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Jul 112019
 

Lake Chapala – the lake itself – played an important bit part in the filming of the 1965 movie In Harm’s Way. The movie, an epic Panavision war film, was John Wayne’s last black-and-white film. The movie’s cast, besides John Wayne, included Kirk Douglas, Patricia Neal, Henry Fonda, Stanley Holloway and Larry Hagman, among many others.

The screenplay by Wendell Mayes and based on the 1962 novel Harm’s Way, by James Bassett, looks at the lives of several US Navy officers in Hawaii, and their wives and lovers, during the first year of U.S. involvement in the second world war.

In October 1964, the movie’s producer-director, Otto Preminger, and several members of the film crew visited Lake Chapala to film some special effects. They stayed at what was then the Holiday Inn in Chula Vista. A brief note about their stay, in the Guadalajara Reporter, claimed that the crew was “filming explosions in the lake for the movie” and that the explosions were of compressed air only and would reportedly would not harm local wildlife.

Among the youthful audience watching the crew filming of In Harm’s Way were the children of Marcella Crump, a keen amateur photographer. Dennis recently wrote about his memories of watching the filming in a catchily-titled piece, “The Time the U.S. Navy Came to Lake Chapala” published in El Ojo del Lago. He recalled “when a US Navy battleship, destroyer, and submarine appeared on Lake Chapala to engage in battles against the Japanese.” The vessels were “perfect scaled down Navy vessels… complete with their big guns firing heavy projectiles, destroyer firing its guns… and the submarine cruising in stealth mode.”

As Dennis explains, Lake Chapala was the perfect setting for small models to be filmed in a variety of wave heights. They could appear to be on the calmest of waters or fighting against the fierce waves of Pacific storms.

His brother, Raymond, remembers how about six replicas of PT (patrol torpedo) boats, each about 8 feet long and remote controlled, were “hand crafted right there on the beach under the umbrellas.” He vividly recalls the small explosions generated during the filming to simulate bombs hitting the water.

Sources:

  • Dennis Crump. 2019. “The Time the U.S. Navy Came to Lake Chapala.”. El Ojo del Lago, May 2019, 30.
  • Raymond Crump, personal communication.
  • Guadalajara Reporter, 22 October 1964

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

 Posted by at 5:22 am  Tagged with:
Jul 042019
 

Confesiones de Maclovia, Martín Casillas de Alba‘s first novel, was inspired by the life of his grandmother who lived much of her adult life in Chapala, including several years in the Hotel Nido, prior to her death in October 1933.

Some seventy years later, the novel’s author-narrator travels to Chapala in the hopes of unraveling more about the life of his long-departed grandmother. In the process he uncovers a cache of documents in a storage room at the Hotel Nido. It includes three notebooks recording the details of an extended series of interviews Maclovia (“Cova”) had given to Juan Bautista (who was planning to write a book about her) in the period February-September 1933, her last months before he accompanied her to Mexico City where she died. The majority of the novel is based on these fictional notebooks.

There are many poignant descriptions of Chapala as it used to be, and of significant events in Cova’s life. Cova, born in Tapalpa in 1859, grew up in a distinguished Guadalajara family, the Cañedos, and flitted between the family’s town house in the center of Guadalajara and their hacienda, the Hacienda El Cabezón, near Ameca.

At the time Cova was growing up in Guadalajara the city was developing a vibrant cultural scene. Among the leaders of the artistic and literary circles in which Cova moved was Brazilian violinist and painter Felix Bernadelli (1862-1908). Prior to the Mexican Revolution, with Bernardelli leading the way, Guadalajara was Mexico’s artistic frontier, significantly ahead of Mexico City in terms of experimentation and creativity, leading contemporary Mexican writer and diplomat Eduardo Gibbon to christen the city the “Florence of Mexico”.

Other members of the intellectual and artist elite in Guadalajara at the time included Gerardo Murillo (better known as Dr. Atl), Roberto Montenegro, Luis de la Torre, Jorge Enciso, Rafael Ponce de León and José María Lupercio, who became one of Mexico’s best-known photographers.

Poet José Juan Tablada visited Guadalajara in 1894. He stayed initially at the Hotel Francés before being invited to stay at the home of Rafael de Alba, a brother of Guillermo de Alba (who later married Cova). When Cova first met Tablada, she was struck by his eccentricity. Tablada, for his part, was awe struck by her beauty. (Tablada, incidentally, returned many times to Jalisco and some years later, in 1914, lamented the ruination of Chapala in an opinion piece in El Mundo Ilustrado.)

Guillermo de Alba, short, slim and mustachioed, had also been captivated by Cova’s beauty. When he moved to Chicago to advance his knowledge of architecture under the leading lights of the Chicago School, such as Frank Sullivan, he began a lengthy correspondence with Cova. By the time he returned to Mexico in about 1897, he had already proposed marriage to her, and she had accepted.

The timeline in the novel at this point appears to conflict with the known historical time frame for when de Alba designed and built the Hotel Arzapalo in Chapala. The hotel opened in 1898; it was therefore presumably designed and built no later than 1896-1897. Casillas’ fictional version has de Alba still living in Chicago in 1897. In the novel, Cova recalls how she had finally said “yes” in 1899, and that, at that time, Guillermo “still had to return to Chicago to complete his career.”

Guillermo and Cova married in Chapala on 27 January 1900; she was 40 years old at the time, he was 25. The couple’s only daughter, Guillermina {“Mina”} de Alba y Cañedo (Martín Casillas’ mother), was born in Guadalajara on 9 January 1902.

Guillermo and Cova were married for more than thirty years. Guillermo built a modest but architecturally stunning family home, Mi Pullman, in the heart of Chapala. The housewarming was held in 1906. The building, lovingly and faithfully restored a century later by an English owner, remains an important part of the town’s cultural heritage. (The story of the restoration is told in detail on MexConnect.com).

Guillermo’s final building project was his crowning achievement as an architect. The imposing, impressive Chapala Railroad Station (now the Centro Cultural González Gallo) opened in 1920 but proved to be Guillermo’s downfall. His debts were mounting and his sources of income were drying up.

Guillermo and Cova lived their final decade far apart: Guillermo sold the family home in Chapala in 1924 and moved to Mexico City in 1926 leaving Cova and their daughter in Chapala. Cova tried to make ends meet by turning Villa Guillermina, the family’s Guadalajara residence, into a boarding house but ended up living the final years of her life in the Hotel Nido. She died in Mexico City (where she had gone to seek medical treatment) in 1933, only a few months after her daughter, Mina, had married José Luis Casillas y Cruz in Chapala.

Confesiones de Maclovia is a fascinating read on several levels. It includes some noteworthy descriptive passages relating to life in Chapala at the start of the 20th century. The novel’s exploration of the possible motives behind the slow breakdown of their relationship, Cova’s withdrawal from her previously active social life towards an almost reclusive existence in the Hotel Nido, and of the reasons why Guillermo de Alba fled for Mexico City, are all especially interesting and thought-provoking. They hold messages that are timeless and all too often ignored.

