Las Vegas, New Mexico

An Experiment of One: Eyes on New Mexico

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The Straight Talk Express in Las Vegas, New Mexico/Birdie Jaworski

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Michelle Obama's speech in Las Vegas, New Mexico/Birdie Jaworski

Two weeks ago, the Straight Talk Express parked in front of Las Vegas' iconic "Calumet Says Howdy" mural. The sexy cowgirl with her endless legs seemed to sit on top of the broad, bold font announcing McCain and Palin, gracing the bus with her campy presence. The Republican contender and his running mate didn't ride the bus this trip; they shook hands through other contested states. New Mexico's five electoral votes wouldn't be earned visiting my small - and mostly Democratic - town.

I live in a state, in a town, where my vote certainly counts. Las Vegas sits on the edge of the Great Plains, the Sangre de Christo mountains to her back, an ancient and wise city with four hundred years of cowboy against native bloodshed, filled with ranchers, university professors, artists, laborers, merchants, and activists, a town completely unlike the big City of Sin in Nevada. Las Vegas is marked by an incredible work ethic, by the role of the Catholic Church in daily life, by a Spanish population whose ancestors, the Conquistadores, rested in our lush mountain grasslands, vowing never to leave.

In the last two elections, the fate of New Mexico was decided by northern voters. The Democrats lost by 5988 votes in the state, votes that could have been obtained if landlocked ranchers and homelocked older folks, university students and hardworking merchants all made it to the polls. The Obama campaign is taking no chances this election. A drive through town reveals Obama-Biden signs on every street, a forest of liberal pinon dotted by the occasional McCain-Palin aspen. Volunteers have walked every street, knocking on each door in town to spread Obama's message of Change.

When the Straight Talk Express hit the streets, exactly seven locals came out to meet its crew - a local congressman and three t-shirted staff members - all anglos, all seeming a bit lost on our edge of prairie forever. Though no less than six Obama campaign volunteers asked for my vote, not a single McCain worker stood on my stoop, clipboard in hand, ready to extoll the virtues of Country First. I hovered near the Straight Talk Express, camera and notebook in hand, wanting to hear their message, wanting to believe they would tell me something other than "the other guy's a bad'n," wanting to believe that the race was about the issues, issues that matter to me, to everyone in my isolated town, issues of education, health care, the sinking economy, the ways a new president could help my own small business. But all I overheard were angry mentions of Ayers and late-term abortion. I wasn't invited into the McCain circle though I inched closer and closer. I left.

Yesterday, Michelle Obama visited Las Vegas, New Mexico. I stood with the press, on an elevated platform overlooking the historic Old Town Plaza. Michelle stood among several thousand banner-waving supporters - men, women, and children I knew, people who live and breathe struggle, people who count pennies to buy bread and milk, people who look for jobs that don't exist. Several schools brought their young students to listen and learn. Though the campaign promised a "free speech" area for those with a different message, no one took them up on the offer.

My 13-year-old son, Louis, inched as close as he could to Michelle's lectern. He held an official red, white, and blue campaign sign handed out to the crowd before the speech - but he didn't wave it. I knew why he didn't pump fists into air, why his eyes stayed riveted on Michelle, why his expression said "please help me, I want to understand."

When I was Louis' age, I wore an activist button on my Clash t-shirt the first day of school. It was four inches in diameter, four inches of slick solar yellow with stark black message. A smiling cartoon atomic explosion with an orange fisted hand pumped in the air considered the viewer with an evil grin. Encircling the button were three words in a puffy, upbeat font.

Atomkraft? Nein, Danke

I sat in the back row of Mr. Giroux's English class. I sat with a practiced expression of disgust, my perfectly-coifed mohawk the result of six egg whites, a small tube of silver glitter, and half a dented can of Aqua Net I stole from my mother.

"Ms. Jaworski."

Mr. Giroux walked down the center isle. He didn't seem to notice the kids who wore pink collared shirts with tiny alligators, didn't point finger at the bulky second-string football jock, the impossibly slim exchange student from France with a finger up his nose. His nicotine-stained index finger hovered one inch from my button.

