Migas on a Bright Sunday Morning by Elena Dolores Solano Recently I made migas for breakfast. I ripped the tortillas up and placed them in a cast iron pan of hot olive oil and cooked them until they were golden colored. There are a myriad of ways to make migas, a traditional Mexican dish. While the tortillas fried, I chopped onion, garlic and green pepper on an old cutting board mi mamá bought for me years ago. After the tortillas were crispy, I added the vegetables. I sautéed them for a minute and then gently folded in the eggs and waited for them to cook, stirring the dish occasionally. The best corn tortillas are made from three ingredients, corn, lime and water, but when the lime is fried it lets off a peculiar smell of bitter tones. Eventually the smells of the green pepper and garlic catch up, and the mezcla, the mixture of flavors fills the air. My mother taught me to cook that dish and many others. When we made migas, she handed me the bag of corn tortillas wrapped in paper and told me to rip them up. If the pieces were too big, she told me to rip them up smaller. If I cut them into pieces with a knife, she said, “No, no, no,” and shook her head. I eventually figured out what size she wanted for them. For some reason I was always determined to learn how to cook from her, so I let her tell me again and again what to do in the kitchen. She believed in my ability to become a good cook. For her, being a “buena cocinera,” a “good cook,” as I often teased her, was important for many reasons. It meant you could take care of yourself. You could stock a pantry and fill your kitchen with homemade food. But her cooking was also tied to being a traditional Mejicana, where culture, faith, identity and being a woman, were also a mezcla. She was renowned for her cooking in our small barrio in Detroit. She constantly offered food to anyone who walked through her doors or sat on the stoop. I recall her making me take a full plate of fried chicken, mashed potatoes and corn to a homeless man who was sitting outside on the stairs to our building. At that moment I learned, not by words but by action, to serve others, to give freely, even when you have a large brood of your own to feed. She cooked with her comadres, making menudo to sell after mass. They sold the menudo to raise money for flowers for the feast day of Our Lady of Guadalupe. To her, cooking was second nature. When I use her recipes, I sometimes look around the kitchen, as if she is here, waiting with a toalla, a kitchen towel, draped over her shoulder, waiting to eat. Cooking was a gift of love you gave to yourself and others. I am eternally grateful that I learned to cook from her—and that she had the patience to put up with me. I remember being five years old, making tortillas with her. She let me roll small tortillas on her wooden board. She put them on the comal for me. I always let them burn. I loved the smell of the burnt masa. But more so, I loved her turning to me, saying, “You're fired, vayase.” I feigned resignation. When I was in my twenties, she gave me several of her molcajetes, a tool made of smoothened volcanic stone. In English it is called a mortar and pestle, but there is so much more. It is a touchstone, a memory stone, a portal to the past. When I grind garlic, tomatoes or peppino in the heavy bowl, I feel deep calls to tradition and culture. I feel my mamá, her comadres, my abuela and tías when I use those molcajetes. I am filled with memories that cause me to yearn for arms that are no longer here, to dial a phone number that no longer exists. I strain to hear a voice that has passed to the other side. I yearn for the smell of her comal, fire—hot, ready for tortillas. This longing is the hardest to bear. It is the call from the deep that causes such surprise. I know it well. I have seen it in the face of friends as they talk about husbands and wives, abuelos and abuelas, and friends now gone. I have heard that yearning in the voice of my siblings. My brother Gabriel died fifteen years ago. He was bold, hilarious, and opinionated. His eyes flashed like those of a sprite. He was always up to something. One Sunday, he called repeatedly and set me up for a prank. He took a beeper and set it off every time I answered the phone. After seven pranks I yelled into the receiver. His boisterous laugh filled the line, filled the air. He often called on weekend mornings. I drank coffee as we talked about politics and current events. We talked about our childhood, what had gone right and what had gone horribly wrong. Friends have shared with me countless stories of Gabriel helping them out by fixing their washer, or some other odd task. When I was angry or upset he encouraged me to let things go. There are days I want to hear his voice, to answer his phone calls