Sources

  • Martín Casillas de Alba. 1994. La Villa de Chapala (1895-1933). Mexico City: Banca Promex; Martín Casillas de Alba, 2004. ¡Salvemos a Chapala! Mexico City: Editorial Diana.
  • Martín Casillas de Alba. 1995. Confesiones de Maclovia. Mexico City: Ediciones del Equilibrista.
  • Martín Casillas de Alba. 2002. Las batallas del general. Mexico City: Editorial Planeta.
  • José Juan Tablada. 1914. “La ruina de Chapala”. El Mundo Ilustrado, 8 March 1914, 6.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

 Posted by at 5:31 am  Tagged with:
Jun 272019
 

The Clique Ajijic was a group of eight varied and talented artists who formed a loosely-organized collective for three or four years in the mid-1970s. One of the members, Synnove Pettersen, recalls that “We never painted together as a group, just had shows.” Another member, the late Tom Faloon, once commented to me that Kate Karns, the wife of Todd Karns, sometimes posed for the artists in Clique Ajijic.

Image courtesy of Gail Michel.

The eight artists in the Clique Ajijic were (below, left to right): Sidney SchwartzmanAdolfo Riestra, Gail Michel (aka Gail Michaels), Hubert Harmon, Synnove (Shaffer) Pettersen, Tom FaloonTodd (“Rocky”) Karns, and John Peterson (the only member of Clique Ajijic who had been a member of the earlier Grupo 68).

Pettersen-Synnove-Clique-Ajijic-photo-ca-1974

See also: Photo of Clique Ajijic and friends at Galería OM, 24 October 1975.

The group’s first shows were organized by Katie Goodridge Ingram who ran the Galería del Lago art gallery, located at that time on the main highway in Ajijic.  The shows of Clique Ajijic included:

1975

  • Chapala: Villa Monte Carlo, opened 16 March 1975
  • Ajijic: Galería del Lago (Colón #6, Ajijic), 15 August 1975
  • Ajijic: Hotel Camino Real, 13-16 September 1975
  • Guadalajara: Galería OM, 24 October 1975
  • Manzanillo: Club Santiago, 29 October 1975

1976

  • Cuernavaca: Akari Gallery,  7 February 1976
  • Guadalajara: American Society of Jalisco, 21 February 1976
  • Ajijic: El Angel boutique, 10 June 1976 (dinner and studio sale)

By the end of the year, two of the original 8 artists of Clique Ajijic had left the village – Pettersen to the U.S. and Riestra to Tepoztlán (Morelos) – and the remaining members had added Richard Frush to their number. David Olof is also mentioned in one list of artists at the following show:

  • Ajijic: The Old Gold Mill, 15 December 1976 (a wine and cheese ($50 pesos a person) to benefit “Deaf Children of Ajijic”).
Image courtesy of Gail Michel

Image courtesy of Gail Michel

1977

  • Ajijic: Posada Ajijic, February/March 1977 (exhibition, auction, charity fundraiser, precise date unknown)
  • Ajijic: Posada Ajijic, 18 December 1977

The Clique Ajijic auction of artwork held at Posada Ajijic in February 1977 included works by Richard Frush, Tod Karns, John Peterson, Gail Michel and Hubert Harmon raised $24,000 pesos, “of which 10% went to help children in treatment and training at the Hearing Improvement Center in Jocotepec.” The auctioneer was popular Posada Ajijic hotelier Morley Eager, who gave 10% of all the pesos paid for drinks to the same cause.

In December 1977, another art exhibit of Clique Ajijic work, which proved to be the final throw of the dice for the group, was presented at the Posada Ajijic. The advert for this exhibit stated that the Clique had 9 members, presumably still including Pettersen and Riestro who had left the previous year.

Note: This is an updated version of a post first published on 4 May 2015.

Credits

  • My sincere thanks to Synnove Pettersen (via email), Tom Faloon (interviewed in Ajijic in February 2014), Katie Goodridge Ingram (emails and telephone), and Gail Michel and her daughter Angelina Guzmán (emails and telephone) for generously sharing their knowledge and memories of Clique Ajijic.

Sources

  • Colony (Guadalajara) Reporter, 19 Feb 1977; 5 March 1977, 10 December 1977
  • Martha Fregoso. 1975. “‘La Galería OM’ y el Buen Gusto en Exposiciones, Esta vez Ocho Pintores de Ajijic.” El Diario de Guadalajara, 24 Oct 1975.
  • Mexico City News: 13 Feb 1977.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

Jun 202019
 

Martín Casillas de Alba, whose published works range from journalism and non-fiction to Shakespearean analysis, has published several Spanish language books related to Chapala, including two outstanding full-length novels. His family has lengthy and important connections to Chapala.

His grandfather was the architect Guillermo de Alba (1874-1935). Between 1895 and 1920, de Alba designed numerous fine buildings in Chapala, including the Hotel Arzapalo, the town’s first modern hotel, which opened its doors in 1898, a second hotel, the Palmera (part of which is now the Presidencia Municipal) in 1907, several private residences, and the iconic Chapala Railroad Station (now the Instituto Cultural González Gallo), completed in 1920. He also completed numerous commissions in Guadalajara, including the city’s first high-rise hotel, the Hotel Fenix (1912), and several fine homes for the city’s elite.

In 1900, Guillermo de Alba married Maclovia (“Cova”) Cañedo y González Hermosillo. The couple’s only daughter, Guillermina (“Mina”) de Alba y Cañedo (Martín Casillas’ mother), was born in Guadalajara on 9 January 1902. She married José Luis Casillas y Cruz in Chapala in 1933. Their civil ceremony was held aboard a boat, Bremen, in the middle of the lake.

Mina and José Luis had three children, including architect Andrés Casillas de Alba (who clearly inherited his grandfather’s genes and won the Premio Jalisco Arquitectura, 2017) and author and publisher Martín Luis Casillas de Alba, who was born in Mexico City in 1941.

Martín Casillas de Alba. Credit: El Informador.

Martín Casillas completed his high school education in Colegio Cervantes Costa Rica (despite its name, a Marist school in Guadalajara) and then studied chemical engineering at ITESO, the Jesuit university in Guadalajara. He admitted later in life that he had chosen the wrong subject for his degree and should have chosen to study English literature. He graduated in 1963 and then took postgraduate courses in applied mathematics at the University of Freiburg, Germany (1964-65).

After returning to Mexico he worked for IBM de México for 12 years as head of public relations and assistant to the company’s president. In 1974, Casillas was the founding editor of Nonotza, the in-house magazine of IBM de México. Nonotza, published until 1994, was a quarterly magazine disseminating the latest scientific, technological and cultural developments. Casillas relinquished his editorship in 1976 to pursue other interests.

In 1976, Casillas took a storytelling workshop with innovative Guatemalan writer Augusto Monterroso (1921-2003) who was born in Honduras but lived most of his adult life in exile in Mexico City.

Casillas returned to the world of scientific publishing in 1978 when he was made editorial director for Ciencia y Desarrollo, the magazine of Conacyt, the National Science and Technology Council, a post he retained until 1980.

In 1980, Casillas founded his own publishing company, Martín Casillas Editores. Within the next five years he published more than 100 titles of Mexican literature. In 1986, he began publishing La Plaza and El Inversionista. La Plaza, published in Guadalajara, was a literary and cultural monthly subtitled “Crónicas de la Vida Cultural de Guadalajara.” One of the many fascinating articles in this sadly short-lived publication was a transcription by Martín Casillas of his mother’s account of her own wedding. In the previous issue, Casillas’ sister, Mina Casillas, had reviewed the Posada Ajijic.