"Ms. Jaworski. Please explain this."

He tapped the air in front of my chest. Mr. Giroux wore acid-washed jeans and a white button-down shirt with candy-red stripes. His breath smelled like stale cigars, like nights of small town boredom, like academic regret, like one-too-many nights with Jack Daniels and Mork and Mindy.

"It's in German. It means 'Nuclear Power? No, thanks.' Haven't you heard of Three Mile Island?"

I smirked. My classmates tittered. The French boy turned to give me a sly smile, an unspoken invitation to sneak cigarettes under the stadium bleachers at lunch.

"Ms. Jaworski." The second bell rang. "Please walk to the front of the class and explain why you're against nuclear power. I want both a scientific and a social explanation. Thank you."

"It's just a pin, man. Why don't you pick on someone else? Half the class' got  Vote Reagan pins. He's scarier than atomic energy."

I rolled my eyes. The class didn't giggle, didn't give me what I wanted. They sat, stony-faced, children of struggling parents, parents who spent long machine-shop hours pressing decorative holes into wing-tipped shoes, who cleaned urine-splattered bathrooms at the state mental hospital. November 4 hovered like Mr. Giroux's finger, hovered outside our classroom. We lived in Massachusetts, lived under the same brilliant fall leaves as Ted Kennedy, but high inflation and the Iran hostage crisis scared my hometown's working class families into switching teams, tossing Carter into the street and grabbing Reagan's charisma and wrapping it around weary arms like an ace bandage.

"Ms. Jaworski. Take the front of the room. This is not a request."

I didn't budge.

"It's just a pin. It doesn't really mean anything."

Mr. Giroux smiled. He grabbed me around my upper arm - you could still do that kind of thing those days - and hauled me to the slim space between his desk and the good girls in short icy skirts and short, stacked hair.

"Ms. Jaworski. Explain the issues surrounding nuclear power. You have exactly sixty seconds before I send you to the principal's office."

I shrugged my shoulders and fought to keep my voice steady, bored.

"Nuclear power is bad. Everybody knows that."

I raced back to my seat. Mr. Giroux cleared his throat.

"Ladies and gentlemen. There will be no political pins allowed in this classroom unless you can back up your position with a well-conceived statement that you can defend against questions. The right to vote is the most precious right we have as American citizens. When you wear a pin without considering the consequence, or when you spout propaganda you've heard on the idiot box, you are slapping our founding fathers in the face. Heh. That's alliteration, boys and girls. Founding. Fathers. Face. Think about it. You each have the opportunity to become the uncommon voter. The truly educated voter."

Preppy and jock removed Reagan pins. I stuck the yellow button in the front pocket of my tight Jordache jeans. It made an outline against my right thigh, a circular extrusion of fourteen-year-old rebellion.

I skipped the rest of the day, didn't meet my new French teacher, didn't sit in a sweaty windowless band room with a tarnished saxophone in my lap. I didn't tell my friends I was ditching school. I walked three miles to the Longmeadow brownstone exterior of our historic library, slammed mahogany entrance door against stone wall, my mohawk transmitting fever heat anger.

"Tell me everything you know about nuclear power. Or give me books. I need to know everything there is to know. I need to know. Please," I added as an afterthought. "Please, and thank you."

The librarian squished up one-half her aging face, her wrinkled eyes belaying quick calculations about truancy, about percentage chances that punk rock girls with safety pins in their ears would trash the library. Somehow she decided in my favor.

"Okay. Let's start at the beginning. What do you already know? And why do you need to know this - is it a school project? School just started today you know." She paused to look at the antique grandfather clock. Three cojoined livers spots the size and shape of a trio of Tic Tacs connected her thinning eyebrows. "It started two hours ago."

Those days before the internet meant hours in research, meant pulling out long card catalogue trays looking for periodical and dusty tome that might match my request, meant browsing the Encyclopedia Brittanica at the library's heavy oak tables. I poured through microfiche copies of The New York Times, flipped pages in National Geographic and Time Magazine. I read about Three Mile Island, about the Arco Reactor in Idaho that suffered partial meltdown, about Dwight Eisenhower's "Atoms for Peace" speech.

