The novel is three intertwined stories with one central character, the narrator, Christian Verdugo. Christian Verdugo is a twenty-three year old male of Mexican American descent. Story One deals with Christian and his relationship to two friends, Ezer Kadosh and Miel Mishima, both aged 23. They have been friends since high school. This story deals with each of the characters as they develop and seek to gain independence from each others influence. In the course of the story, Ezer will embark on a commercially lucrative career as a painter/artist, and he will come out of the gay closet, declaring his interest in Christian, who is not gay. This, of course, causes problems. Miel is a musician with his own band, and he is also on a path of self-discovery that includes his band, his art, his love of a woman five years his senior, and his experimentation with drugs. Story Two deals with Christians broken heart over a girl named Maribeth who has left the country and fallen in love with someone else. Christian, in an evolving effort to ease his heartache, will have an affair with an art school teacher, a woman 14 years his senior, known both to him and Maribeth. This affair will prove to be an instructive, enlightening adventure for Christian. Story Three deals with Christians job working for a crazy and irresponsible attorney, Gordon Hamilton, who is stealing money from his clients, and living the life of sybaritic excess. Gordons irresponsibility will cause a lot of authority to be delegated to Christian, a precocious young man growing up quickly through circumstance. Gordon will end up stealing from the wrong client, a Mexican Mafia hitman and criminal defendant, which will result in Gordons disappearance and probable but unconfirmed execution. In a bizarre twist, this hit man, Oscar Godoy, will take a paternal and professional interest in Christian, and offer him a job. A job doing what, Christian can only guess. These three stories will run simultaneously and meld at the novels end when Christian escapes to Mexico to reassess the direction of his life.
The novel is three intertwined stories with one central character, the narrator, Christian Verdugo. Christian Verdugo is a twenty-three year old male of Mexican American descent. Story One deals with Christian and his relationship to two friends, Ezer Kadosh and Miel Mishima, both aged 23. They have been friends since high school. This story deals with each of the characters as they develop and seek to gain independence from each others influence. In the course of the story, Ezer will embark on a commercially lucrative career as a painter/artist, and he will come out of the gay closet, declaring his interest in Christian, who is not gay. This, of course, causes problems. Miel is a musician with his own band, and he is also on a path of self-discovery that includes his band, his art, his love of a woman five years his senior, and his experimentation with drugs. Story Two deals with Christians broken heart over a girl named Maribeth who has left the country and fallen in love with someone else. Christian, in an evolving effort to ease his heartache, will have an affair with an art school teacher, a woman 14 years his senior, known both to him and Maribeth. This affair will prove to be an instructive, enlightening adventure for Christian. Story Three deals with Christians job working for a crazy and irresponsible attorney, Gordon Hamilton, who is stealing money from his clients, and living the life of sybaritic excess. Gordons irresponsibility will cause a lot of authority to be delegated to Christian, a precocious young man growing up quickly through circumstance. Gordon will end up stealing from the wrong client, a Mexican Mafia hitman and criminal defendant, which will result in Gordons disappearance and probable but unconfirmed execution. In a bizarre twist, this hit man, Oscar Godoy, will take a paternal and professional interest in Christian, and offer him a job. A job doing what, Christian can only guess. These three stories will run simultaneously and meld at the novels end when Christian escapes to Mexico to reassess the direction of his life.
Seas quien seas, hagas lo que hagas, vivas donde vivas, cualquiera sea tu creencia, tus intereses, tus proyectos, tus metas y tus sueños... Sin Catarsis la Felicidad es una Quimera. Todos te dicen lo que tienes que hacer, pero pocos te dice CÓMO HACERLO. No hay Magia más Alta, Grande y Verdadera que la que transforma el plomo de tus emociones pútridas en Oro de Sentimientos Verdaderos. Este libro cambiará tu Vida porque hablo de Ti. Te hará descubrir tu cielo y tu infierno, seas obrero, político, maestro, estudiante, banquero, criminal, sacerdote, santo o el mismísimo Jesucristo. Sin CATARSIS CÁTARA, ni Cristos ni Hostias. Las respuestas que hallarás aquí no son teorías. Vas a VIVIR UN EXPERIENCIA INICIÁTICA, sin la cual no existe espiritualidad alguna. Lo comprobarás.
In the shadow of the Sangre de Cristo Mountains, New Mexico’s Mora Valley harbors the ghosts of history: troubadours and soldiers, Plains Indians and settlers, families fleeing and finding home. There, more than a century ago, villagers collect scraps of paper documenting the valley’s history and their identity—military records, travelers’ diaries, newspaper articles, poetry, and more—and bind them into a leather portfolio known as “The Book of Archives.” When a bomb blast during the Mexican-American War scatters the book’s contents to the wind, the memory of the accounts lives on instead in the minds of Mora residents. Poets and storytellers pass down the valley’s traditions into the twentieth century, from one generation to the next. In this pathbreaking dual-language volume, author A. Gabriel Meléndez joins their ranks, continuing the retelling of Mora Valley’s tales for our time. A native of Mora with el don de la palabra, the divine gift of words, Meléndez mines historical sources and his own imagination to reconstruct the valley’s story, first in English and then in Spanish. He strings together humorous, tragic, and quotidian vignettes about historical events and unlikely occurrences, creating a vivid portrait of Mora, both in cultural memory and present reality. Local gossip and family legend intertwine with Spanish-language ballads and the poetry of New Mexico’s most famous dueling troubadours, Old Man Vilmas and the poet García. Drawing on New Mexican storytelling tradition, Meléndez weaves a colorful dual-language representation of a place whose irresistible characters and unforgettable events, and the inescapable truths they embody, still resonate today.
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