time and maybe a fourth.
 
“You look like you swallowed a moco,” he said.
 
“Why do you even know him?”
 
“He’s my step brother.” Jimmy didn’t even say that like he was sorry.
 
“Why?”
 
“I don’t make the rules. Loco’s dad married my mom years ago. My mom had kids. He had one, Loco.”
 
“So he can’t love Giggles?” I said.
 
“Why can’t he?”
 
“Because.”
 
“She is my cousin but she is nothing to Loco. Well, that could change, but that doesn’t keep them from liking, maybe loving each other and making a whole bunch of kids to spread around Maravilla.”
 
“That shouldn’t be allowed.”
 
“What?”
 
I walked away, stomping on the ground like it was Loco’s ugly ojo.
 
I went to Pete’s house to report.
 
He opened his door then smiled like if I was going to say that Giggles loved him.
 
I broke the news over his head. But it was my own cabeza that hurt.

by Scott Duncan-Fernandez

There’s more Aliens out there—the franchise has put out more video games, comics, and books—but it's the connected Predator franchise movie Prey that has people talking about Native women characters and representation in sci-fi lately.
 
There's already been a famous bad ass brown woman in sci-fi—Jeanette Vasquez from the 80s movie Aliens. Some might point out the actress who played her wasn't a Chicana and the writer wasn't either. I recall some claiming she was a chola stereotype.  My rewatch of Aliens as an adult showed the character was capable, brave, and dealt with typical racism despite her not being written or depicted by a Mexican American. Yet the character needed more.
 
V. Castro in Aliens: Vasquez gives Jeanette Vasquez a Chicana soul and a past and goes beyond a plastic sheen of culture. The story pulled me in hard on the life Jeanette Vasquez and then her daughter Leticia living on Earth and as tough Chicana marines in space. Not only does the character from the movie Aliens get a real deal Chicana soul in this book, the Aliens franchise gets a Chicano outlook. The way Vasquez sees the world, how she lives, and how she fights xenomorphs is filtered by who she is. She is a brown woman who is connected to a chain of warrior women, particularly the Soldaderas from the Mexican Revolution, whose coiled hairstyle was famously borrowed by Princess Leia.
 
The Aliens franchise has thematically been about women fighting patriarchy, dealing with the monstrousness of reproduction, sexuality, parenthood and inheritance of roles. As we all know Vasquez doesn't make it in Aliens, though tough to the end, and the book eventually hands her story off to her daughter, who also aspires to be an elite marine. Her corporate ladder climbing twin brother and she eventually meet up again on a mission involving the heads of the Weyland-Yutani corporation on a planet little is known about. 
 
The life of these two women, Jeanette and her daughter, is a struggle against the system, a patriarchy like many stories in Aliens, but compounded by poverty and racism. Chicano culture comes through as they honor Santa Muerte in xenomorph constructions and make ofrendas and a native weapon, a macuahuitl out of xenomorph bodies.
 
The author V. Castro knows Aliens. There are allusions to other Aliens media throughout the book, some characters are ancestors, some places get mentioned. This is Jeanette and Leticia’s story, as much as Alien was Ripley’s story. Jeanette and her daughter have more against them, they are working class Chicanas, but they are tough, they inspire and finally represent in the way Chicanos want. 
 
Aliens: Vasquez isn't Aliens with taco sauce packets. It's a Chicana story that everyone can appreciate. This is more than representation, this novel is one of our stories, both in space and on Earth, in the future, something us brown sci-fi nerds always want. Of course, I want more and want to see sequels of Aliens: Vasquez and more from V. Castro. 
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Scott Duncan-Fernandez a.k.a. Scott Russell Duncan’s fiction involves the mythic, the surreal, the abstract, in other words, the weird.  He is Indigenous/Xicano/Anglo from California, Texas, and New Mexico and is senior editor at Somos en escrito Literary Magazine.  In 2016 he won San Francisco Litquake’s Short Story Contest. His piece “Mexican American Psycho is in Your Dreams” won first place in the 2019 Solstice Literary Magazine Annual Literary Contest. His debut novel will be published with Flowersong Press in 2023.

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​V. Castro was born in San Antonio, Texas, to Mexican American parents. She’s been writing horror stories since she was a child, always fascinated by Mexican folklore and the urban legends of Texas. Castro now lives in the United Kingdom with her family, writing and traveling with her children.