Tacos

(Memoir) Reclusorio Norte – Ciudad de México

 

  

It was a beautiful morning. The haze hadn’t risen to the northernmost part of Mexico City yet plus everything was wet, like sand before the corridas. The grounds of Reclusorio Norte had been hosed down before dawn then scrubbed with brooms and Fabuloso. You could smell it in the morning air, even from the second-floor tier of dormitorio cuatro. They called it the United Nations building.

I stood in my bathrobe, in the passageway outside the open door of my celda. I suppose one could call it a cell. It had bars and a door that locked. But the bars had been long since covered with sheetrock. Carpenters had framed in a kitchen counter, cabinets, and a private baño. There was a refrigerator, a large screen TV, a DVD player, and two bunks made of concrete with Sealy Posturepedic mattresses.

Columbus, the Nigerian, and the new french guy from the Ivory Coast were already playing tennis on the courts downstairs. I looked over at the gates to see who was in the caseta (guard shack). It was Telles. He’s the custodio responsible for keeping out the riffraff. The U.N. building housed very important criminals, like the heads of the Mexican narco cartels, as well as those who had the money and inclination to pay for that type of lifestyle.

The rent on my cell was 10,000 pesos a month (about a thousand U.S.) paid out nightly to the custodios. Not an easy feat to make that kind of rent while you’re in prison. But they gave me ten years, so I had to think a little more long-term. My lawyer was having dinner with an important judge though. They all tell you that. So let’s just say I wasn’t holding my breath anymore. I was trying to survive and to create a somewhat safe space to write, and most importantly, a space to lay low.

That was the problem.

Since I moved my fellow marine, Eddie, into my cell and brought him to the U.N., the entire balance of power in the prison had shifted in the most dangerous ways. Don Servando was the head of the Familia Michoacana cartel. He was one of my benefactors and my neighbor three doors down. When I was in a pinch, he helped me open a restaurant, instead of letting me get deeper into trouble just so I could cover the high rent at the U.N.

“Everyone has to eat,” he’d told me.

I watched Carlitos give Telles twenty pesos at the gate. He entered the courtyard unmolested. Carlos was twenty-three. He’d been in the reclusorio since he was sixteen. He used to have a place in the U.N. until some cop who killed a journalist paid to have Carlos moved to another building, to a 15 men per room kind of building. That sort of thing happens every day. Carlos owned half of our restaurant “Hungry Jose’s.” Today we were closed. He was coming over early so we could watch the world cup at my place on the big screen. I’d stepped outside to meet him because Eddie and six or seven of Don Servando’s henchmen were still passed out all over the floor from the party last night.

Don Servando forbids his men to use dope. But since Eddie showed up and started throwing so much money around, all of Servando’s main soldiers had lost all their discipline. Most of them were former cops and hitmen. Now they were becoming fat, lazy, crackheads. And Don Servando blamed me for their corruption since I was the one who had brought Eddie to the U.N. What’s worse, they lied to him and said they weren’t partying with Eddie. He knew they were all crashed out on my floor. He’d already peeked in on them before the sun came up. The suspense was nauseating. It was really affecting my writing.

“Don Servando, buenos dias!” I said, trying to at least make everyone aware that he was approaching.

He gave me a hard glance in passing. He was pissed. He was getting his own coffee this morning. Plus I’d closed Hungry Jose’s for the game so he’d have to venture even further. As soon as he passed, I woke everybody up. They vanished before he returned. I was so stressed out I forgot to tell Charlie about the tacos when he met me at the top of the stairs. Some kid had stopped by the gate in a panic last night and asked me to tell Charlie to give him his tacos. Whatever that meant.

A half-hour later all was forgotten and Charlie and I were watching the world cup.

The kid from last night walked through my front door. He had a busted lip and two black eyes. All of his hair and eyebrows had been crudely shaved off. He marched over to the corner of the room, picked up a pair of soccer cleats and split Charlie’s head open with them.  They went at it, rolling all over the floor. I tried to break them apart. We all kind of fell out of the cell into the hallway. A crowd gathered. I pulled the guy off Charlie. Running and bleeding, Charlie escaped down the stairs. The kid was, after all, affiliated with the cartel. Then everyone looked at me. I let the kid go and walked back to my cell.

The crowd shouted all kinds of threats. The gathering of vigilantes grew in number outside my door. No one entered the room though. They knew about the marine thing. They’d seen Eddie and I in action before. No one wanted to charge in first.

“Lynch him!”
“Kill that son-of-his-whore mother!”
“Show him what happens to those who pass the dick in México!”