The more I read, the more confused I became. Chernobyl hadn't yet occurred, and aside from a few small incidents and the Three Mile Island accident - a horrific event, indeed - humans seemed to be mastering the intricacies of nuclear power, seemed to be building safe havens where free neutrons run into a particular variety of uranium, causing the atoms to become unstable and split, breathing sheer power into the air, power we needed. I remembered the long line at the one gasoline pump in town, the creep of gas toward an unheard of dollar-a-gallon.

But Three Mile Island... I felt as if my own mind held an isotope of uranium, as if the library bombarded me with neutrons, with neutral statement of fact, enough fact on both sides of the equation to shatter my tiny bad-ass rebel view. I simply didn't know what to think.

Mr. Giroux raised eyebrows in surprise when I slammed my books on a front-row seat in his room. I slid my butt into the small chair and listed my mohawked head in defiance. He smiled, though, when he noticed my handmade pin, a button four-inches in diameter like the German pin I left at home, a pin that simply said "Ask me about Nuclear Power. Or tell me what you know."

This year, Louis made the transformation from soundbite baby to educated political thinker. He isn't yet of age where he can cast a ballot. He reads the papers, reads both sides' positions on the internet, hasn't wrapped my own beliefs and expectations around his slim body. He's suspicious of politics, of heavy blue buses parked under mural, of campaign-sanctioned signs.

"Mom," he sighed after the second Presidential debate. "How can you tell who's telling the truth? I don't want our country to fall apart before I'm old enough to vote. Do you think everyone will make the right decision? I have to stop reading the internet, it's making my head crazy."

But as the sun passed overhead and Michelle took the stage a little past noon, I watched his expression lighten a little as she spoke about her love for the young people of the United States, how she spoke about her love for her husband. Michelle kept her speech simple, talked about the plain-as-day issues that affect each of us, told us how her husband viewed these issues, what positive changes he wanted to make in the areas of health care, alternative energy, education, the economy. The message stayed positive, stayed on-topic, stayed warm, welcoming, without a single harsh word for the competition.

"Mom," Louis smiled after the rally, "we each are an experiment of one, each finding the way to keep moving towards the finish as best we can. That's what any election is really about, I think. Every person studying the issues and deciding what they think is best. And together, those individual experiments add up to some kind of unity. I think that's what your old teacher meant, Mom."

Whoever you vote for this election, remember that. Louis is only 13, but he's right. Mr. Giroux's right. We are each an experiment of one, each of us researching, collecting, concluding, until we reach a still moment in our heart where we find an answer.

Please, go and vote.

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More photos below - just click on a thumbnail to see the full-sized version. All photographs by Birdie Jaworski:

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So much for Spring...

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After a week of sunny days in the 60's, Mother Nature dumped seven inches of snow on us this weekend.

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24 Hour Play Project... yeah, I did it, the glutton for punishment that I am.

I wrote about the 24 Hour Playwriting Project at the United World College for the Las Vegas Optic last week. And last Saturday night found me, my son Louis, and his friend Max at Kluge Auditorium, participants in the crazy event. I was a Director, and Louis and Max were actors. I have a story coming out in today's Optic about my experience. Once it's in print, I'll post it here as well.

A couple photos from the event:

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Max (left) and Louis practice their lines.

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Charlotte (left), Ani, Eldar, and Madeline ponder the meaning of life... and Holly's script!

Las Vegas, New Mexico Arts Council Newsletter is out!

I wrote five stories for the current Las Vegas Arts Council quarterly magazine. It was inserted into the Las Vegas Optic on Friday, December 14th. The newsletter also contains a comics panel from my son, Martin, as well as a book review by David Escudero and a Letter from the President from Patrick Rucker. The Optic still has copies available if you haven't yet picked up a copy, or you can call the LVAC for more information.