El Inversionista was a Mexico City business publication. In 1988, Casillas was one of the founders of the national financial daily El Economista; he began a regular column, “Juego de espejos”, and remained the paper’s managing editor until May 1994.

In the next decade he focused on writing several books, starting with La Villa de Chapala (1895-1933), published in 1994, a non-fiction account of some of the personalities and stories associated with Chapala’s transformation into a tourist destination. Much of the same material was incorporated into his later work, ¡Salvemos a Chapala! (2004).

In 1995 he published his first novel, Confesiones de Maclovia (Confessions of Maclovia). Inspired by the life of his grandmother, Cova, this was planned as the first book in a trilogy related to Lake Chapala. The second volume in the proposed trilogy was released in 2002. In Las batallas del general, Casillas spins a fictionalized account of the life, loves and actions of General Ramón Corona. Corona was born in Puruagua, near Tuxcueca on the south shore of the lake, and was governor of the state of Jalisco at the time of his assassination in 1889. The final volume in the trilogy, which was never published, was provisionally entitled Los invitados de honor and was to be based on the events surrounding the gala opening of the Chapala railroad station (designed by the author’s grandfather) on 8 April 1920.

In 2008, after taking a workshop in England with Richard Olivier, the son of famous British actor Sir Laurence Olivier, about Transformational Leadership (based on Shakespeare’s The Tempest), Casillas began teaching at ITAM (Instituto Tecnológico Autónomo de México), a private university with an outstanding business school and widely regarded as one of Mexico’s top “think tanks”. Casillas taught an Executive Development course there about leadership, based on lessons from Shakespeare. He has since given dozens of similar courses, workshops and lectures looking at the leadership lessons that can be learned from studying works such as Henry V, The Tempest and Julius Caesar. Casillas has also written, edited and published more than 40 works on Shakespeare and his plays.

In 2015, the Fondo de Cultura Económica (FCE), a Spanish language non-profit publishing group partly funded by the Mexican government, appointed Casillas as the head of its subsidiary in Spain.

Martín Casillas de Alba’s autobiographical Fe de erratas en la vida de un editor was published in 2017.

We will take a closer look, in later posts, at the two Spanish language novels written by Martín Casillas de Alba that are related to Lake Chapala.

Sources

  • Marcela Alejandra Duharte Solís. 2017. “Divulgación y tecnología en México: la revista Nonotza” in Reflexiones Marginales, Año 6, #41 (Oct-Nov 2017).
  • Martín Casillas de Alba. 1994. La Villa de Chapala (1895-1933). Mexico City: Banca Promex; Martín Casillas de Alba, 2004. ¡Salvemos a Chapala! Mexico City: Editorial Diana.
  • Martín Casillas de Alba. 1995. Confesiones de Maclovia. Mexico City: Ediciones del Equilibrista.
  • Martín Casillas de Alba. 2002. Las batallas del general. Mexico City: Editorial Planeta.
  • Martín Casillas de Alba. 2017. Fe de erratas en la vida de un editor (Mexico City: Bonilla Artigas Editores).

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Jun 132019
 

Pioneering lithographer Richard Frush (1951-2008) painted in Ajijic in the 1970s.

Richard Wayne Frush, associated with Tucson, Arizona, and Taos, New Mexico, was born in Colorado on 17 February 1951. His parents, Donald W. and Virginia Frush, owned and operated the Trinidad Coca-Cola Bottling Company in that state for many years. Richard was one of four siblings.

Frush studied at the College of Santa Fe and graduated in Fine Arts from the University of New Mexico in 1974 before traveling to Madrid, Spain, to study at the University of Madrid. While in Madrid, he was chosen to paint a mural at the university and traveled extensively in Europe.

Richard Frush. 1973. Untitled. Limited edition, 3/12.

Richard Frush. 1973. Untitled. Limited edition, 3/12. (EBay)

He returned to North America in about 1976. With Peter Holmes, a fellow student who had also taken classes at the University of New Mexico’s Tamarind Institute, Frush established the Arizona Origins Press in Tubac, Arizona, that year. One of their first commissions came from famous Taos-based Native American Navajo artist Rudolph Carl Gorman (1931-2005). About five years later, Frush established Origins Press Taos, a branch of the Tubac operation, better positioned to serve the growing demand from artists there. Frush’s partner in the Taos branch was Dave Trujillo.

Frush spent much of the time between establishing Arizona Origins Press and Origins Press Taos in Mexico, where he developed a love for Spanish and Mexican culture that had a strong influence on his later artwork.

Richard Wayne Frush (Photo from Ancestry.com)

Richard Wayne Frush (Photo from Ancestry.com)

Frush first exhibited in Mexico in July 1976 when Katie Goodridge Ingram’s Galeria del Lago sponsored a two person show – of works by Frush and native Ajijic artist Antonio López Vega – at the Villa Montecarlo in Chapala.

Later that year, Ingram organized a group show, also featuring “fantastic realism” works by Frush in Puerto Vallarta. That show, for the “Jalisco Department of Bellas Artes and Tourism,” was held at the resort city’s Plaza de la Hermandad (IMPI building) and ran from 4-21 December. Other exhibitors in the group show included Jean Caragonne; Conrado Contreras; Daniel de Simone; Gustel Foust; John Frost; Richard Frush; Hubert Harmon; Rocky Karns; Jim Marthai; Gail Michel; Bob Neathery; David Olaf; John K. Peterson; Georg Rauch; and Sylvia Salmi.

Richard Frush. 1974. Untitled. Limited edition, 8/12.

Richard Frush. 1974. Untitled. Limited edition, 8/12. (EBay)

In 1977, Frush joined Clique Ajijic, a loose cooperative of artists that had begun exhibiting together in 1975. The original eight artists comprising Clique Ajijic were Sidney SchwartzmanAdolfo Riestra, Gail Michel (aka Gail Michaels), Hubert Harmon, Synnove (Shaffer) Pettersen, Tom FaloonTodd (“Rocky”) Karns, and John Peterson. .

By 1977, two of the original members of Clique Ajijic had left: the previous year, Petterson had returned to the U.S. and Riestra left Ajijic for Tepoztlán (Morelos). Faloon and Schwartzman were still in Ajijic but are not listed as exhibiting in the Clique Ajijic auction of artwork that was held at Posada Ajijic in February 1977.

At the auction, sales of works by Richard Frush, Tod Karns, John Peterson, Gail Michel and Hubert Harmon raised $24,000 pesos, “of which 10% went to help children in treatment and training at the Hearing Improvement Center in Jocotepec.” The auctioneer was popular Posada Ajijic hotelier Morley Eager, who gave 10% of all the pesos paid for drinks to the same cause.

In December 1977, another art exhibit of Clique Ajijic work was presented at the Posada Ajijic. The advert for this exhibit stated that the Clique had 9 members, presumably still including Pettersen and Riestro who had left a year earlier.

After Ajijic, Frush returned to the U.S. where he established Origins Press Taos in about 1981. An account of the new lithography operation in the local press reported that, “To Frush lithography is the only way to go because of its versatility. Plates of limestone, marble or aluminum impart various textures to the work, while grease crayon or liquid emulsion allow a wide range of technique, from sharp accents to flat washes. The desired picture can be drawn or sprayed on with an air brush.”