and hear his mantra, “It’s all good, sis, it’s all good.” When my mother was alive, we sometimes had a family tradition of reading the same books. Gabriel and I read Tecumseh: A Life, written by John Sugden several years before he passed away. We lived in Detroit, close to the river, close to historic Fort Wayne and we were lifelong parishioners of Ste. Anne de Detroit, which was also close to the river. We knew our parish and the land all along the Detroit river had once been home to the Objewe, Potawatomi and Ottawa—the Anishinaabe peoples. We often talked about the injustices and crimes committed against Native Americans. Tecumseh gave us a much deeper insight into the history of the Native Americans of Michigan, Indiana and Ohio. Gabriel was much more expressive in his anger and emotions., and while I felt the injustices deeply, I was much more subdued. When the Archdiocese of Detroit closed all of the Catholic High Schools in the city of Detroit, students and staff marched in protest from Southwest Detroit to the Archdiocese in downtown Detroit. I was the bilingual school counselor for the only Catholic School in the city that served Latina/o students and families. Gabriel walked with us that day. I felt a deep loss at the closing of the school. I knew it meant I had to look for employment elsewhere. Gabriel saw it as an injustice against our community and he railed against its closing. I was lost in my emotions and didn’t know how to respond. I felt betrayed by the Archdiocese, but I was also afraid to admit the blow that I felt. We were a Latino/a community, we were Catholic. How could they shut us down? How could they betray us? But Gabriel was fearless. He wanted to stand up in mass and yell down the priest, but I knew my mother, a leader in our parish, would be mortified and would never recover from the shame. I knew I would feel embarrassed. The Archdiocese was wrong for shuttering the numerous Catholic high schools in the city. It was about money and dare I say, race. But I was a good Mexican daughter, I could not allow him to stand up in mass. Somehow I talked him out of the idea. I wish I had learned more of how to be fearless from him. I wish I had his strength and willingness to live more on the edge and take more risks. Too often, I let fear get the better of me. When I think of Gabriel now, I think of our shared love of food and music, of reading and social justice. I picture an angel, not a white angel covered in feathers, but an angel that looks like my brother, brown and strong, with dark feathers and hair as black as coal, carrying a sword and a shield. He does not fly lightly, he flies with a force for justice, while seeking peace. Another brother, Anthony Juan, died in 2019. He was a fierce patriarch and protector. He was rough and struggled with many demons, but he was also a storyteller. He was filled with stories about the streets and his many adventures. Tony was 15 years my senior. But his laughter and sense of humor were quick. While many people feel hugging and kissing are no longer propio, Tony always insisted I kiss him on his cheek. It always felt like kissing a brillo pad. He was a giant in my eyes. As a child, I prayed for him often. He gave my parents grief, but their love for him was relentless. He told me he promised himself he would no longer cause my parents sorrow when he saw my father cry over a situation he was involved in. Tony was an incredible artist. I longed for his artwork. He did it in bits and pieces. At the end of each October at our home parish, I put up a community Ofrenda. It is large and changes every year. I think about the theme over the course of the year. I sit in front of the space it will occupy and I try to think and pray and listen to what it should be, to what it wants to say. The year that Tony passed away was also the year that numerous children from Central America and Mexico died while crossing the Rio Grande River, trying to cross over. As a family we loathed (and continue to loathe) how our people were, and are, treated by the Right and the Left. That year I dedicated the Ofrenda to the children who had died crossing over. But I also set up a section dedicated to Tony. Pictures of the children covered the top section of the Ofrenda and on the buttomsection was Tony and his art work. But it was so strange to me that no one brought in pictures of their loved ones that year until the month of November was almost over. Normally hundreds of photos adorn the Ofrenda by the middle of November. But it was almost as if Tony was guarding those children in the underworld. His work wasn’t finished. He was still protecting, still guarding, still doing his work. Tony created stories wherever he went. One Christmas, he took my children aside and pulled a long blade