Mexico Books

The call of the healer what David Sklar heard when he left his New Mexico home to cross the border. "La Clinica: A Doctor's Journey Across Borders" is his story. With nothing left to lose in his hometown, he answers a letter to volunteer in a run down medical clinic in Sierra Madre in Mexico. His stories tell a tale of a man driven to heal, and who heals in an area with a totally different culture and a language he lacks a mastery in. A moving and inspiring story, "La Clinica" is worth reading for any.

I am a person who does not read many books, and I thoroughly enjoyed reading "La Clinica". I had to read it for a class, but am very thankful that my teacher picked this particular book. I am a pre-med student and I was able to relate to this book. However, I feel that anybody, not just medical students or doctors, will really enjoy this book. It is a complex story with extreme meaning put into each memory that David Sklar relives. I would definitely recommend this book to any reader. Two thumbs up!!

La Clinica is an excellent read! Dr. Sklar did a amazing job of blending together his time in Mexico, his personal life, and his experiences in Emergency Medicine. My husband and I read the novel together and neither of us ever wanted to put it down! We couldn't wait to read the rest of the novel!

"La Clinica" was a wonderful read, juxtaposing and weaving the
various times of Dr. Sklar's life, from his childhood to his
internship to his Clinica days to his affiliation with the University
of New Mexico as head of its Department of Emergency Medicine, when
he and his wife were separating. This is the story of
what Freud once distilled as the two things most important in a man's
life: meaningful work and a meaningful relationship with a woman. And
in Dr. Sklar's case, we see his earnest attempt to make sense of both
when each is turned topsy-turvy, to remain grounded as best he can
under the circumstances. At La Clinica's best, the reader, young or
old, will be called to task to examine his or her own life, asking,
depending on age, either, "Is this the path I wish to take?" Or, "Why
or how did I come to take this journey?"

Unlike the usual simpering heroine, Lucia is strong, mysterious, natural, and good. Children who are different from others--foreign, language difficulty, intelligence higher or lower--will appreciate how this stranger bounced back from hurt.

I don't know how many copies of this book I've purchased over the years to give away as gifts for all the children I've encountered through family and friends. It's a wonderful story that breathes tolerance, humility, and respect and appreciation for one's differences. This is one of my favorite books! It's visually stimulating and speaks so much to the tradition of oral storytelling in Mexican culture. I also love the fact that the Lucia is gorgeous, and brown with deep black hair. It's empowering for little girls of color to see a strong protagonist of color---my students love her and connect with her character.

This is a powerful and beautiful retelling of this story. This book is written in Spanish and in English and anyone interested in Latino storytelling will buy this book for their collection. I also highly recommend DRUM, CHAVI, DRUM! by Cuban author, Mayra L. Dole, and TRINOS CHOICE, by Chicana author Diane Bertrand.

This retelling of the Legend of Lucia Zenteno is beautifully illustrated with vibrant colors and imagination. The text is given in English and Spanish. It is the story of Lucia who has the most beautiful long hair. It is so beautiful that the river that runs throught the town falls in love with her, and when the people of the town, because of their fear, drive her away, the river and all its inhabitants leave with her. The town has to learn humility and they try to get her to return. A wonderful book with a strong female hero.

I was going to write this review in Spanish, but, all the other ones are in English, so I will play along...

This books has one passage, when Seguismundo talks to the girl for the first time, when he says:

Con cada vez que te veo
nueva admiración me das,
y cuando te miro más,
aun más mirarte deseo.
Ojos hidrópicos creo
que mis ojos deben ser;
pues cuando es muerte el beber,
beben más, y de esta suerte,
viendo que el ver me da muerte,
estoy muriendo por ver.

God, I never get tired of reading that passage, it is the best, my favorite in the world.

Loved the rest of the book.

Ps: For the lawyers: The above passage is copyrighted, blah, not mine, yours, blah.

This book is one of the most comprehensive works of Spanish literature. It forces you to think about honor, loyalty, love, and dreams. Perception is reality in this world created by Calderon de la Barca. This is a timeless creation.