In the early 1990s, Frush held a series of showings of his work at the Impressions II Gallery in Tucson, Arizona. A solo show “celebrating the Mexican heritage of the southwest in a muralist style filled with personal imagery by Richard Frush” opened there in September 1990. Frush’s work was included in a group show held in December 1992 at the gallery, a show that also featuring works by Jean Richardson, Richard Frush, Angus MacPherson, Kurt Tallis, A.C. Gorman and Steve Bergthold. In April 1993, Frush and Carol Steffgen held a two-person show of their oils and acrylics at the gallery,

Frush died in Tucson on 7 January 2008.

If you have a painting or lithograph by Richard Frush, please get in touch! I’d  love to see more images of his work.

Acknowledgment

My thanks to Jeff Snow for bringing to my attention the listing on eBay in July 2019 of several works by Richard Frush.

Sources

  • Arizona Daily Star (Tucson, Arizona): 7 Sep 1990 54; 4 Dec 1992, 66; 9 Apr 1993, 88.
  • Guadalajara Reporter, 24 July 1976, 20; 19 Feb 1977; 18; 5 March 1977, 17; 10 Dec 1977, 19.
  • The Taos News (Taos, New Mexico), 5 Mar 1981, 20.
  • Trinidad Times Independent (Colorado). 2008. Richard Frush (Obituary) 10 January 2008.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Jun 062019
 

Juan Pablo Guzmán, a renowned Guadalajara physician, wrote several books, including a novel – El gran Chapa – set at Lake Chapala. We will take a closer look at the novel, which won the inaugural Premio Jalisco for literature in 1950, and offers valuable insights into lakeside communities and culture, in a separate post.

In this post, we consider the life and work of its author, Juan Pablo Guzmán.

Juan Pablo Guzmán Alemán was born in Guadalajara on 26 June 1909. His father died when Juan Pablo was still in his teens. At the time of the 1930 census, Juan Pablo’s mother, María Jesús Alemán viuda de Guzman, was head of a large household which included four children older than Juan Pablo (then almost 19 years of age) and three younger children.

The previous year, having just entered university to study medicine, Juan Pablo had won a statewide oratory competition, held in the Degollado Theater in Guadalajara, before going to on place second in a national competition in Mexico City. His younger brother, Victor, who also became a doctor, accompanied him on his trip to the capital.

Juan Pablo had completed his medical training and was practicing in Guadalajara when, at the age of 31, he married María Dolores Serratos on 29 October 1940. The couple’s son, Juan Bernardo Guzmán Serratos, born in 1945, also entered the medical profession, training as a medical surgeon and odontologist (forensic dentist) and teaching at the University of Guadalajara.

Juan Pablo Guzmán was a multi-talented individual who combined his professional life as a gynecologist with active involvement in the arts as a poet, musician, painter, writer and dramatist. He published three books, the first of which – El gran Chapa, was set at Lake Chapala.

Cover-Llaga viva

His second novel, a decade later was Llaga viva (“Open Sore”). It also won a Premio Jalisco. Guzmán’s third book, Tres voces en tres cuentos, was published in 1997.

The two early novels are extremely difficult to find though copies are held by several U.S. university libraries and the Biblioteca Pública del Estado de Jalisco Juan José Arreola in Guadalajara.

When Llaga viva was published, in 1961, Winston Allin Reynolds, a professor in the Department of Spanish and Portuguese at the University of California at Santa Barbara, supplied the introduction. The 181-page novel was enthusiastically reviewed by Dr. Alfonso Manuel Castañeda in El Informador who praised the author’s “penetrating and scrupulous observation of people”.

Castañeda described the succession of everyday characters that populates the pages of Llaga Viva as “pilgrims without a destination and migrants without a direction in the constant wanderings of life.”

For a sense of the style of Llaga Viva, here is a loose translation of a short passage lamenting the fact that it has become money not knowledge that establishes a person’s position in society:

“In the city you learn the urgency of money; the main thing in choosing a profession is to work out which one can most easily bring you wealth. People with experience, and all of society, had constantly yelled at him: Gold! It takes gold for you to live among us! It’s no use if you stuff your head with books while your pockets are empty. The old days, when a man was considered a man on account of his knowledge and virtue, have passed. Do you have the gold? With that you will buy a place in society; you will buy the sensuality of all women; you will buy valuable friends; you will buy the glories that cultured citizens pursue; you will buy life….”

A sentiment that is surely even more true today than it was in the 1950s.

Source

  • Alfonso Manuel Castañeda. 1961. “Llaga Viva.” El Informador, 24 September 1961, 14.
  • Juan Pablo Guzmán Alemán. 1951. El gran Chapa. Guadalajara: Gobierno del Estado de Jalisco.
  • Juan Pablo Guzmán Alemán. 1961. Llaga viva. Guadalajara: Universidad de Guadalajara.
  • Juan Pablo Guzmán Alemán. 1997. Tres voces en tres cuentos. Guadalajara: Secretaría de Cultura, Gobierno de Jalisco.
  • El Informador, 25 May 1929, 6; 20 June 1929, 6.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

May 302019
 

La invasión de los vampiros (1963) is a Mexican film in which a doctor and his assistant hunt down a vampire named Count Frankenhausen, who is terrorizing the local populace. Written and directed by Miguel Morayta, it starred Erna Martha Bauman, Rafael del Río and Tito Junco. The film was released two years later in an English version as The Invasion of the Vampires.

Kudos to historian and author Richard Grabman for suggesting to me that, “A good part of La invasión de los vampiros (1963) was filmed in Ajijic.” He added that the movie is “something of a classic in its genre, especially for its creepy atmosphere.” Unfortunately, he’s unsure where he picked up these interesting snippets of movie trivia.

The movie is, indeed, regarded as one of the finest horror films to emerge from Mexico and, after watching it, I have to agree that it’s entirely possible that parts of the movie were shot at Lake Chapala, though I have yet to find any supporting documentary evidence for this.

So, dear reader, if you can tell me any more about the connection between La invasión de los vampiros and Lake Chapala, please get in touch!

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

 Posted by at 5:30 am  Tagged with:
May 232019
 

John Elbert Upton was born on 10 September 1917 and died aged 88, in Monterey, California, on 9 October 2005. He was a multi-talented individual who earned his living as a translator and teacher. Upton lived in Ajijic for over a decade, from 1949 to 1959, and then returned to live in the village several times (for varying lengths of time) from the 1960s through to the early 1990s.

Upton’s circle of friends in the Lake Chapala area included fellow translator Lysander Kemp, who lived in Jocotepec, and poet and literary figure Witter Bynner, who had a home in Chapala.

Upton majored in music and Spanish at college, becoming an extremely proficient classical guitarist. In 1966, he gained a Masters in Spanish Language and Literature from the University of Madrid in Spain.

John Upton, 1957. Photo credit: Leonard McCombe, Life Magazine

John Upton, 1957. Photo credit: Leonard McCombe, Life Magazine

During his early days living in Ajijic, in the 1950s, Upton wrote several colorful pieces about the area for the San Francisco Chronicle, but made his living not by writing but as a teacher to the children of expatriate families. These students included a young Katharine Goodridge Ingram, who went on to run a very successful art gallery in the village. She has particularly fond memories of Upton: “He was my tutor when I was a young girl. Truly a Renaissance man: played guitar, bass fiddle, brought solar-heated water to his Ajijic house, accompanied his wife as she sang hot old cabaret oldies, built a telescope, etc.”

