“Yes, I was lucky—incredibly so. Lucky in the people I met, lucky in the friends I made, lucky even in my mishaps, my always emerging unharmed, with a tale to tell. More than fifty years of this, ever the fortunate traveler.”
“As an Ancient Mariner of a sort, I want to hold the doubters with my skinny hand, fix them with a glittering eye, and say, ‘I have been to a place where none of you have ever been, where none of you can ever go. It is the past. I spent decades there and I can say, you don’t have the slightest idea.’”
This is “Don Pablo” at his very best, which is very good indeed. The writing is luminous, magical even, phrases and phrases like: “When the poor stoical peasant man in San Juan Bautista Coixtlahuaca told me that the meaning of the Mixtec word was “the plain of snakes,” I had a perfect image for the contradictions of Mexican life: its glory, as the plumed serpent, Quetzalcoatl, the supreme, dragon-like deity, the god of wind and fire and creation, worshiped by the Aztecs; and the snake as the dangerous lurker.”
The journey is fascinating and fascinatingly rendered on the page, at 70 odd years the author’s wisdom is precious, and if this book has a main theme, it has to be respect (and also trust): respeto (y tambien confianza). The respect old people don’t get in the United States (“In the casual opinion of most Americans, I am an old man, and therefore of little account, past my best, fading in a pathetic diminuendo while flashing his AARP card; like the old in America generally, either invisible or someone to ignore rather than respect, who will be gone soon, and forgotten, a gringo in his dégringolade. Naturally, I am insulted by this, but out of pride I don’t let my indignation show.”) and is the norm south of the border (“My work is my reply, my travel is my defiance. And I think of myself in the Mexican way, not as an old man but as most Mexicans regard a senior, an hombre de juicio, a man of judgment; not ruco, worn out, beneath notice, someone to be patronized, but owed the respect traditionally accorded to an elder, someone (in the Mexican euphemism) of La Tercera Edad, the Third Age, who might be called Don Pablo or tío (uncle) in deference. Mexican youths are required by custom to surrender their seat to anyone older. They know the saying: Más sabe el diablo por viejo, que por diablo—The devil is wise because he’s old, not because he’s the devil. But “Stand aside, old man, and make way for the young” is the American way.”). But more than that: The respect people deserve, even if they are poor and out of luck in this world. Also, dignity, namely in resisting (“resistir es existir”), with principles and respect, as per the Zapatistas in Chiapas (“This is the clearest possible statement of the dignity of rebellion and the limits of resistance, a rational way of looking at the world, and a means to go about fixing it: “to build a world in which many worlds fit.” In what has been described as the world’s first postmodern revolution, Marcos’s temperament—and actions—were those of a pacifist. I admired him for valuing the lives of civilians, I identified with him in his passion for writing, I was enlightened by his parables—the rabbit, the fox, Durito the beetle. I was in awe of his stamina in existing in one of the most inhospitable jungles on earth, and I was happy to be invited to the Zapatista event.”)
So, when in his review from the 1st of November in the El Heraldo de México, Pedro Ángel Palou states that this book is “un libro tan complejo, tan interesante y sobre todo tan imprescindible”, he is right.
“In the dark back streets of Matehuala, looking for a place to stay, I remembered the friendly motel, Las Palmas, where I’d slept on the way south: behind a strong fence, secure for my car, with clean rooms, and local food. “You are coming from?” the clerk at the reception desk asked. She was tall, in a tailored suit that was perhaps her uniform, and looked superior and chic, well dressed and poised. I told her Oaxaca. “Did you eat grasshoppers?” “Lots of them. Ants, too. Very tasty.” She pursed her pretty lips. “We have better food here.” Cabuches were in season, the buds of the biznaga (or barrel) cactus, like baby Brussels sprouts. I had a plate of them, and the other Matehuala specialty again, cabrito al horno, baby goat baked with the skin on, tender and slimy.”
On another note: Being a Paul Theorux book, I have my pet peeves with the author. Let’s state two.