out of his walking cane. He told them that if anyone ever touched them, that person would disappear and never be found. We knew he meant every word. He left my children with countless stories of boldness and misadventure. Tony loved astronomy. After he died, I had the distinct feeling that a new star had joined the cosmos—heaven was not quite ready for him. I often felt smaller than my brothers. They were large, dark, strong, muscular, very popular in our Southwest Detroit community, with the high cheekbones of my mother and the dark skin of my father. Their hair was coal—black. I was just me. Mousy, bookworm, with a big heart and a thirst for knowledge. But I also sing. So I sang at their funerals. I do not relish singing at funerals, but perhaps they knew they were leaving this earth before the rest of us. They told me what songs they wanted sung at their funerals. I did what I could. But each time I saw Tony, he told me he wanted me to sing “Ave Maria”. And while I sang it at my mother’s funeral and at Gabriel’s funeral, I was recuperating from a head, facial and ear injury at the time of Tony’s funeral. I still owe him that song. Promesa. My brothers were shadow and light, another mezcla. They danced on the edges with angels and demons and often fell, but they always got back up. They were tenacious traviesos--mischevious to a fault, but they lived unafraid. They loved running and reading, baseball and science. They both had a passion for social justice and helping others. I have seen enough of death to know the long shadow it casts, but I have also learned of the life it can bring. I am determined to remember the living. In my mind’s eye, my mother was full, a heart and life bursting with healing and love. Her quiet faith and certitude carried her. Her eyes carried laughter and sorrow, and her body showed frailty and strength. A softness enveloped her, it was as if La Virgen de Guadalupe really did cover her. Wasn’t that mi mamasita’s prayer each time we left her house in Detroit? That La Virgencita would cover us and protect us with her tela? I hold her rosary beads and sit in the well—worn white armchair where she welcomed her grandchildren, where she spent her last hours on earth. It is in a corner of my bedroom, in a window facing west. I watch the setting sun and remember her. I want to remember the light in my brothers, their passion for justice, for the broken and the poor. I want to remember their loud, boisterous voices. Their houses always had stacks of magazines, newspapers and books on history, science and politics. Gabriel always challenged me to look at my other siblings from another angle, to see with a new view, without hurt or bitterness, to live without judging yourself or others. I want to remember how safe I felt because of them. No matter where I went in Detroit, I knew they were looking out for me. After Gabriel died, I felt vulnerable. I wondered who would protect me. After Tony died, I felt it again. Who would look out for me? It took a while for me to realize my other brothers were there for me, too. When the migas finished cooking I put them on a plate my mother gave me years ago. The smell of garlic, green pepper and lime hung in the air. In the curls of steam that rose from the plate, I saw my brothers and mother, their laughter and grief, their sorrow and healing. I remember that we are all a mezcla of the present and the past. I look at the plate and think of her and others who have gone on to the other side—my brothers, my tias and tios, friends, and other people I have loved. They left pedazitos de sus corazónes, little pieces of their hearts, here and there, spread throughout our lives, like migas on a plate on a bright Sunday morning. ![]() Elena Dolores Solano was born and raised in Detroit, Michigan. She is one of fifteen children. Her parents were migrant workers who moved north in the 1940s. She is a certified school counselor and works with Latino/a students in the public school system of Detroit. She is also a Licensed Professional Counselor. Ms. Solano has written for many years of her experience growing up in a large Mexican American family in Detroit. In her spare time Ms. Solano enjoys collecting anything old, a Solano family tradition, cooking Mexican food and spending time with her children, her family and friends.