This photo by Leonard McCombe shows a youthful and sartorially-elegant John Upton setting up a telescope he had built in his garden in Ajijic. It appeared in the 23 December 1957 Life Magazine article, “Yanks Who Don’t Go Home. Expatriates Settle Down to Live and Loaf in Mexico.”

Upton wrote a short piece, “Maya Today” (a linguistic study of the Mayan language Yucateco in Yucatán), published in the December 1962 issue of The Modern Language Journal, but was far better known as a Spanish-English translator. Upton’s fine translations introduced generations of English-speaking readers to the extraordinary diversity and creativity of Spanish-language literature.

Besides translations of poems by the likes of Pablo Neruda and Miguel de Unamuno, his published translations include:

  • Cumboto, by Ramón Díaz Sánchez (University of Texas Press, 1969);
  • Pueblo en vilo: Microhistoria de San José de Gracia (“San José de Gracía, Mexican Village in Transition”), by Luis González (University of Texas, Austin, 1974).
  • Jarano, by Ramón Beteta (University of Texas, Austin:, 1975);
  • In the Magic Land of Peyote, (Texas Pan American Series) by Fernando Benitez (University of Texas, Austin, 1975);
  • Polifemo, a narrative poem by Luis De Góngora (The Fireweed Press, 1977)
  • La feria (“The Fair”), by Juan José Arreola (University of Texas, Austin, 1977). This work is chock-full of local idioms, curses, etc., and, as Upton says in his translator’s note, “There are passages in “The Fair” that can confound even a well-informed Mexican”.

In the early 1990s, he worked as staff translator for the Metropolitan Museum of Art and for Latin American Art magazine. Selections of Upton’s translations were included in the book Mexico: Splendors of Thirty Centuries, with an Introduction by Octavio Paz (New York: The Metropolitan Museum of Art, 1990), and he translated some essays and catalog entries for The Metropolitan Museum of Art’s Al-Andalus: The Art of Islamic Spain (1992). In 2004 he was a finalist in the Barnstone Translators’ Competition.

John Upton was one of the many extraordinarily gifted individuals who have shaped the long artistic and literary history of Lake Chapala. He will long be remembered for the supreme quality of his translations, whether of poems, literature or non-fiction.

Note: This post was first published 30 March 2015.

Related posts:

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May 162019
 

Edward Percy Moran was born in Philadelphia in 1862 and died in New York City in 1935. He was born into an extremely artistic family. His father, Edward Moran was one of three siblings – Edward, Thomas and Peter – who were all born in the U.K. and became well-known artists in their time, as did Thomas’s wife, Mary, and various other relatives.

Edward Percy Moran studied with his father and took formal art classes at the Pennsylvania Academy of Fine Arts and the National Academy of Design. He also studied in Europe (London and Paris) before returning to New York, where he eventually established his studio at East Hampton on Long Island.

Moran painted in the realist style and tended to specialize in historical subjects but also painted portraits and landscapes and became known for his etchings. His work was shown frequently at the National Academy of Design and the Brooklyn Art Association from 1861 to 1899. In 1886, he won a prize at the National Academy of Design and in 1888 he received a gold medal for a work shown at the American Artists Association in New York City.

Among the works shown in exhibition were at least two paintings of Chapala. A watercolor entitled “The Market Place, Chapala” was shown at the 1905 Boston Art Club fine arts exhibition and another watercolor, “Old Church, Chapala, Mexico,” was included in the catalogues of both the Forty-Ninth and Fiftieth Annual Exhibitions of the American Water Color Society (held in 1916 and 1917 respectively) at the Galleries of the National Arts Club. That particular painting was priced at $125.

Edward Percy Moran (1916). On The Beach, East Hampton. (Doyle-Auctions 2014)

Edward Percy Moran (1916). On The Beach, East Hampton. (Doyle Auctions, 2014)

This image of the beach at East Hampton, dating from 1916, gives a good idea of Moran’s realist style, strength of composition and sense of color.

It is unknown precisely when Moran visited Chapala or whether he visited on more than one occasion. If anyone has an image of any of Moran’s paintings of Chapala, please get in touch!

Moran was a member of the American Water Color Society from 1885 until his death. Examples of his work can be found in many prominent collections in the U.S., including the Wilstach Gallery in Philadelphia, the Masonic Hall in Chicago, Plymouth Museum, and at Hamilton Club in Brooklyn.

Source

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 Posted by at 5:43 am  Tagged with:
May 092019
 

Leonora Baccante had published two novels prior to living in Ajijic in the 1950s, at the same time as Eileen and Robert (Bob) Bassing.

Source: New York Evening Post, 7 March 1931

Source: New York Evening Post, 7 March 1931

Baccante’s novels are not set in Ajijic, but Baccante herself was the basis for the character of novelist Victoria Beacon, the central character in Eileen Bassing‘s novel, Where’s Annie?

Little is known about Baccante, who is reported to have hated publicity, children and pets.

According to a short profile of her by Selma Robinson in the New York Evening Post (7 March 1931),  “Mrs Baccante,” who was born in London, England, “has lived for the past few years in New York, part of the time in Woodstock, part of the time with her sister in Manhattan.” Robinson added that even Baccante’s publishers “know nothing about her. She is a dark-haired, dark-eyed girl who looks Latin, although her Italian name is hers only by marriage.” Baccante was born in about 1905.

A 1928 Kingston, New York, newspaper account describes Baccante as a “former New York World staff writer” (The New York World ceased publication three years later.)

Baccante’s two novels are

  • Johnny Bogan: A Realistic Novel Of Violent Young Love (New York: Vanguard, 1931) and
  • Women Must Love (New York: Vanguard, 1932).

Baccante-JohnnyBoganJohnny Brogan is set in a small town and is a character study and love story rolled into one. The striking cover art by Puerto Rican artist Raphael Desoto shows a young brunette undressing in front of a handsome guy in a bedroom. The novel is about a ladies’ man Johnny Brogan, the son of a murderer, who falls in love with Cathy Willis, a girl who initiated their relationship at school. According to Baccante’s friends, the character of Cathy is autobiographical.

A short piece by Baccante, “Can’t we be Friends?”, with illustrations by Ty Mahon, was published in the October 1931 issue of the College Humor magazine. Baccante also wrote an unpublished play, Making the man; a play in 3 acts, recorded as written in 1929 when she was living in New York City.

Baccante renewed the copyrights of her two novels in 1958 and 1960 respectively.

Note: This is an updated version of a post first published in 2014.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

May 022019
 

Brooklyn-born photographer Louis Stettner, one of the greatest U.S. photographers of all time, died in 2016 at the age of 93. The largest retrospective of his work to date – entitled “Traveling Light” – opened at the San Francisco Museum of Modern Art in 2018 and closes in June this year. It includes three photographs of Lake Chapala and its fisherfolk taken in 1956.

Louis Stettner. Lake Chapala (1956). [postcard image on Delcampe website]

Louis Stettner. Lake Chapala (1956). [postcard image on Delcampe website]

Among them is this photograph of an oar silhouetted against Lake Chapala, an image that was reproduced at least once as a postcard. Stettner had a twin brother, and Sally Katz, assistant curator of photography at SFMoMA, makes a strong case that this influenced, whether consciously or unconsciously, much of his work. She points out, in her Instagram walkthrough “Being double“, that many of Stettner’s photographs show a “strong doubling effect, both literally and poetically.” In this case, the oar helps to establish this duality.