This play by Pedro Calderon is one of the treasures of Spanish literature. From the golden age of hispanic civilisation comes this tale of a country in turmoil, the mistreated prince at the heart of it all, and a mysterious woman who brings order out of chaos.

Este libro es bien confuso al principio pero despues que empiezas a leer te das cuenta de que es muy interesante, asi que lean este libro de Pedro Calderon, que sin duda alguna no lo van a poder soltar. La vida es sueno es un libro que te lleva a realizar que es verdad que la vida sin lugar a duda es y sera simplemente un sueno del que no puedes escapar, con cosas buenas y cosas malas tambien. LA VIDA ES SUENO, te va a facinar!!!!

I came across some of the still photos from this book in a video on Youtube -- of a song called "Who's Gonna Build Your Wall?" Mr. Burckhalter is a magician with a camera. He has captured truly incredible portraits of Mexicans/Sonorans -- some of the most proficient, touching photos I've ever seen. These are photos of TRUTH and BEAUTY. I am highly recommending the book based on my viewing of the Youtube video.

Beautiful tribute to ordinary people of Sonora. I came across it while doing research on my family at the time of the Mexican Revolution and it didn't help for that paper, but it was a great viewing nonetheless. The photographs are incredible.

Superb black and white photographs, with accompanying essays, concentrate on ordinary people. The result transcends its geographic region; this is about people who just happen to live in Sonora. Winner, Border Regional Library Association's 1998 Southwest Book Award.

This book is incredible -- an honest and sensitive portrait of life in the changing Sonoran desert. I picked it up yesterday and haven't been able to stop looking at it since. Apart from the photography, there are two wonderful essays. In the second, "Another Country", Thomas E. Sheridan tells of falling in love with a place in a way that speaks intimately to my own experience of and passion for Mexico. But I'd better stop before I give a whole dissertation... Buy this book! You won't regret it.

This book brings the character of Jo Shelby Ferguson to life--right from the beginning of the first page. Morris has serious talent and lets it show. He takes Jo Shelby on a believable journey in search of his roots and creates an unforgettable journey from the Mississippi delta to Mexico. It's the (seemingly)true story of a man with an unquechable thirst to find out who he really is, and Ferguson is willing to do anything to accomplish it. Joe Morris' writing is up there with the best of the literary geniuses of the 20th century--F. Scott Fitzgerald, William Faulkner, and Zora Nealle Hurston, though it is a little faster paced than Faulkner. He (Morris) is sure to come out with other and greater works. He must!

I found "Land My Fathers Died" to offer what many books of today do not. The novel treats readers to a wonderfully intriguing story told with grace and poetic deftness in describing a man's courageous, searching spirit. The descriptions of Mexico's vastness, ts colorful cities and its rapidly changing vistas of montains, deserts and plains are beautifully done and gives the mind many vivid pictures to recall. And one will well-remember the story's people who are given depth and "realnness." I felt the novel really moved along smoothly, with no slow stretches. Morris well shows what he can do with words and plot. I very much look forward to seeing his next work.

First time novelist? Unbelieveable for Morris' writing is that of a well disciplined, seasoned writer! The story of Jo Shelby Ferguson catches you and moves you along the search of his family roots. The reader moves with the main character feeling his frustration, his pain, his daring, his adventure, his every move imtimately. The author must have done his homework, especially with the authenticity of the adventure on the river barge and life in the Mexican prison. The skillful and creative use of language, the vivid descriptive scenarios linger long in the reader's memory. Woven through the tale are the moral lessons of determination above all odds, and commitment to the ultimate goal. The story opened a chapter of southern history unfamiliar to me of Yankee birth! For the superior writing and the historical perspective, I am a grateful reader. When is the next novel to appear?

I picked up this book off the bookstore shelf because the cover and the author's name grabbed me (I'm a big fan of southern literature and I hadn't heard of the guy before). Needless to say, I didn't stop reading from the time I began reading in aisle, to the time I bought the book, through the time I spent on the bus, through my dinner until I slept at 2 in the morning.

