Mexican Days: Journeys into the Heart of Mexico [NOOK Book]

Overview

Tony Cohan?s On Mexican Time, his chronicle of discovering a new life in the small Mexican mountain town of San Miguel de Allende, has beguiled readers and become a travel classic. Now, in Mexican Days, point of arrival becomes point of departure as?faced with the invasion of the town by tourists and an entire Hollywood movie crew, a magazine editor?s irresistible invitation, and his own incurable wanderlust?Cohan undertakes a richer, wider exploration of the country he has ...
See more details below
Mexican Days: Journeys into the Heart of Mexico

Available on NOOK devices and apps  
  • NOOK Devices
  • NOOK HD/HD+ Tablet
  • NOOK
  • NOOK Color
  • NOOK Tablet
  • Tablet/Phone
  • NOOK for Windows 8 Tablet
  • NOOK for iOS
  • NOOK for Android
  • NOOK Kids for iPad
  • PC/Mac
  • NOOK for Windows 8
  • NOOK for PC
  • NOOK for Mac
  • NOOK Study
  • NOOK for Web

Want a NOOK? Explore Now

NOOK Book (eBook)
$11.99
BN.com price

Overview

Tony Cohan’s On Mexican Time, his chronicle of discovering a new life in the small Mexican mountain town of San Miguel de Allende, has beguiled readers and become a travel classic. Now, in Mexican Days, point of arrival becomes point of departure as—faced with the invasion of the town by tourists and an entire Hollywood movie crew, a magazine editor’s irresistible invitation, and his own incurable wanderlust—Cohan undertakes a richer, wider exploration of the country he has settled in.
Told with the intimate, sensuous insight and broad sweep that captivated readers of On Mexican Time, Mexican Days is set against a changing world as Cohan encounters surprise and adventure in a Mexico both old and new: among the misty mountains and coastal Caribbean towns of Veracruz; the ruins and resorts of Yucatán; the stirring indigenous world of Chiapas; the markets and galleries of Oaxaca; the teeming labyrinth of Mexico City; the remote Sierra Gorda mountains; the haunted city of Guanajuato; and the evocative Mayan ruins of Palenque. Along the way he encounters expatriates and artists, shady operatives and surrealists, and figures from his past.
More than an immensely pleasurable and entertaining travel narrative by one of the most vivid, compelling travel voices to emerge in recent years, Mexican Days is both a celebration of the joys and revelations to be found in this inexhaustibly interesting country and a searching investigation of the Mexican landscape and the grip it is coming to have in the North American imagination.
Read More Show Less