It should be noted that in 1956 Lake Chapala was just recovering from a severe drought. The lake’s level in summer 1955 was the lowest on record (and has never been equaled since).

Louis Stettner was born in New York on 7 November 1922 to Austrian immigrant parents. He became fascinated by photography as a teenager, was given a Box Brownie by his parents, and joined the Photo League in 1939 to take a basic technique course, the only formal photography lessons he ever took.

Throughout his career, he always printed his own work and gained renown for his consummate technical skills. He formed friendships with, and was encouraged by, some of the most noteworthy photographers of the time, including Paul Strand and Alfred Steiglitz.

Stettner served in the U.S. Army from 1941 to 1945, including stints as a combat photographer in New Guinea, the Philippines and Japan. On his return to New York, he taught the basic course at the Photo League and began to photograph New York subways.

Between 1947 and 1952 he lived in Paris, France. He was commissioned to collect prints for the first exhibition of contemporary French photography in the U.S. in 1948 at the Photo League’s gallery. In 1949, he held his first solo exhibit at the Bibliotheque Nationale in Paris and was a prize winner in Life’s Young Photographers Contest. He accumulated an extensive portfolio of Parisian photographs and also studied film-making.

For the next six years, he worked as a freelance photographer for magazines such as Life, Time, Fortune, Paris-Match and National Geographic, with frequent trips overseas to take photographs in Paris, Greece, Spain, Portugal, Holland and Mexico. It is unclear how long he was in Mexico in 1956; please contact me if you can offer more information about his time in Mexico.

From 1958 to 1962 he returned to Paris to continue his freelance work. In the 1970s he was appointed Professor of Photography at CW Post Center, Long Island University. During this period he frequently gave lectures at other institutions. In 1975 he was awarded first prize in the Pravda World Contest and spent six weeks working in the then-Soviet Union.

He spent most of the 1980s developing his creative ideas, and produced several photographic series including Still Lifes (1983/84); Cityscapes (1985); Brooklyn Bridge (1988); Manhattan Walls (1990) and Pavement (1990).

In 1990, Stettner moved permanently to Paris, France, to photograph, paint, and sculpt. He returned regularly to New York and began taking color photographs during summer visits. He was awarded the Chevalier de l’ordre des Arts et des Lettres medal in 2001 and honored with a retrospective exhibition at the Bibliothèque Nationale in Paris in 2012. He died in Paris on 13 October 2016, at the age of ninety-three.

Note
The image of Lake Chapala reproduced here comes from a postcard offered on the auction site, Delcampe in April 2019.

Acknowledgment

My sincere thanks to Jorge Varela Martinez Negrete and his daughter Sofía for bringing this exhibit to my attention.

Main source

Other photographers associated with Lake Chapala:

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Apr 252019
 

The earliest commercial movie to include footage of Lake Chapala was almost certainly the silent movie El Escándalo (1920), based on English writer Cosmo Hamilton’s novel Scandal (1917).

El Escándalo was directed and produced by Alfredo B. Cuéllar. Cuéllar had studied law and economics at UNAM before working as a journalist. He owned the ABC shoe store in Mexico City. In 1921 he founded the National Charro Association. Cuellar headed the Mexican delegation to Paris for the 1924 Olympics in that city.

Alfredo B. Cuellar. Credit: Fototeca Nacional.

Alfredo B. Cuellar. Credit: Fototeca Nacional.

The opening credits for El Escándalo show that the movie was intended to highlight the best of Mexico’s national life: high society, clubs, outings, sports, historic buildings, lakes, rivers and scenery. Parts of the film were shot in Guadalajara and surrounding areas, including Juanacatlán Falls and Lake Chapala, in May 1920.

The plot is a love story centered on Ana María, the beautiful, spoiled daughter of a formerly wealthy father who hopes to restore his family’s fortunes by marrying her off to a rich engineer of English heritage who has just increased his fortune by finding oil off the coast of the Gulf of Mexico.

However, Ana María, who lives in Mexico City, has fallen in love with a penniless sculptor, Armando Baltazar, whose exploits help fill the pages of the local weeklies. Baltazar sculpts a bust of Ana María as rumors swirl about their relationship. When she is seen one night entering the hotel where he has his studio, she lies that she is on her way to see the engineer who happened to be staying there.

Given her family’s misfortunes and the looming potential scandal, Ana María feels no option but to marry the engineer despite the fact that she doesn’t love him. The newlyweds endure a “cold and hostile” honeymoon – in Guadalajara, at Juanacatlán Falls and in the Villa Niza hotel in Chapala – before returning to live in Mexico City.

Meanwhle, Baltazar’s bust of Ana María has won him a major art prize.

The ten-reel film, starring Emilia Ruíz del Castillo as Ana María, best known for her role in an earlier silent movie, Alma de sacrificio (1917), premiered in Mexico City on 12 March 1921 and was first shown in Guadalajara three months later. While it was generally liked by the press, it did not do well at the box office.

Besides directing and producing El Escándalo, Alfredo B. Cuéllar also edited, directed and produced a documentary short entitled Las carreras de autos y motos en la condesa (1920).

Source

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

 Posted by at 6:49 am  Tagged with:
Apr 182019
 

Novelist Joan Van Every Frost, born 28 Feb 1929 in Los Angeles, California, lived in Jocotepec from 1966 to 2012. She died at age 83 on 6 June 2012 in Santa Barbara, California. Her father, Dale Van Every, was a famous writer and screenwriter most active in the 1920s and 1930s.

Joan gained an undergraduate degree in English from the University of California at Santa Barbara in 1951 and a librarian certificate from the University of California at Berkeley. She served as a librarian after the second world war on US military bases in France and Germany, and was later the Head Librarian of the Santa Monica Public Library for several years.

Joan Van Every (then 35) married artist and photographer John Frost (41) on 26 September 1964 in San Bernadino, California. In 1966, the couple relocated to Mexico, living for a short time in Uruapan in Michoacán, before establishing their permanent home and John’s photographic studio in Jocotepec on Lake Chapala. John maintained his commercial photography studio (specializing in aerial photography) in their home for more than 40 years.

Prior to finding their home in the village, the couple spent 6 weeks at the historic La Quinta inn in Jocotepec. Sadly, La Quinta, which had been an inn ever since 1824 and was one of a small number of truly historic buildings in the town, was wantonly destroyed in the 1990s.

frost-joan-ca-2008
Joan was an indefatigable supporter of numerous charitable organizations at Lakeside, including the pioneering Centro de Salud in Jocotepec, the Lakeside School for the Deaf. For many years, she helped coordinate medical consultations and surgeries for Chapala-area children via the Shriners organization. Joan  was also the co-founder in the 1970s of Amigos de Salud (which in 1993 became the Programa Pro Niños Incapacitados del Lago), and was a co-founder of the Lakeside region’s major annual fund-raising event: the Ajijic Chili Cook-off.

Using her married name of Joan Van Every Frost, Joan wrote six novels, several of them set in Mexico.

frost-joan-van-every-covers
Her first novel, This Fiery Promise (Leisure Books, 1978), dedicated to Tam, is a historical romance set at the start of the Mexican Revolution. It tells the fiery adventures of a horse-loving American girl who marries a rich, much older Mexican hacienda-owner. Their lives become entangled in the Revolution, and she eventually flees by joining a circus. The novel covers lots of territory from Santa Barbara (California) to Nayarit, Guadalajara, Colima and the port of Manzanillo.