Sixth Grade Sounds of Hope

First published in the Las Vegas Optic, November 15:

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Si Khan with the Rio Gallinas 6th Grade class.

Billie Mathews’ sixth grade class listened attentively as Si Khan addressed the Rio Gallinas School student assembly.

“Each of us has a voice. What we do with that voice is up to each one of us. Will you use your voice for good? To make a difference in the world? Only you can answer that question.” Khan arched his left fingers in a minor chord before launching into the next song. “My heart tells me you will all use your voices for good.”

Khan, the author of several textbooks on community organizing, is a long time folk musician and labor and community organizer. Based in North Carolina, he is visiting New Mexico to lay the groundwork for a statewide campaign to address disproportionate spending on prisons, jails, and detention centers. His songs have been covered by over one hundred artists across the world.

“I use my music to help spread my message,” explains Khan. “I would rather see money being spent on schools and alternatives to incarceration. I can sing about the way life is, and I can sing about the way life might be if we all worked together.”

Mathews,  an accomplished flutist, knew her sixteen students would carefully consider Khan’s message and music. Christina Litherland grinned as she described her semester-wide class project.

“We’re studying the New Mexico tradition of corridos, folks songs that tell a good story about brave people who make a difference. Si Khan is one of those people. We’re writing a corrido about him.”

Mathews’ class calls their project the Sounds of Hope. Students have learned to read and compose music as well as play recorders. They researched songwriters of hope, like Khan, including Roberto Mondragon, Rena, Robert Mirabal, and John Trudell. As their studies progressed, students participated in face-to-face interview meetings with their chosen songwriters, and learned what passions drive their work.

Zachary Lujan laughed when asked about his Si Khan corrido. “I am working with two other students. We have to agree on lyrics and melody. The most important thing is for our song to have a message, just like Si Khan’s songs. Anyone can write a song. But we want to write something that makes a difference,” he said.

The sixth-graders plan to perform their original corridos from 5 to 6:30 p.m. on December 6 at the UWC Kluge Auditiorium. Mathews summed up the class’ anticipation after attending Khan’s concert.

“These students are doing amazing work. They can read and write their own music. When we play music together, I can tell how good they feel about what they’re learning. They’ve learned that they can carry on an important local tradition and take it into the future.”

Las Vegas, New Mexico is the Real Star of No Country for Old Men

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The Serf Theatre fills for the No Country for Old Men premier

Las Vegas the Real Star of No Country for Old Men
by Birdie Jaworski

A man carrying a hunting rifle squints. He stands on the rim of a bowl-shaped depression, his mustache dripping with sweat. Heat rises from sparse desert scrub, from the splay of dust-splattered pick-up trucks belching bloodied flesh. His boots barely sink into ground as he gingerly makes his way down the canyon side; there is no water, no comfort, nothing to absorb the fury of maggot and sun.

Las Vegas residents held their breath Wednesday night as Llewelyn Moss, played by Josh Brolin, hit boot against rock in the New Mexican premiere of “No Country for Old Men.” Adapted by Ethan and Joel Coen from the novel of the same name, the film closely follows Cormac McCarthy’s meditation on violence scene-by-scene with a judicious sprinkle of the directors’ trademark black wit. Tommy Lee Jones is good Texas sheriff Ed Tom Bell on an endless hunt for deadpan sociopath Anton Chigurh, played with understated intensity by Javier Bardem, but the real star of the film is Las Vegas whose historic buildings, tree-lined plaza, and residents whisk the viewer to small-town Texas thirty-years ago.

Twin spotlights bled into the crisp night air as hundreds of aspiring movie goers descended on Douglas Avenue. Lines formed on both sides of the Serf Theatre. Trinity Chenard drove from Denver to attend the premiere. She wrapped her soft pink scarf tightly around her head and neck to repel the quickly dropping temperature.

“I can’t wait to see this,” Chenard said. “I have been a Coen brothers fanatic since “Blood Simple.” I’m glad they’re going back to their roots. I don’t know much about Las Vegas, so I spent an hour driving around town this afternoon so I could recognize the scenes in the film.”