Editorial Reviews

From Barnes & Noble
In his 2000 breakthrough nonfiction book, On Mexican Time, novelist Tony Cohan (Canary) typifies life South of the Border as "intimate, voluptuous, sense-driven," adjectives that are equally descriptive of this engaging travelogue. Mexican Days re-creates his day-to-day adventures as he savors the special pleasures of destinations including Veracruz, Oaxaca, Chiapas, and the Yucatán. Cohan's interests are eclectic: He interacts freely with storekeepers and expatriates; samples local food; and dotes on local history and sun-drenched architecture.
Publishers Weekly
Novelist and memoirist Cohan takes on a travel magazine assignment to make "some trips around Mexico... see how the puzzle of old and new fit together [and] write about it." Traveling south from his San Miguel home, he passes through Vera Cruz, Oaxaca and Chiapas into the Yucat n. Readers familiar with the path may enjoy traveling with him; others will long for a minimal map, an organizing principle and some photographs. As Cohan drifts through Mexico, history (e.g., the founding of Tlacotalpan sometime between A.D. 900 and 1200) and contemporary events (e.g., the barricading of mountain roads by Zapatista insurgents) are revealed. Chats with taxistas and shopkeepers, visits with friends and artists, remarks about his own work and casual references to the famous among Mexico's tourist, exile and expatriate population dot the pages (John Huston gets four pages). Cohan's description of the book as "the Mexican postcard I'm always writing home" is accurate; but postcards work best for readers who can fill in the blanks with their own sense of where the writer is coming from. Perhaps readers of Cohan's previous, well-received account (On Mexican Time: A New Life in San Miguel) will be able to do so. (May 2) Copyright 2006 Reed Business Information.
Library Journal
This is an essential read for both Mexico aficionados and those contemplating a visit there. For the newcomer, Cohan (On Mexican Time) provides a vivid and beautifully crafted overview of Mexico's diverse culture, history, food, and customs. Those who know Mexico will gain new perspective on familiar tourist attractions and a glimpse into parts of Mexico travelers rarely visit. The author, who has lived and traveled in Mexico for many years (with San Miguel de Allende as his base), takes the reader to locations as diverse as Guanajuato, Oaxaca, Palenque, the Yucatan Peninsula, and Jalapa. He does not contain his displeasure at the changes Mexican locals make to please tourists-at the cheap souvenirs they proffer in place of the fine work of local artisans or the fiestas they stage for visitors (San Miguel de Allende in particular bears the brunt of his criticism). Despite his concerns for its commercialization, Cohan still loves Mexico and its unique local environments and lovely people. His observations are astute, on point, and necessary in the continuing dialog on contemporary Mexico. Recommended for public and university libraries.-Olga B. Wise, Austin, TX Copyright 2006 Reed Business Information.
Kirkus Reviews
Still captivated by all things Mexican, gringo travel journalist and soulful memoirist Cohan (Native State, 2003, etc.) conducts a survey of his favorite countryside. The author was at first in a fugue and a funk. Then he was in transit, on a magazine assignment to cover Mexico from the mist-capped mountain districts to the pollution-capped Federal District. Se-or Cohan traveled from his home base in San Miguel de Allende to Oaxaca and Guanajuato, Xalapa and Tlacotalpan, no doubt severely stressing his computer's spell check as he sampled historic sites and restaurants. He made quick visits to gardens in the jungle and old Franciscan missions, then moved on to the Yucatan and Villahermosa, Palenque and the Mayan ruins. He drank the water, ate the tamales and talked the talk. The text is peppered with Spanish words: the author had a refresco under a pirule tree, followed an amigo to the z-calo. Along the way, Cohan pays homage to the Aztecs, sneers at Presidente Vicente Fox, examines the cult of Frida Kahlo and gives a nod to that natural wonder, Salma Hayek. This romantic hombre is ultimately taken with the Mexico beloved by the likes of John Huston and Luis Bu-uel. But Huston and Bu-uel are just ghosts now, and San Miguel and Oaxaca have become disfigured by tourists in T-shirts and shorts. Solipsism on a road trip South of the Border.
From the Publisher
Praise for Tony Cohan
Mexican Days

“Tony Cohan’s singular novelist’s heart and eye, and the master-craftsmanship of his prose, set him far apart from anyone else today writing about ‘travel.’ Tony Cohan goes through the looking glass beyond ordinary journeying and discovers not just a place, a culture, a history, but the interstices of mood, longing, the beauty and tragedy of the people he finds in that place. He is our pre-eminent explorer of Mexico, and anywhere else he may voyage to.”
—Peter Nichols, author of A Voyage for Madmen

On Mexican Time

“Terribly seductive—an enticing and intoxicating vision of Mexico.”
Denver Post

“Cohan describes life in Mexico as ‘intimate, voluptuous, sense driven,’ a phrase that also describes On Mexican Time.”
Boston Sunday Globe

On Mexican Time is more than a travelogue, more than a vicarious journey for the reader. It is a gentle reminder to examine our lives and weed out the unnecessary, the chaotic, and the frivolous.”
—Tennessean

Read More Show Less

Product Details

  • ISBN-13: 9780307488190
  • Publisher: Crown Publishing Group
  • Publication date: 11/19/2008
  • Sold by: Random House
  • Format: eBook
  • Pages: 288
  • Sales rank: 646,740
  • File size: 2 MB

Meet the Author

TONY COHAN is the author of On Mexican Time, the memoir Native State (a Los Angeles Times Notable Book of the Year), and the novels Opium and Canary (a New York Times Notable Book of the Year). His articles, essays, and reviews have appeared in the New York Times, the Washington Post, the Los Angeles Times, and Condé Nast Traveler. He divides his time between Mexico and California.
Read More Show Less

Read an Excerpt

1.
Once Upon a Time in Mexico


So what do you make of this?” said Xavier.

I watched, from behind a cordon of yellow police tape, Antonio Banderas in a mariachi outfit, and Salma Hayek in far less, dangling from cables affixed to the rooftop of the Hotel San Francisco in San Miguel de Allende’s central plaza, el jardín. Walkie-talkies crackled in Spanish and English. A utility van edged slowly past with a card taped to its windshield reading ONCE UPON A TIME IN MEXICO.

“¡Acción!”