They pumped each other up outside my door, gathering their resolve to cross that point of no return.  I sat on the edge of my bunk. People died every day in the reclusorios of México, yet to kill a gavacho… or was I a Mexican? It seemed like no one in the corridor desired to be the first to attack.

Máguila grinned with a mouthful of metal and missing teeth. He stood in the doorway and drew Excalibur from his pantsʼ leg. It was a makeshift sword he always carried. He used to brag about how he’d killed people with just one good stab. Last new year’s eve we talked about Musashi and bushido. I’d thought we’d become at least a little closer than this bullshit. He swung the crude blade above the heads of the vigilantes. Bloodstains peppered the duct tape wrapped around its handle. The lynch mob cheered.

“Thatʼs the way, Máguila, show him!”

“Who has more dick than that, cabrones?!”

I rose from the edge of my bunk. I tried to maintain control over my heart rate and breathing. I held a steak knife in one hand a pencil in the other. I crouched into a fighting stance.

“Weʼre going to kill you, cabrón!” said someone in the crowd.

“I know,” I said, “but I will at least kill the first two or three of you before I’m dead. I swear to fucking god!”

Eyes in the crowd searched for reassurance. No one stepped inside the cell. I remembered then that tacos can also mean soccer cleats. Tacos – a small word with more than one meaning. Charlie had borrowed them from the kid, the kid had borrowed them from someone else, and now I was about to die for them. It’s always the smallest things that end up killing you in this world. I didn’t want to die over tacos but I had no choice now.

“Come on! Who wants to die with me?!” I said.

Nothing.

“¡Me vale verga, hijo de tu puta madre! I don’t give a fuck, sons of your whore mothers! Give it to me!” I said. The steak knife trembled in my hand.

Máguila stepped in front of my open doorway. He smiled.

“A poco si, cabrón?” I said, “Like that, brother?”

Máguila nodded. He entered my cell.

World Beats and Deep Roots

 Paris 1909

“So let them come, the gay incendiaries with charred fingers! Here they are! Here they are!… Come on! set fire to the library shelves! Turn aside the canals to flood the museums!… Oh, the joy of seeing the glorious old canvases bobbing adrift on those waters, discolored and shredded!… Take up your pickaxes, your axes and hammers and wreck, wreck the venerable cities, pitilessly!”

Filippo Tommaso Marinetti

 

Paris 29 May 1913 in Paris

Opening Night Stravinski’s Rite of Spring 

(The Birth of the Modern)

 

 

THE LANGUAGE OF THE STAGE: It is not a question of suppressing the spoken language, but of giving words approximately the importance they have in dreams.  – Antonin Artaud

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“[I]t is the mise en scene that is the theater much more than the written and spoken play. I will be asked no doubt to define what is Latin in this way of seeing opposed to mine. What is Latin is this need to use words to express ideas that are obvious.

In any case, and I hasten to say it at once, a theater which subordinates the mise en scene and production, i.e., everything in itself that is specifically theatrical, to the text, is a theater of idiots, madmen, inverts, grammarians, grocers, antipoets and positivists, i.e., Occidentals.”

In the Company of Antonin Artaud

Signals Through The Flames

is a documentary film on the work of Julian Beck and Judith Malina as the founders of The Living Theatre performance company. The title of the film is taken from the work of Antonin Artaud in his book on theatre theory called “The Theatre And Its Double”.

It was produced by Mystic Fire Video as a project of the now defunct Mystic Fire Video bookstore in New York City. It was directed and edited by Sheldon Rochlin.

Signals Through The Flames contains first person interviews with Beck and Malina, archival footage of performances and street actions from various news reporting sources of the theater’s political life in the late 1960’s. Particular
attention is given to Paris in 1968 in a performance called “Paradise Now” and the occupation of the Odeon Theatre. Excerpts from the Company’s filmed productions of original work “The Brig” and “The Connection” are also part of
the documentary.

Signals Through The Flames is the story of political action expressed through experimental theater and is for those archival purposes of theater history and lessons from the movement.

An entry for the film was made to The International Movie Database (IMDb).
citationhttp://www.imdb.com/title/tt0235764/?ref_=fn_tt_tt_1

Julian Beck died in 1985 of stomach cancer. Judith Melina continued to work as a director of The Living Theater in New York City until her death in 2015 at the age of 89.