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The Art of Jacinto Guevara: Documenting Unique Latino Cultureby Ricardo Romo First published in Ricardo Romo’s Blog, Latinos in America, November 19, 2021. Reprinted in La Prensa Texas, November 26, 2021. The seventies are remembered as a monumental decade for most Americans. In the early years of the decade President Richard Nixon’s resignation and the Supreme Court decision in Roe v. Wade dominated the news. Earth Day, Godfather movies, and disco music fascinated young people. The advent of the computer revolution marked a major change in society. For Latinos, the decade included significant events as cities across the Southwest experienced school walkouts, and California farmworkers won important union and legislative policy victories. Talented youth introduced Chicano poetry, plays, and film, and universities developed Chicano Studies classes and programs. Chicano artists who grew up during the seventies witnessed great transformations as they saw for the first time a flowering of their own artistic cultural creations. Jacinto Guevara of San Antonio emerged as one of the fortunate individuals who rode the early waves of this artistic movement. His story provides some important insights into one of the most significant eras of Chicano artistic creativity. From an early age Jacinto Guevara discovered that art represented an important means of communicating. Guevara came of age artistically during the early 1970s while attending Belmont High School in East Los Angeles. At the time, few Latinos went to museums but most grew up surrounded by commercial art, usually in the form of billboards and posters. Significantly the early expressions of Arte de La Raza appeared in public art. Chicano art originated with the mural movement in California. Art historians place the birth of Chicano art between 1968-1973. Guevara was a teenager when Chicano artists painted a mural at the headquarters of Cesar Chavez’ United Farm Workers Union in Del Rey, California. Some of the earliest Chicano murals originated in the heart of East Los Angeles, in close proximity to Guevara’s home. When Joe and John Gonzalez decided to convert an abandoned meat market into an art gallery, they recruited two future Chicano art stars, David Botello and their brother-in-law Ignacio Gomez, to paint what UCLA art historians have identified as the first public Chicano mural in East Los Angeles. Muralism became the most prominent creative development of Chicano art. Guevara enrolled at California State University Northridge [CSUN] in 1975, a time when colleges throughout Southern California were reaching out to East Los Angeles students. Guevara had seldom gone to the San Fernando Valley, home of the Northridge campus, but he liked CSUN’s Chicano Studies Program which was in its sixth year. He majored in Ethnic Studies and took classes with famed Chicano historian Dr. Rudy Acuña. Guevara loved music and joined the mariachi band headed by Professor Beto Ruiz. Guevara became a frequent art and cartoon contributor to El Popo, the Chicano student newspaper founded in 1970. After graduation from CSUN in 1980, Guevarra painted on a regular basis and also joined several musical bands. During these years, while Guevarra remained an early aficionado of the emerging Chicano murals in his community, he focused on his drawings and canvas painting. He bought one of his first canvases for three dollars and spent a half day cleaning it. Guevara worked at his art but could not seem to make the right connections to get his paintings in galleries and had a difficult time making a living as an artist. An invitation in 1990 by the established B-1 Galleries in Santa Monica offered him some hope. He was invited, along with several of the leading East Los Angeles artists, including Frank Romero, Wayle Alaniz, and Paul Botello to exhibit his paintings. Although Latino art was gaining in popularity, few of the paintings sold. After that show, Guevara began to think of leaving Los Angeles and was attracted to San Antonio because of the city’s thriving Chicano culture. Guevara found the San Antonio weather suitable for his preference of open air painting, or what the French called “plein air.” Some of his favorite subjects included abandoned railroad stations and warehouses. He delighted in finding unique subjects for his paintings, such as icons and buildings in San Antonio that most observers had overlooked. Many of his paintings reflect the older sections of the East and West side of town. He looked for old houses, residences that did not necessarily catch the public’s attention. These residential structures were simple, but attractive. He told me that these houses “weren’t necessarily pretty.” In 2016 Lewis Fisher published Saving San Antonio: The Preservation of a Heritage. It told a story of the San Antonio Conservation Society’s organized efforts to save historical houses from destruction. Guevara is also “saving San Antonio” through his paintings. His work captures the essence of the city, areas where not all the houses and buildings are spectacular, but they contain meaning and beauty for their owners. Guevara’s structural portraits, such as that of the 1880s building, “Liberty