A volley of fake gunshots burst forth; cameras droned. As the pair descended on the cables in the burnished early twilight, kicking the air, I realized they weren’t Antonio and Salma at all but stunt doubles. “Cut!” I heard in English. Then I saw, over the heads of the gawkers, the real Johnny Depp, pale and slight, emerging from Xavier’s dad’s restaurant with his lady, Vanessa Paradis, on his arm. Willem Dafoe swung into view, followed by Cheech Marin. Was that Mickey Rourke across the plaza? Rubén Blades? Girls’ screams signaled the arrival of the true Banderas, Melanie Griffith close beside him; then la Salma herself with her swain, Edward Norton.

Cast and crew had been shooting for months in and around San Miguel, Xavier said. Local nerves were frayed. First flutters of pride and curiosity had given way to resentment. Shopkeepers were up in arms at street blockades preventing access to their stores. An old gringo had cursed out a camera crew some days earlier, to the amusement of the local town paper, Atención—as if he had any more or less right to be here than they did. Hungry locals, hoping to hire on for a few days’ work as extras in a bullfight scene, complained about low pay and dry sandwiches. News had leaked out that Melanie Griffith refused to leave the room while a woman masseuse attended to Antonio.

“They’ve rented our town,” Xavier said. “Or maybe I should say they’ve bought it.”

Banderas and director Robert Rodriguez, of El Mariachi fame, hoping to mollify criticism for “not giving something back to the community,” were going to show Spy Kids for free in the plaza that night for the benefit of local youth. The massive movie screen had been installed in front of the Museo Ignacio Allende, obscuring the statue of San Miguel’s native son and revolutionary hero, and folding metal chairs were stacked against the old wall across from the Parroquia, the parish church. Banderas would speak to the kids beforehand, thank the community, and introduce the film.

It was a late summer afternoon, the town walls flaring brick red as the sun tipped the mountains across the Guanajuato Plain—golden time for the cameras, no doubt. Over and over the couple dropped like spiders from the Hotel San Francisco roof, accompanied by flurries of gunshots.

“They’ve been shooting the same scene for three days,” Xavier said bleakly.

I’d been away for a while, doing necessary things, all the while dreaming of sweet return. I suppose I should have been amused at the irony: former refugee from the movie capital of the world finds himself tripping over cable wires, kliegs, and booms trying to get back to his house in this once-remote old town in the central Mexican highlands. But it had been a tough trip: two weeks earlier, the attacks on the World Trade Center and the Pentagon. Leaving LAX for Mexico that morning had been like passing through an armed camp. This was hardly the soft landing I’d imagined on the flight down.

We slipped away from the flower sellers, bullhorns, and stargazers crowding the portales around the plaza and headed down Calle Umarán. Passing a gaggle of tourists in front of Restaurant La Mama, Xavier said ruefully, “If I see another Frida Kahlo tote bag, I’m getting out my gun.”

Laughing, we came to my street, where we exchanged an abrazo and agreed to meet up later.

Ducking under police tape, I bore my luggage down Calle Flor in the soft, spreading twilight. This had been a favored foot route from the old Hotel Ambos Mundos, where I stayed when I first came here, to the shady bowers of the Parque Juárez: then the steep climb beyond to El Chorro, the beautiful old waterworks and site of the town’s founding in 1521 by the friar San Miguel. Calle Flor, a three-block ribbon of rough cobbles sloping southwest from the town center, retained a mix of large and small homes behind its high, lime-washed walls. Not the fanciest street in town, but a pretty one, and if it showed up in an occasional postcard, video, or Mexican soap opera, this was only fitting tribute.

As the commotion of the jardín receded, I glimpsed beyond the curving descent a swatch of enameled sky, darkening blue to ebony, crosshatched with black grackles and white egrets winging their way home. Above the hill’s rim, where the road called El Caracol twists down into the town, steely cumuli gathered for their quick, violent nightly assault, cleansing the cobbles and cooling the summer evening before ceding the sky to starlight. The once-barren hillside had filled in with homes over the years, the tangle of electrical wires obstructing its view now buried underground (a public fiasco in which the manhole covers kept caving in, sending unwary pedestrians to the Hospital de la Fe with broken legs or worse).

When I first knew Calle Flor, there were few shops or restaurants along it. Now the first block hosted a bookstore, an art gallery, two popular café-restaurants, a hair salon, a realty office, a home furnishing shop, two jewelers’ boutiques, and a house-techno pulque bar late at night. The next block, where we lived, remained residential but for an old jeweler who kept sketchy hours and a neighborhood tiendita run by a family who sold soft drinks and small provisions; and where an Italian restaurant had flowered one long-ago summer and we danced the nights away to salsa bands, a dry cleaner emitted steam into the street.