Lisa (New York: Leisure Books, 1979) is dedicated “For John, with all my love”. This historical romance, set in 1880s Britain, unravels the complex relationships of a dysfunctional family, in the midst of scenes involving horses, fires, medical doctors, and class differences.

Her third novel includes scenes set in Guadalajara and at Lake Chapala. A Masque of Chameleons (Fawcett 1981) looks at the adventures and misadventures befalling a troupe of traveling actors in mid-nineteenth century Mexico. The theater troupe withstands lots of internal intrigue and external pressures as it tours Mexico, from Veracruz, Puebla, Mexico City and Cuernavaca to Morelia, Zacatecas, Aguascalientes, Guadalajara and Lake Chapala. This novel displays a sound background knowledge of Mexican history and is engagingly written.

This is how Frost first describes the troupe’s arrival at Lake Chapala: “They finally came to a large body of water that stretched as far as they could see to the west, like an inland sea the color of a silver coin. Across the lake were green, brush-covered mountains, ancient dead volcanoes that had thrust themselves up when the world was still young to form this pocket cradling the endless lake.” ( p 228)

In Kings of the Sea (Fawcett, 1982), the publisher’s blurb claims that Gideon Hand is determined to endure all hardships as he struggles to forge a shipbuilding dynasty and to possess the woman he loves but cannot marry. Genius and passion hold sway in this sweeping saga of a shipbuilding dynasty.

Frost’s fifth novel, Portrait in Black (Fawcett 1985) has a Santa Barbara portrait painter Crystal Perry as its main protagonist. Perry not only paints portraits of Santa Barbara’s upper crust, but also paints horses, and she is quickly dragged into a web of extortion and murder.

Silvershine (Fawcett 1987) is set in Mexico, and looks at the drugs scene in the glittering Los Dorados hotel in Manzanillo, where swimwear designer Blaise Cory has opened a new boutique. A minor part of the action is set in Oaxaca (at Mitla). This is a tale of smuggling, money and corruption. The Los Dorados hotel is clearly based on Manzanillo’s famed Las Hadas hotel complex.

All of Joan Van Every Frost’s novels are well-crafted, and enjoyable light reading. While long out-of-print, copies are readily available via used books sites such as http://abebooks.com.

Joan was an active correspondent for the Guadalajara Reporter for many years. She wrote her first column for the paper in August 1975 and ended a column the following year by writing that, “There may be many irritations to living in a foreign country, but they dwindle to insignificance when we can revel in golden days, sunsets blazing red on towering thunderheads, and the comforting splash of rain as we lie warm in our beds at night.”

This profile was originally published on 22 December 2014.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

Apr 112019
 
B. J. Kline. 1985. Sunday Night in Puerto Vallarta. (El Ojo del Lago)

Artist and art lecturer Buddy Ryan Kline (usually known as B. R. Kline) lived and painted in Ajijic in the 1980s. Kline was born on 22 August 1948 in Prince Edward, Virginia; his mother was a painter and his father a musician. Kline attended Falls Church High School and then George Mason High School (also in Falls Church) before studying art at Virginia Commonwealth University in Richmond, Virginia.

His studies were interrupted in 1967 by the Vietnam War. During the war, Kline served with the U.S. Army Band at Fort Myer, Virginia, from 1967 to 1970. This is where he first met Dr. William St. John. The two men became inseparable companions and subsequently made a “good will tour” to some 91 countries. Kline painted his way around the world and ended up with 91 paintings, each representing a country he had visited.

B. J. Kline. 1985. Sunday Night in Puerto Vallarta. (El Ojo del Lago)

B. J. Kline. 1985. Sunday Night in Puerto Vallarta. (El Ojo del Lago)

Kline first arrived at Lake Chapala in 1973 when he spent nine months in Mexico. He returned to Mexico in the winters of 1978-1980 and moved to Lake Chapala to live  in 1983. Since leaving Lake Chapala in 1992, Kline has made his home in Dallas.

Klien has held formal exhibitions in Virginia and Washington D.C. and has participated in numerous group shows in the Dallas-Fort Worth area of Texas. He lectured and held impromptu exhibitions in many different countries during his world travels.

By the mid-1980s, Kline was working from his home-studio at Aquiles Serdan #3 in Ajijic and doing much of the commercial art for El Ojo del Lago (see image above). A pen and ink line drawing by Kline was chosen by June Summers for the cover of her short, self-published book about the area.

B. J. Kline. 1988. Portrait of Neill James (courtesy Lake Chapala Society)

B. J. Kline. 1988. Portrait of Neill James (courtesy Lake Chapala Society)

Kline painted this portrait of American author-traveler-benefactor Neill James for the Lake Chapala Society (which occupies her former home and gardens) in 1988.

Kline was one of the large group of Lakeside painters whose work was included in a group exhibit in May 1985 at the Club Campestre La Hacienda (km 30, Guadalajara-Chapala highway). Other artists represented in that show included Daphne Aluta, Eugenia Bolduc, Jean Caragonne, Donald Demerest, Laura Goeglein, Hubert Harmon, Jo Kreig, Carla W. Manger, Emily Meeker, Sydney Moehlman, Tiu Pessa, De Nyse Turner Pinkerton, Eleanor Smart and Xavier Pérez.

In 1990, Kline held a solo exhibition of his “newest and most vibrant art style” at the Studio Art Gallery in San Antonio Tlayacapan. It was the last show to be held in the gallery, which had been run by Luisa Julian de Arechiga and her husband.

During his time in Ajijic, Kline taught art and had a significant impact on the career of talented local Ajijic artist Efrén González, who also benefited from the artistic wisdom of Sid Schwartzman.

Kline is a member of the McKinney Avenue Contemporary (The MAC) Art Museum & Gallery in Dallas, Texas, and work by Kline won a Critic’s Choice Award in the 2005 Dallas Center for Contemporary Art Membership Show. His work “Under a Spell”, exhibited in July 2010 in a show entitled “Fictional” at The Bath House Cultural Center in Dallas, was also a people’s favorite. As one critic wrote, “there’s not a color out of place there in that melange of shapes and tones. Not one of those hues dominates. They are, in their unique fashions, just right.”

Kline’s work varies greatly in style but is invariably both interesting and highly collectible.

Sources:

  • El Informador, 4 May 1985.
  • El Ojo del Lago, Jan 1985, May 1990.
  • J. R. Compton. 2010. “Difficult Work“, Dallas Arts Review.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Apr 042019
 

Canadian poet Al Purdy was at the peak of his creative powers when he followed in the footsteps of his idol D. H. Lawrence and visited Lake Chapala in the late 1970s. Since 1923, many Lawrence fans had made their own pilgrimage to Chapala to see first-hand what inspired their great hero. However, Purdy is surely the most famous of all these admirers to do so. Purdy visited Lake Chapala more than once, though the precise timing of his multiple visits has proved impossible to establish with certainty.

His visits to Chapala left their mark on Purdy. In addition to a travel piece about the area, he published a hand-signed, individually-numbered, one-poem “book” entitled The D. H. Lawrence House at Chapala. This collector’s item, a single broadside in an elegant gilt-stamped folder, was published by The Paget Press in 1980, in a limited edition of 44 copies. The book includes a photograph, taken by Purdy’s wife, Eurithe, of the plumed serpent tile work above the door of the Lawrence house at Chapala.