Bar,” which became a hangout for many Chicano artists, capture a heritage that makes San Antonio unique. ![]() Ricardo Romo is an author, educator, and Latino Art connoisseur. He has degrees from the University of Texas at Austin (BA) and UCLA (PhD). How the Holiday Season is Changing the National Identities of Mexico and the U.S. If you have traveled abroad lately, you may have noticed that national identities are becoming a bit vague. The cultural uniqueness that used to distinguish one nation from another has been quickly disappearing thanks to the accelerated pace of cultural contact brought about by globalization. Mexico and the USA illustrate this well as we go through the holiday season. Millions of Mexican immigrants, legal and undocumented, as well as tourism between both countries have created cultural contact zones unlike any in human history. As they have settled in these areas of the United States, Mexicans have adopted American habits even as they have maintained much of the cultural heritage they brought with them. For example, they love Thanksgiving turkey and on Black Friday you can find them shopping like crazy across the malls alongside Americans. December, however, is a Mexican fiesta north of the border. Los americanos are growing accustomed to seeing and joining the solemn Virgen de Guadalupe celebrations around December 12th and breaking piñatas in the noisy, colorful Posadas on December 15th-24th. Moreover, Mexicans have fused seamlessly La Noche Buena (Christmas Eve) and Christmas Day, so they can have their tasty tamaladas and receive the birth of Jesus with tons of gifts the good old American way. As many Mexican immigrants return to visit family in Mexico, they bring along these new cultural customs, especially their sons and daughters who were born and raised in the United States. You can see the influence of these new cultural ways in small towns and cities across the country. Mexicans now have their Buen Fin, a clone of Black Friday, and on Thanksgiving more and more people are preparing a turkey dinner a la americana or go to restaurants that offer a similar menu. As for Santa Claus, Christmas trees and carols, they are the norm everywhere. It may seem strange, but in Mexico City and Cuernavaca, you can even go ice-skating downtown! You could say Cinco de Mayo was the first cultural celebration to bring Americans and Mexicans together, and that lately Día de los Muertos and Halloween have provided more cultural glue that binds people on both side of the border. But it is the long holyday season at the end of the year that is having the biggest impact on our identities and how we see ourselves in Mexico and the United States. Mexicans who visit the U.S. and Americans who travel to Mexico are bewildered by this turn of events. National identities may still be around, but the unique cultural elements that separated them are blending fast and, in some cases, disappearing and becoming a thing of the past. ![]() Somos en escrito Literary Foundation Press published a compilation of Álvaro Ramírez’s observations on changing cultural traditions: Postcards from a PostMexican. Click the cover above or visit Amazon to buy a copy. This postcard first appeared on Álvaro Ramírez’s Postcards from a PostMexican blog on December 24, 2019. This postcard was published under the title “How the Holiday Season is Changing Mexican and American Cultural Identities” in Cultura Colectiva, a Mexican online magazine, on January 2, 2020. ![]() Álvaro Ramírez is from Michoacán, México. He migrated with his family to Ohio as an adolescent. He obtained a BA in Spanish and Education at Youngtown State University, and an MA and PhD in Literature from the University of Southern California. He has taught at various institutions including the University of Southern California, Occidental College, and California State University, Long Beach. Since 1993, he has worked at Saint Mary’s College of California where he is a Professor in the Department of World Languages and Cultures. He specializes in Spanish Golden Age and Latin American literature as well as Mexican Film and Chicano Cultural Studies. He also serves as Resident Director for the Saint Mary’s College Semester Program in Cuernavaca, México. In 2016, Prof. Ramírez published a collection of short stories, Los norteados, which received an Honorable Mention Award at the 2017 International Latino Book Awards. In addition, he has edited two online publications of Conference Proceedings: Imágenes de postlatinoamérica, volumen 1 (2018) and Imágenes de postlatinoamérica, volumen 2 (2019). He has also published articles on Don Quixote, Mexican film, and Chicano Studies in several academic journals. In Memory of the Legendary |
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