Our immediate Mexican neighbors—Dr. Ramírez and his family to our left, the retired Sánchezes to our right—remained in place. Rogelio the painter across the street still rented rooms to young women he hoped would pose nude for him. Timoteo, maestro carpenter of wooden religious statues, maintained his permanent window display of a manacled Jesus in purple velveteen robe and still fashioned his extraordinary crèches every year for the Night of the Altars during Holy Week. And Diego, town scion and environmentalist, kept his organic garden and beautiful grove of trees intact in the big house across from ours.

Reaching my door, I fished out the key, turned it in the lock, and stepped inside. My luggage slumped to the entrada floor. The tall mesquite door closed behind me with its deep, consoling thunk.

I exhaled into the silence.

That evening, after a thundershower, I left the house and walked several blocks to El Petit Bar on Calle Hernández Macias. Founded by a couple of old acquaintances, Jacques and Sophie, “Le Petit,” as it was called, had become a watering hole of choice the last few years, reflecting the town’s new cosmopolitanism. Jacques’s quirky, sculpted furniture and lighting, the subdued speaker throb of Brian Eno or St. Germain or Leonard Cohen, offered an alternative to the Andean flutists, mariachis, and cool jazz found elsewhere around town. Deeper inside the old property they’d lived in years ago, when they were still married, a courtyard restaurant gave play to Sophie’s art and cuisine.

Jacques and Sophie had migrated to San Miguel the year we did, after living for some years in the Peruvian Amazon. He French, she French-Canadian, architects by trade, they’d raised their two towheaded boys here before sending them off to Havana, one to become a keyboardist, the other to study with the Cuban National Circus. At El Petit Bar regulars mingled with newcomers, local news circulated, and romances bloomed or died. You could look at the art on the walls, read Jacques’s trilingual monthly culture magazine, El Petit Journal, or simply sip in silence watching people. Here Jacques, genial host, seemed to have found his true métier.

I located Xavier in a deep leather chair, drinking tequila in the company of a young woman he introduced as Lluisa from Barcelona, here visiting a friend on the movie set. Xavier, wry poet and relentless anatomist of the town, was a tender misanthrope, a cheerful fatalist. Hopelessly romantic, he dreamed of the world beyond while showing little interest in actually visiting it. He pursued women, and sometimes men, with the same wishful languor. Once a month he taught a writing class at the local prison above the town, and on Sundays he ran a poetry workshop at Bellas Artes Institute. He tilted at a pre-Columbian/postapocalyptic epic verse novel he’d probably never finish. He knew English—I’d caught him once in the jardín reading The New York Review of Books—but steadfastly refused to admit it, remaining comfortably embedded in Castilian, inviting you to come over and meet him there. Droll diagnostician of chance, he considered himself a disciple of the Guatemalan writer Augusto Monterroso, perhaps best known for having written the shortest short story in the world: “Cuando despertó, el dinosaurio estaba todavía ahí.” (When he awoke, the dinosaur was still there.)

By way of catching me up, and no doubt to amuse the fetching Lluisa, Xavier began briefing me on local developments in my absence. A woman we’d known, an avid flyer and proprietress of a notoriously overpriced restaurant, had allegedly embezzled money from her sister-in-law, an aged writer, then inexplicably crashed her Cessna into a mountainside in coastal Oaxaca. A kidnapper known as the Earlopper was running amok in nearby Querétaro. Xavier really warmed to news of Epifánio, a contractor around town who’d helped me build the stairs to my roof. It seems Epifánio had started up a cantina and whorehouse outside of town—prostitution is legal in the next state over but not in this one—and now was in the hospital with broken legs and ribs after leaving the cantina at five-thirty in the morning with four of his prostitutes, then crashing his car into a village chapel trying to outrun police. More poetically, and dearer to us, a shy, beautiful girl named Paloma who sold books at the Bellas Artes and had never uttered a word had suddenly, mysteriously burst into speech.

A boisterous gang from the movie crew piled into the bar, and soon we couldn’t hear ourselves think, let alone speak. Xavier proposed we move on to La Cucaracha on Calle Zacateros, living descendant of the old bar where Kerouac and Cassidy had guzzled in the 1950s. But still feeling the effects of the day’s travel, I took this as my cue to say an early goodnight.