Chenard didn’t hold a ticket, but she was one of the few lucky hopefuls to find an empty seat inside the mural-lined room.  The Serf quickly filled to capacity, and the disappointed and cold ticketless were told they could attend a special second screening the following night. Local filmmaker Marine Dominguez took the stage of the Serf, microphone in hand, and thanked a long list of community services and businesses, politicians, and volunteers for making “No Country for Old Men” and the evening’s premiere a success.

“We have folks here from all over,” Dominguez informed the crowd. “We have people who participated in the filmmaking process both locally and in Los Angeles. We even have someone here from the New York Times.”  The crowd erupted in cheers at the mention of each name and city.

Betsy Rogers, a photographer and writer who lives in both Santa Fe and New York stood in her aisle and snapped pictures with an elaborate camera. “I’ve been fascinated with Las Vegas for many years,” Rogers explained. I’ve been working on a photo journal essay for quite some time.  I’ve gotten to know some of the families who have called Las Vegas home for twelve generations. This is a big moment for the city.”

The lights dimmed, and a nervous hush fell over the theatre. Giggles and small cheers broke the tension when local residents and landmarks filled the screen. The biggest whoops were reserved for the Mexico border crossing and a night-time pan down Douglas Ave. The Serf, marquee lit against the muted blues, blacks and grays that give the film its signature desolate look, made viewers feel as if they were inside the scene itself, a film within a film.

The Coens stole the darkness from Las Vegas, captured its most forgotten spaces, its bleakest tones, cobbled them together to create a border town on the edge of death, a place tired, drugged, achingly sincere in its place on the edge of the desert. Though the town plays the character of West Texas poverty, the homes and businesses that fly by still hold incredible charm, still retain some warmth the Coens couldn’t hide.

The Hotel Plaza - called the Eagle’s Pass in the film - hosts a chase scene.  Moss waits on the edge of his rented bed, shotgun in hand, a valise filled with cash in the other. He figures out how Chigurh tracked him, knows that this hotel marks life or death. The Coens deftly capture the tension of justice. The stairs creak with deliberation. Moss watches the hallway darken as the killer approaches. The film is bleak, frightening, tightrope taut, brilliant.

Viewers murmured as they filed out the theatre. The film punches you in the gut, leaves you watching over your shoulder, aware. Las Vegas resident Zane Burden, age 12, shook his head as he described his most haunting scene, a car accident.

“It was right in front of my house. I’ll never look at my street the same way again.”

Las Películas brings the power of film to Las Vegas, NM

by Birdie Jaworski
This article first appeared in the Las Vegas Optic on October 3.

Las Vegas Committee for Peace and Justice member Pat Leahan stood under the Serf Theatre marquee and waved a stuffed envelope with an angry flick of her wrist. A neon green tracking sticker covered the return address, but the last three letters in Albuquerque Mayor Chávez's name were still visible.

"He's a hypocrite! You heard him in that film! He promised he would allow peaceful freedom of speech, but it happened again on September 15."

Leahan's voice shook in frustration, shook with anger at the recent raw memory of a peaceful anti-war protest disturbed by police baton. Leahan was a woman transformed by the power of film, by the scenes of poets marching against the war, against the unfair suspension of a poetry coach whose simple transgression was allowing his students to speak with honesty, with the belief their words mattered. Committing Poetry in Times of War brought Leahan's emotions to the surface, connected her recent experience as a peaceful protester to that of those who marched in Albuquerque four years ago.

"We're bringing Hollywood to Las Vegas," said Ryan Smith of Cypress Film Labs, one of the sponsors of last weekend's second annual Las Películas film festival. "We're here to celebrate the language of film. Film has the power to move you, to make you see the world in new ways."

Smith's business partner, Elias Eversole, gestured toward the small stream of filmgoers filing into the recently reopened Serf. "Northern New Mexico has a strong film tradition. This isn't just about being an extra in a big budget movie. We're giving the public a chance to see films from around the world as well as films from our own backyard."