This book has the makings of a classic--it's that good. The language, reminiscent of McCarthy and Hemingway, guides you through Jo Shelby's quest for identity. Jo Shelby's trip from Mississippi to Mexico, in search of his only remaining kin (descendants of Confederates who fled from the states to Mexico after the Civil War--a historical fact of which I had no knowledge) makes for a gripping and compelling read, wrought with danger and violence (there is a particularly gruesome fight scene in a Mexican prison which I still can't forget) and lessons about the meaning of honor, persistence and hope.

I'm amazed that this is a debut because Morris writes as a seasoned writer would--with patience and unpretentious honesty. A classic.

If you like Nora Roberts, then you will love this short novel that reads like a fast paced movie. Her charachters are well formed and at one point, I was shedding some tears. It's pure entertainment and easy on the mind. There are forty seven more books in the collection "Language of Love", and I thought I had read all her books, but boy was I wrong.

Victoria Ashton (Tory) is the sheriff and justice of the peace in a small town and arrests Phillip Kincaid, a movie director. It is a very entertaining and comical book. Reminds you of Mayberry, NC but you love the characters. A "feel good" book. Totally enjoyable

Very cute book about the woman sheriff of a small town and the big city movie director who comes speeding into town, scouting locations for his next film. After a brief stint in jail for a speeding ticket, he returns to shoot the movie there and falls in love with the beautiful sheriff. Really enjoyed it!
Excerpt from the back of the book:
"Director Phillip Kincaid could have sworn Victoria Ashton was smiling when she tossed him in the slammer for speeding. But as sheriff of Friendly, New Mexico, Tory had a job to do and falling for an out of towner was out of the question. If only she'd known how dangerous Phillip would be to her heart, she would have kept him behind bars for good!"

Another of Nora Roberts' early romance tales involves the characters of Victoria Ashton, affectionately known as Tory and Phil Kincaid. Tory is acting sheriff in Friendly, New Mexico, a small town that hasn't changed in years. Phil Kincaid is a big time movie director from Hollywood trying to find the perfect town to use as a backdrop for his next film. When he flies into town, he's stopped for speeding and then arrested when he refuses to sign the ticket. The typical romance plot takes over from there.

The characters in this saga are not typical romance characters!

Tory Ashton is only filling in as sheriff until the next election a few months down the line. It seems her father was the sheriff and died unexpectedly and she felt responsible to take over until the elections. Tory is actually an attorney from Albuquerque and also acts as judge for the small town of Friendly.

Phil Kincaid seems like the typical director type - always wanting to be in charge and has difficulty taking orders from someone else in authority. A bit on the spoiled side, and used to getting his way, as he is depicted when he refuses to sign the speeding ticket.

Merle T. is the deputy in Friendly and this character is fantastic. Merle T. should have been born in the 1800's and longs for gunfights, barroom brawls, etc. He even walks with a swagger! Merle T. is innocent, naïve and since he and Tory grew up together, she's always been the one to look out for him.

Tod is a local teenager who gets into trouble with a storeowner by hanging out with twins a few years older who always seem to be in trouble. Tod is caught by Tory and sentenced to community service when she senses Tod comes from an abusive home.

And Roberts throws in appearances from a wide variety of townspeople who are colorful enough to make the reader chuckle and wonder if a visit to Friendly, New Mexico wouldn't be a great vacation spot!

A few of the subplots seemed to be lacking. For instance, Phil convinces Tory to let him film her while riding her Palomino. You expect something else to happen with that "home movie", like showing up in the film or something. But it's just left dangling.

Another subplot that didn't go anywhere involved the twins that were always in trouble. I thought that something would culminate when the movie was being filmed but nothing happened with them either.

Other than these minor complaints, The Law is a Lady is a good book. It's a fast read and can be finished in one sitting. If you're looking for an escape from reality, then I'd recommend adding it to your reading list. If you're looking for something that makes your brain work, you should steer clear!

The world of photography criticism is a confused one. Serious photographers often divide the process of image capture into two parts: technique and vision, or what most critics might call form and content. When a photographer thinks about criticism, he thinks about whether he had a worth-while vision and how and whether the techniques that he used, like framing, depth of field and shutter speed contributed toward conveying that vision to a viewer.