First, the corrupt policemen on the roads of the country: “And they often warned me of the police, though I’d now had enough experiences with them to be wary, not only of the well-armed Federales in dark glasses, but also the shambling, potbellied local cops with their hats tipped sideways, glassy-eyed with greed at a roadblock and peering into my car, stroking their mustache and calculating the amount they could reasonably demand to release me. Mexican police: whenever I saw a black-and-white squad car parked by the side of a road I was traveling—and this was a frequent sight—I drove past in a state of apprehension, and was unspeakably happy when I looked in my rear-view mirror and saw that it had not pulled out to pursue me.” There are a few observations on this vein and variations thereof. Every single time I read one of these “considerations”, I thought about the daily humiliations of black Americans drivers in the “great” nation in the north (DWB) and of civil asset forfeiture. In terms of a modicum of expectable security and dignity, people are in fact subject to much worse in the streets of his own country, if they are not the right race; at least in México, things can almost always be sorted out with some dollars. “It seemed to me that insecurity was a dominant theme in Mexican history, which is why people prayed for salvation and for miracles.” Yes, almost like if you are a black person living or travelling in the United States!
Second, on the subject of magic realism; or, how an author should approach the craft… Like: “I admit the wisdom and vitality of García Márquez’s novels and short stories, and the power of his imagination, his avoidance of whimsy, his great comic gift. He is the best of this bunch, writing about the hard-up hinterland, yet even his work seems a brilliant confection, fable and allegory not being to my taste. “It’s like farting ‘Annie Laurie’ through a keyhole,” Gulley Jimson says. “It may be clever but is it worth the trouble?” I have spent my reading and writing life, and my traveling, trying to see things as they are—not magical at all, but desperate and woeful, illuminated by flashes of hope.” Not to my taste, also, I confess, but anyway the word this reasoning calls to my mind is “asinine”; I’ll let Ursula K. Le Guin do the arguing (in 2004, actually): “The subject matter of realism is broader than that of any genre except fantasy; and realism was the preferred mode of twentieth-century modernism. By relegating fantasy to kiddylit or the trash, modernist critics left the field to the realistic novel. Realism was central. The word genre began to imply something less, something inferior, and came to be commonly misused, not as a description, but as a negative value judgment. Most people now understand “genre” to be an inferior form of fiction, defined by a label, while realistic fictions are simply called novels or literature. So we have an accepted hierarchy of fictional types, with “literary fiction,” not defined, but consisting almost exclusively of realism, at the top. All other kinds of fiction, the “genres,” are either listed in rapidly descending order of inferiority or simply tossed into a garbage heap at the bottom. This judgmental system, like all arbitrary hierarchies, promotes ignorance and arrogance. It has seriously deranged the teaching and criticism of fiction for decades, by short-circuiting useful critical description, comparison, and assessment. (…) Realism is for lazy-minded, semi-educated people whose atrophied imagination allows them to appreciate only the most limited and conventional subject matter. Re-Fi is a repetitive genre written by unimaginative hacks who rely on mere mimesis. If they had any self-respect they’d be writing memoir, but they’re too lazy to fact-check. Of course I never read Re-Fi. But the kids keep bringing home these garish realistic novels and talking about them, so I know that it’s an incredibly narrow genre, completely centered on one species, full of worn-out clichés and predictable situations—the quest for the father, mother-bashing, obsessive male lust, dysfunctional suburban families, etc., etc. All it’s good for is being made into mass-market movies. Given its old-fashioned means and limited subject matter, realism is quite incapable of describing the complexity of contemporary experience.”
Also, I don't quite know what to make of this paragraph about hugging: “I walked to the edge of the stage, where he met me at the top of the steps and gave me a hug, embracing me with peculiar force, and this shared energy eased me. I had been apprehensive—a stranger in Chiapas, a visible gringo among the Tzotzils and Tzeltales, an old man in street clothes and a Stetson among the masked Zapatistas. The hug calmed me in a way that went beyond helpful reassurance. A hug has been proven to produce a neurochemical called oxytocin, which flashes through your body, warming it and healing it, making the hugged one feel safe. The Comandante did not release me immediately, as I expected. He held me and said, ‘Welcome.’” Huh, it was just a hug!
Al in all, a complex, layered, rich, beautiful, important, indispensable book.
“He flung his arm around me. He began to speak in Zapoteco, with great force, in a heartfelt way. “Eet yelasu nara!” he said, smiling, but blinking mezcal tears. “What is he saying?” I asked Rodrigo. “‘Don’t forget me.’ In Zapoteco.” No, nor would I forget the sunlight slanting through the puffs of smoke from the earthen pile of the oven, or the thatched roofs of the mill and the sheds, the tang of fermenting agave gunk, the horse cropping grass in the valley below, the eager faces of the Zapotec crew, their work-toughened fingers when they shook my hand, or my delirium, part mezcal, part pure traveler’s bliss.”