Riccardo Vaia (Endimione)

This film is a free reinterpretation of Artaud’s writings, and of his vision of the peyote’s rite, during his trip to Mexico in 1936.
‘Ciguri’ is a word where a multiplicity of symbolic and anthropological rotations intersect, eventually dissolving in pure image.
According to William Burroughs’ ‘Ah Pook’, the meaning is always subject to a linguistic scrambling eventually decaying into hallucination: the place where signs become ‘meat’ and ‘vegetable history’. The space described in Artaud’s ‘Voyage to the Land of the Tarahumara’ is a space where geographical coordinates become lines of sight and lines of the body: the ‘mountain of signs’ which dispossesses the standard ontological systems of identification of Western culture.
In this film the peyote’s rite, the ‘primal flower’ according to the Tarahumara’s ancient culture, describes a celebration wherein the ‘virality’ of the image and of the word conspires to formulate what for us is the concept of ‘desert’ of vision. A place where the world reveals its ‘nihil’.
Words and images. Seeing and speaking. Or ‘being seen’ and ‘being spoken’… An apotropaic knot of our postmodern era; and even more a central point of cinema.
What triggers mirages and deeply enthralls, is moreover the disappearance of the image – since it generates a repetition and a difference in giving itself and withdrawing itself, while it disseminates sings, hieroglyphs, doubles, icons and resonances around itself.

Burroughs (in almost every work) wrote about ‘interzones’ when he was commenting Mayan Codes, their images, their glyphs, confiding that they could be the most effective signs systems for tracing a ‘History’ where images, and their referents in the world, could contaminate each other in order to form a sort of real ‘cut-up’. This cut-up would then be able not only to segment language, but also the biology of bodies and of the world itself. Today ethnic cinema (beyond the obvious social values it represents) troubles itself on many levels looking for this boundary, with no result. This because it is still involved in a ‘theatre of cruelty’ dependent upon representation.
On the contrary, in ‘Ciguri’ it is Artaud’s idea of ‘post-cruelty’ that is expressed: a circle where the Eleusinian Mysteries are staged by a ‘sect of assassins’. At the same time Burroughs’ Habban-I- Sabbah gets rid of the sacred ‘enjeu’, revealing its intrinsic fiction.
Artaud and Burroughs conspire ultimately for silence, just like the sierra losing its ‘geography’ (the ‘hand-writing’ of the earth, the graphèin as Derrida would have it) in favour of a space still unexplored.
Where the visible ‘Ciguri’ ends, the one of the image and of the living, begins the ‘Ciguri of the Aztec Hades’: the ‘ritual of the dead’ to which belongs the invisible. The only testimony, like ashes under an extinguished fire, are possibly the glyphs, the lines, the tattoos on the foot (the last frame of the film) that throbs upon the chthonic earth. The pounding of bones drumming on the ground: a sound coming from somewhere else and that resonates upon vegetable signs, upon the terror of the primal flowers, of the primal colours appearing in the world and in the visible light.
‘Ciguri’ is a film for explorers.

 

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Worlding the Beats:

Reading and writing with Rob
Wilson – Beat Poet, scholar,
member of an intrepid
generation of writers,
musicians, activists, philosophers
creating art
steeped in sound
y sabor de San Francisco,
smooth suede
coming
out
of North Beach
leather, jackets,
turtleneck-ed Italian
espresso-ism on the grass, man.
rolling in
laughing in love-ins,
lots of lovin’, Haight
was great then,
though getting down
on the grass in
Washington’s square, man,
right there, man,
in front of saints Peter and Paul.
666
Filbert. (sounds ironic)
you know, where they do it
in Latin,
in Italian,
in Cantonese,
in English,
In mass
people prayed for peace
as Jazz
played on
those Flamenco nights,
red, blue, and green
gels on a black pole brighten
the city lights
I grew up
on,
write on,
stayed up all night
for the whole
show,
the gypsies’,
hippies’,
Beatniks’
gitanas’
hearts
beating,
and me, falling deep in
asleep on my dad’s guitar case
in that scene, man
down Green,
between
Stockton and Grant.
“La Bodega” in the back
of Frederick Walter Kuh’s
Old Spaghetti
Factory’s gone.
But the songs,
the sounds
and the beats Bulería
o seguirías
malagueñas y Sevillanas
entre Tangos y Fandangos
todavia,
still hear
still feel
still practice
still play
still mark
su marca
still pace
sus pasos
marca pasos
mark time
and time again
to the Beats’
of North Beach.

¡El Paniquiádo! (panicked)

¡El Paniquiádo!: panicked

The 15th of September, Independence Night, Mexico City: A salesman, a politician, a narco-traficante, his scorned wife, a DJ, a federal agent, a poor little rich girl, a methamphetamine cook, and a sixteen year-old prostitute try to escape a city-gone-mad. There is only one night, one opportunity, and one way out of the land where no good deed goes unpunished.

Click on title for print edition (Amazon) or on icon to read the ebook now:

¡El Paniquiádo!: panicked

¡El Paniquiádo!: panicked