At the other end of the continuum is critical theory which is mainly concerned with the social and historical significance of photographs in general and usually is approached from one or more philosophical points of view, like semiotics, feminism or formalism. Critical theory for the most part seldom addresses photographic technique, and rarely, except by example, deals with the individual picture.

In between is what I call "public" photographic criticism which is usually written not from the point of view of the photographer but of the viewer. One might hope that such criticism, like the criticism of paintings or literature, would be aimed at helping other viewers to understand what a picture is about. (I suspect some people may already find me out on a limb by suggesting that a photograph is "about" anything.) Since technique often reveals what an image is about, or as literary critic Mark Shorer stated, "technique is discovery", I always hope that the public critic will explain the role of technique in the work of the photographer. Critics of painting will not only talk about the overall feeling of a painting and whether they cared for it or not, but also the way the light was used, and perhaps even the effect or use of brush strokes and other techniques. For photography, where many artists feel that viewers are not literate, the photography critic could serve a really important teaching role.

That's a long introduction for a small book, but it may prove helpful in understanding how I regard this book. A.D. Coleman considered himself a photography critic and many of his articles appeared regularly in the Village Voice, Popular Photography, the New York Times and Camera 35. I primarily wanted to read this book, not to see if I could learn anything about the works he reviewed, but to see what I could learn about criticism.

The short essays and occasional speeches and lectures of the author appeared between 1968 and 1978. (A book of subsequent writings, called "Depth of Field: Essays on Photographs, Lens Culture and Mass Media" has also been published.) Most of the works that appear in this book do not focus on particular photographs and their interpretation. When he does focus on a picture, as he does with Manuel Alvarez Bravo's "Striking Worker, Assassinated", it is to examine the content, and to speculate what the picture is about. He does note that the framing helped to convey what the picture was about, but there are few other references to Bravo's technique. Indeed, with the exception of references to the use of the range of light, focus and framing, there is practically no reference to technique anywhere in the book.

Instead most of the essays and speeches are concerned with the state of the art, examining, for example, the role of curators and photography education in modern photography. Coleman devotes more criticism to John Szarkowski's role as the chairman of the Photography Department at the Museum of Modern Art then to the work of any particular photographer. Of course, this may be the result of the selection process for the essays in the book, which may have eliminated the reviews of the work of particular photographers on the grounds that such essays were transient. But given that Coleman himself frequently despairs of the lack of photographic literacy, this seems unlikely to me.

Most of Coleman's work is closer to critical theory than to my ideal photography criticism.

Coleman's essays are short and capable of being read in less than ten minutes, although a few of the speeches that he made to groups concerned with photography are longer. His style is simple and easy to understand. Often one feels he has a brief against the older schools of photography as embodied by Ansel Adams. His attack on Minor White is deliciously nasty.

I found this book worth reading because of the insight that it provides into the nature of photographic criticism. For those interested in photography and its role in society, it suggests that photographic literacy is not just lacking in viewers, but to some degree, in photography critics.

LIGHT READINGS is 307 pages long and contains 25 separate essays, each from one to five pages. There are 34 reproductions in black and white. They are newsprint quality reproductions. The reproductions are large--full page--and include works by Wright Morris, Charles Gatewood, Duane Michaels, Geoff Winningham, Julio Mitchel, Jerry Uelsmann, and others. Thus, we have a nice selection of photographers familiar and unfamiliar to the interested public.

The essays include these titles: Paul Strand, Jerry Uelsmann, Roy DeCarava, Roger Minick, Photography and Conceptual Art, Diane Arbus, Minor White, New Japanese Photography, and others.

Regarding Paul Strand, A.D. Coleman writes, "There as been no change and little growth in Strand's image-making since the publication of The Mexican Portfolio in 1933, and his continued romanticization of the noble peasant seems increasingly mawkish and patronizing." (page 189).

Regarding Yousuf Karsh, "his much-vaunted style appears to be a trap from which he is incapable of escaping even momentarily." (page 213).

Regarding Lucas Samaras and Leslie Krims, "The subversion of expectations is central to all the contemporary arts, photography among them." (page 239).