The Serf's muted murals of painted cowboy and indian flickered with orange light as each film began. Loops of film pulled from an old spool flanked by two vases of yellow mums decorated the stage beneath the screen. Aside from the two movies shown at the Fort Union Drive-In - Red Dawn and Easy Rider - Los Zafiros, a documentary about a Cuban singing group shown Friday night, was the most attended screening with an estimated fifty viewers enjoying the music-rich show.

"By early Saturday afternoon, we already matched the attendance of last year's event," said Eversole.

Small pockets of people traded sunlight for the theatre's womb every few hours during the festival's three days. Two middle-aged women sat dead center in the Serf, their heads moving in unison, sadly shaking in sympathy and distress as Standing Silent Nation documented the story of a poverty-stricken Lakota family whose industrial hemp crops were systematically destroyed, year after year, by overzealous narcotics agents. Images of struggling family, of young children chasing horses, chasing life, overlapped the edges of the worn screen.  Though the crop contained no useable amounts of THC, the active drug in cannabis, yellow-vested agents carrying loaded weapons trampled the carefully cultivated plants. Shot in the muted greens and browns of the South Dakota reservation lands, Standing Silent Nation asks the viewer to consider questions of sovereignty, poverty, the right of a people to meet their own needs in ways that empower and enrich.

Las Vegas resident Antoinette Fox discussed the film with friends in the lobby of the Serf.

"I completely support what these people are trying to do. Industrial hemp is a great resource. It just makes sense. I appreciate the festival organizers showing films like this, films that make you think."

The Serf echoed with whoops and angry chatter during Il Inmigrante. Shot in New Mexico, Arizona, Texas, and Mexico, the documentary examined the Mexican and American border crisis by telling the story of Eusebio de Haro, a young Mexican migrant looking for water, who was shot in the back, killed, by an angry Texas man.

"Can you believe this? What's wrong with our world? He's a human. Don't call him an alien," cried one filmgoer as the Texas sheriff pointed to a map of de Haro's fated journey.

The crowd rustled in sadness and anger as Il Inmigrante ended. I paused in the isle. A teenaged girl asked for a page from my notebook. I tore two sheets, handed them to her. The final credits ticked along the screen. The girl pulled a stubby pencil from her purse.

"I saw Committing Poetry this morning. And now I saw this movie. Can these things happen in Las Vegas? I don't want to think these things can happen here. I'm going to write a poem before I forget what I saw. I don't want anyone to forget."

The reel ended, sputtered, sending shatters of night against her face. She began to write.

Sabor de Las Vegas

I haven't yet disabled "My Tiny Vegas" yet, though many of the stories linked on that site are now lost in the ether. I hesitate to take down the site; it has provided an incredible public service for my crazy town. But if I want to simplify, I must, otherwise I end up with yet another tug on my hem. I could put a selection of Vegas stories here, perhaps. Ideas?

In other news, my email isn't working. If you've emailed me in the last few days, I probably haven't received it. I am only receiving sporadic mail - most of it spam. I put in a tech ticket to mac.com as well as to my ISP, desertgate.com. My alternate email is birdie@desertgate.com, but that isn't working either. I suspect the thunderstorm of a few nights ago - while I was on the road - tipped the balance. Once I fix the problem, I will send out a little notice to my friends about this new site. In the meantime, if you know of anyone who might be wondering what happened to me - please let them know about this place. Thanks!

I resigned from Gather.com - both my positions as Writing Essential editor and Family Correspondent. I also resigned from BlogHer, which gave me great sadness, as I loved my How To Write column. But I couldn't do either job justice, not in my new shoes, new sense of priority. I hope to continue my Words in a Row series here, on my own time and dime. My students, my children, need my hands and mind. I want to connect with the slap of boot against Santa Fe Trail, the brown eyes of my soft-spoken neighbor, Rita, the haunt of green chile roasting over gas fire. Everything else can wait.

Pix of the Sabor de Las Vegas ("Taste of Las Vegas"), held Saturday afternoon on Bridge Street:

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