The oft-repeated tale of origins that San Miguel de Allende tells itself—scrolling past as if depicted on a mural, left to right, divided into three large, vivid-hued panels—begins with a mythic past of Chichimeca and Otomi Indians living close to the earth until a kindly Franciscan father arrives to enlighten them; then enters history as the colonial epic unfolds literally inside San Miguel homes, where a heroic priest and a colonel conspire to overthrow the Spanish Crown; then climaxes as modern travelers discover that the little mountain town, four hours north of Mexico City, is a paradise. San Miguel de Allende: site of fiestas and miracles, ecstatic religion and fiery revolt, unearthly beauty and curative air—a place for dreamers and artists.

Its truer history—less symmetrical, less seemly, grislier—records that the indígenas were enslaved or driven off, the few surviving descendants sometimes still to be found in tattered costumes selling dolls along the first block of Calle Flor. Father Hidalgo’s and Colonel Allende’s heads dangled in cages for ten years on the granary wall of nearby Guanajuato after they were hunted down by the Spanish, the end result of their revolt being to establish a new aristocracy of local landowners, requiring another, bloodier revolution later that delivered equally dubious results. The old weed-clotted town cemetery next to the church of San Juan de Dios, now so oversubscribed its locked metal gates forbid entry, brims with the earthly remains of victims of deadly epidemics that ravaged the town. As for the Inquisitor’s House on Calle Pila Seca, it would rather keep its ghosts safely hidden away behind the antique furniture now sold there.

Set in an agrarian region with wealth derived from the nearby silver mines of Guanajuato, San Miguel long served as a traders’ and travelers’ stopover. In centuries past it functioned as the region’s slaughterhouse, and Calle Flor was a street of tanners. In the late 1700s residences came to be built, including sections of this abandoned, decaying structure we’d bought in 1988 for very little. After the Revolution of 1910 and the violent Catholic counterrevolt that followed, the town fell into a kind of slumber, the old colonial houses sinking into decay, the fiestas desultory, the churches and monasteries languishing. Tunnels that ran beneath the town, and our house, collapsed, though rumors of buried treasure still circulate. A train running between Mexico City to the Texas border sometimes stopped at the foot of San Miguel to take on water, collect mail, and discharge or admit the occasional passenger.

An educated Peruvian vagabond named Felipe Cossío del Pomar debarked from that train in the late 1930s, became enchanted by the place, and founded an art institute on the grounds of a sprawling hacienda that belonged to a leading family of the town. A gentle, resourceful, eccentric American, Stirling Dickenson, arrived around the same time, as did José Mojica, a Mexican opera star who built a rambling home bordering Juárez Park. A massive, deserted nunnery in the town center became another art school. When soon after World War II some young Americans came to study art on the GI Bill and Life magazine wrote it up—“How to Live in Paradise for $100 a Month”—the third panel of the mural was begun. Still quiet, beautiful, and cheap when Kerouac, Cassidy, Ginsberg, and Burroughs passed through, scattering legend in their wake, San Miguel gradually gained currency among artists, backpackers, and a handful of foreign retirees. More years passed, and journalists began writing up this “hidden gem” in the travel magazines. When a new airport nearby shortened the trip here by half, tour agencies started working it into their packages.

In the coda, or epilogue, of the narrative–the fourth panel of the mural, sketched in but unfinished, hidden in a shaded alcove in its ambivalence or shame–burros become automobiles, the old ruined facades sleek hotels and bars, the stone buttress of the parish church the site of a pricey restaurant, the town square thronged with T-shirted tourists. In this depiction, old-timers and locals are seen fleeing in the face of the desecrations. This panel, like the David Álfaro Siqueiros mural in San Miguel's Bellas Artes building, may forever remain unfinished. Entitled, perhaps, Tarnished Eden, it bears no more or less proximity to truth than the other panels. After all, if the idea of a traveler's paradise is a cliché, so is its ruination.

From the Hardcover edition.

Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star

(0)

4 Star

(0)

3 Star

(0)

2 Star

(0)

1 Star

(0)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously
Sort by: Showing all of 2 Customer Reviews
  • Posted July 11, 2009

    more from this reviewer

    I Also Recommend:

    Mexican Days by Tony Cohan

    As a passionate lover of the Mexican culture, I found Tony's book spot on with respect to the careful way he poetically presents his discoveries of a culture rife with extremes. He writes like a smitten schoolboy- we see Mexico as an object of affection; something to be cherished and wooed. I loved reading every word because he writes the way I wish I could when it comes to truly representing this fantastic land and its wonderful people.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted March 13, 2011

    No text was provided for this review.

Sort by: Showing all of 2 Customer Reviews

If you find inappropriate content, please report it to Barnes & Noble
Why is this product inappropriate?
Comments (optional)