Regarding Wright Morris, A.D. Coleman writes, "Coming to terms with one's past is hardly an original theme . . . all is vanished [in the locations photographed by Wright Morris] the people moved or dead . . . only the photographs endure to prove that any was more than a dream, thus they take on an awesome significance, like a handful of scattered potsherds at an archaelogical site." (page 245).

Regading the difference between black and white photography and color photography, "You can shoot a Buddhist monk burning to death in color and it's almost a pretty picture. In black and white, it's horrifying. Here lies the difference, you can hide in color but not in black and white." (page 87). (Here, A.D. Coleman refers to protests by the monks in the 1960s against the Vietnam war.)

Regarding Ansel Adams, A.D. Coleman writes, "His prints are supreme examples in photography of the result of one-track technical perfectionism . . . emotionally and intellectually they fall into the same plane as the works of Rockwell Kent and Andrew Wyeth, they are almost aggressively accessible." (page 123).

As one can see, A.D. Coleman has a certain axe to grind. For reasons unknown, he automatically likes to criticize his subjects for discovering a successful technique, and not wavering from it. Hasn't Mr. Coleman heard the expression, "If it ain't broken, don't fix it."

Also, contrast A.D. Coleman's knee-jerk method of photo-criticism with an opinion from Richard Estes. In an interview, Mr. Estes was asked, "Have you felt pressured to stay within the rather limited parameters of your subject matter and painting method?" Mr. Estes answered, "What's wrong with doing the same thing over and over again? I think the most--the silliest thing to try to come up with some new gimmick each year. It's better to really develop and expand on one idea." page 22 in RICHARD ESTES:THE URBAN LANDSCAPE (1978) Museum of Fine Arts, Boston. Please note that Richard Estes is one of the most successful artists in America.

To conclude, the book contains an abundance of short sections. If you don't like one, you can always move to the next. Any photographer will be able to find one or more inspirational comments within LIGHT READINGS.

" . . . When [W. Eugene] Smith turned his activist attention to the mercury poisoning of the waters of Minamata, Japan, in the early `70s, then-New York Times photography critic A. D. Coleman wrote, `It seeks to be, and succeeds in becoming, not a product but a process, a tool for change.' While some may take issue with aspects of Mr. Coleman's oeuvre of humanist criticism, none would deny that as this country's first and foremost photo critic he has made a singular contribution to the field, broadening both the definition and discussion of photography. " A collection of his writings from 1968-1978 called Light Readings has long been a must-read for anyone serious about photography, and has now been reissued in an expanded second edition."

--Taylor Holliday, The Wall Street Journal, December 4, 1998

I wish I had read A. D. Coleman's "Light Readings" years ago when I was studying photography. I have no doubt I would have become a much better photographer than I am now, taking to heart his profound commentaries on photography when it became accepted finally as one of the fine arts. Not only was A. D. Coleman the first major photo critic in photography's history, his early essays set a literary and intellectual standard which few have attained. In this newly revised, updated edition of "Light Readings", Coleman offers us some fascinating remarks on the Museum of Modern Art and its pivotal role in shaping the direction of fine art photography, most notably through the personal tastes of John Szarkowski, its autocratic director of the photography department. In one of the unpublished essays now appearing in the current edition, Coleman offers a harsh criticism of a book regarded by some as an important collection of photographic criticism, written by a well known novelist and essayist. Those interested in reading some of the most important themes and issues confronting photography in the late 1960's to mid 1970's will find Coleman's book an invaluable resource. And yet, it is more than just an important first-hand history of photography, but a thoughtful, penetrating look at the medium by one of its most astute critics.

Liquid Mexico: Festive Spirits, Tequila Culture, & The Infamous Worm is a 'must' for any who love Mexico: it examines the locales, festivities and history surrounding Mexican drinks, using specific beverage as cultural indicators for exploring Mexican heritage. Chapters blend in the authors' travel experiences throughout Mexico in chapters which range from 'Margarita' and 'Beers' to 'Sangrita'. An inspired blend of travelogue and cultural insight makes for lively reading indeed.

I was impressed by the numerous bibliographical references at the end of each chapter. I was expecting a simple book on drinking and traveling, but obviously a lot of serious research went into this book. Great reading for the beach or library.

This is a great book. Even though it's about alcohol, it's not really about drinking. It's way more about the history and culture that surrounds the drinks. If you like Mexico, even if you're a teetotaler, you'll like this book.

This couple went on some fun adventures in Mexico, did some great research on the history of the drinks mentioned in the book (tequila, mezcal, margaritas, Corona, etc), and put it together in a highly entertaining format. I think any arm chair traveler would get a kick out of reading this -- I did.

A fascinating and thorough look at the immigration situation seen through several facets of live in Nogales, Mexico. Davidson brings her journalistic skills to bare in making meaning of a complex topic and breathing humanity into the situation.

Miriam Davidson's book is appropriately researched, well written, and full of personal anecdotes from her experiences in the twin borders cities of Nogales Arizona|Sonora. She explores key issues of social justice and environmental degradation in 'maquiladora' communities in Mexico.
I visited Nogales USA & Mexico in 1999, and saw little evidence of the poverty or ecological troubles that Davidson skillfully brings to light in her book. Her description of the Mexican children who live in the cities' sewer tunnel systems is heart-rending; the issues of poverty, drug running, environmental degradation, poor health of residents, economic disparity between USA and Central America, corruption, gender inequality, crime, and the mixed role played by maquila businesses are all interwoven, and Davidson does a great job of illustrating this.
One of the most remarkable stories in the book relates to an accomplished American woman of Mexican ancestry who has her new vehicle stolen from the streets of Tucson, AZ by members of the Nogales, Mexico police force. Her response to this injustice is both amazing and inspiring.
I highly recommend not only "Lives on the Line", but the related books "Coyotes", by Ted Conover, and "Crossing Over", by Ruben Martinez.

must also read Miriam Davidson's "Lives on the Line." Maybe I'm a bit biased since I live here in Southern Arizona twelve miles north of our border with Mexico. But Davidson writes such sweet, firsthand-experience prose about other realities I see here -- like the Mexican migrants who have, for decades, crossed the border to keep Americans fat and sassy. The risks they now are taking have become obscenely dangerous, with the US spending billions upon billions to protect-- futiley -- our southern border.

Davidson's book is the first one I've read from cover-to-cover in one sitting since I read Ernest Hemingway's "The Old Man and the Sea." She's actually the better writer who shares the same themes.

But one does not have to live near the border with Mexico to understand that our friendly, much older, south-of-the-border nation's problems are really ours.

Besides, the Mexican border is now up in Minnesota -- isn't it, really?

This is a must read.

I read 40+ pgs of this book in the bookstore alone. I just moved to Nogales, AZ in January and I have found this book to be very helpful in providing me a background of the Ambos Nogales areas. The book is very well written and keeps you interested from cover to cover. Living in the area and being able to directly relate to the book is a plus, however anyone interested in the US-Mexico Border would find this book to be a spectacular read. Enjoy!!

Purchased this book and started reading and could not put it down. Very good and coloquial narrative style. Also read Bajo la Mascara from same author, but this is far better,Highly recommend this book.

Congratulations to the author, waiting for the next one.

Iris Sanchez

Soy un estudiante "hispanofil" de la lengua castellana y compró el libro para estudiar/practicar porqué parece ser un libro interesante, sobre cosas actuales, y no tan dificil porque tiene muchos capítulos cortos.

Es, de verdad, muy interesante. A leer el libro es como ver a muchos sitios y actos, en America Latina y el mundo en general, sin viajar, sientado en la silla. Es mejor que las noticias "normales"; muy descriptivo, no es completamente objectivo porque tiene las opiniónes y afecciónes politicas del escritor, y para mi fui muy comodo la posibilidad a leer unos capitulos cada vez.

Voy as comprar más libros de Sr. Jorge Ramos.

Another great book by Jorge Ramos. Well written, easy reading, and very informative. He tells it "like it is"...

Yo me identifico mucho con este libro, pues en el, Jorge Ramos habla de la guerra de El salvador y yo siendo Salvadorena recuerdo exactamente todo lo sucedido durante la guerra en mi pais.
Ademas admiro mucho al senor Jorge Ramos.