According to David Bidini, Purdy’s travel article about Chapala was one of only three items the great poet kept in full view on the wall of his studio in Ameliasburgh, southern Ontario. The other two items were “a 1990 flyer celebrating Al Purdy Day” and “a New Canadian Library poster featuring its Famous Canadian Writer titles, many of them Purdy’s.” However, the photos of Purdy’s studio shown in the full length documentary Al Purdy was Here paint a different picture, one of a cluttered studio with photos, posters and writings vying for space on crowded walls hemmed in by overflowing bookshelves. His filing system, such as it was, comprised folders stuffed into cardboard boxes.

Statue of Purdy in Queen's Park, Toronto. Photo: Marisa Burton.

Statue of Al Purdy in Queen’s Park, Toronto. Bronze, 2008. Photo: Marisa Burton.

Purdy was a massive fan of Lawrence, and a bust of the English author had a prominent position on his desk. The English novelist was seemingly listening to every click-clack of Purdy’s typewriter and watching his every key stroke. Like his idol, Purdy had a reputation for being somewhat cantankerous and combative, especially to outsiders. Unlike the sickly Lawrence, Purdy was taller, heavier, healthier and outwardly happier. The New York Times obituary for Purdy summed him up as “a lanky writer whose brash, freewheeling ways masked a love for language”

Alfred Wellington Purdy was born on 30 December 1918 at Wooler, Ontario, and died 21 April 2000 in Victoria, British Columbia. His pathway to poetry was unconventional. He left high school after only two years (but not before selling his first poem to the high-school magazine, Spotlight, for a dollar), rode the rails during the Great Depression, and took a variety of menial jobs in British Columbia before joining the Royal Canadian Air Force (R.C.A.F.) when the second world war broke out.

Purdy married Mary Jane Eurithe Parkhurst in 1941. After six years in the R.C.A.F., Purdy and his wife settled in British Columbia. In 1956, they moved back east, first to Montreal and then to Ameliasburgh in southern Ontario. This was where Purdy honed his literary skills and became acknowledged as a “poet of the people”. Growing acclaim for his work won him several Canada Council Grants, enabling travel to write in locales ranging from British Columbia and Baffin Island (1965) to Greece (1967). In later life, in addition to visiting Mexico on several occasions, the Purdys divided their time between Ameliasburgh and Sydney (on Vancouver Island).

During his long writing career, Purdy published more than 30 books of poetry, a novel (Splinter in the Heart, 1990) and an autobiography (Reaching for the Beaufort Sea, 1993) plus dozens of radio plays, dramas and book reviews. His best known poetry collections include The Cariboo Horses, which won him a Governor General’s Award for poetry in 1965, The Stone Bird (1981), Piling Blood (1984), and The Collected Poems of Al Purdy, 1956-1986, which earned him a second Governor General’s Award in 1986. Purdy was awarded the Order of Canada in 1982 and the Order of Ontario in 1987.

In her foreword to a collection of Purdy’s poems, Margaret Atwood praised how “Purdy is always questioning, always probing, and among those things that he questions and probes are himself and his own poetic methods. In a Purdy poem, high diction can meet the scrawl on the washroom wall, and as in a collision between matter and anti-matter, both explode.” According to a much earlier CBC radio program Introducing Al Purdy (1967), “what he said startled people. His unconventional works poeticized barroom brawls, hockey players and homemade beer. Al Purdy’s work forced Canadians to re-evaluate their understanding of poetry and themselves.”

Purdy made numerous trips to Mexico between the early 1970s and the late 1980s. He was quick to admit he loved the country. Unimpressed by an editorial in the Globe and Mail to the effect that Mexicans were not especially friendly, Purdy wrote to say that it was necessary to draw a distinction between the Mexican people who were “as friendly and cordial as any you could wish to meet” and the less friendly attitudes of Mexican police and officialdom.

Purdy used his trips to Lake Chapala as part of a creative process to probe the connections between Lawrence and Chapala. In 1979, he wrote to fellow Canadian poet Earle Birney (who had composed poetry at Lake Chapala in the 1950s) describing how he had taken a look at Lawrence’s house in Chapala, “a peeling yellow-stucco two-storey place, with a large section of coloured tiles depicting a plumed serpent, the only trace of Lawrence evident” and was working on “a coupla poems… one of which might turn out to be something.”

Several of Purdy’s later poems have explicit links to Mexico, D. H. Lawrence and Chapala. These include “D. H. Lawrence at Lake Chapala,” a slightly modified version of the poem used for the single-page book The D. H. Lawrence House at Chapala, published in 1980. “D. H. Lawrence at Lake Chapala” was included in The Stone Bird (1981) and in Beyond Remembering: the collected poems of Al Purdy. The poem reveals at least as much about Purdy and his time at Lake Chapala as it does about Lawrence. The poem opens,

Try to simplify your life
you cannot
try to live a new life
and the old one complicates the new . . .

Other Purdy poems about Lawrence include “Death of DHL,” “Lawrence’s Pictures,” “I Think of John Clare” and “Lawrence to Laurence.”

In 1996, Purdy published In Mexico, a hand-printed limited edition of an 80-page poem based on his travels to Mexico with Eurithe, illustrated with 10 fabulous wood engravings by Alan H. Stein.

Purdy’s life-long love of Lawrence culminated in a joint limited edition work with Doug Beardsley entitled No One Else Is Lawrence! A Dozen of D.H. Lawrence’s Best Poems (1998).

Ameliasburgh, his home for so many years, has embraced its fame as the place where Purdy produced his finest poems. In 2001, the local library was renamed the Al Purdy Library. His name has also been given to the street that leads to the town cemetery (and his tombstone). Purdy’s A-frame, with its separate writing studio, overlooking the lake, has been restored and now operates a summer residency program for aspiring writers.

Al Purdy’s papers are divided between several university archives, with the largest collection held by Queen’s University in Kingston, Ontario.

Acknowledgments

I am very grateful for the help kindly offered by Eurithe Purdy in clarifying the chronology of her visits to Mexico with her husband.

Sources

  • Doug Beardsley and Al Purdy (introduction and commentary). 1998. No One Else Is Lawrence! A Dozen of D.H. Lawrence’s Best Poems. Harbour Publishing, Madeira Park, B.C.
  • David Bidini. 2009. “Visit to poet Al Purdy’s home stirs up more than a few old ghosts.” National Post, 30 October 2009.
  • Nicholas Bradley (ed). 2014. We go far back in time: the letters of Earle Birney and Al Purdy, 1947-1987. Harbour Publishing, Madeira Park, B.C.
  • James Brooke. 2000. “Al Purdy, Poet, Is Dead at 81; A Renowned Voice in Canada.” New York Times, 26 April 2000.
  • Al Purdy was Here. 90-minute documentary. Available via iTunes.
  • Al Purdy. 1976. Letter to the editor, Globe and Mail, 26 April 1976, 6.
  • Al Purdy. 1980. The D. H. Lawrence house at Chapala. The Paget Press.
  • Al Purdy. 1981. The Stone Bird. McClelland and Stewart.
  • Al Purdy. 1996. In Mexico. Church Street Press, Parry Sound, Ontario, Canada.
  • Al Purdy. 2000. Beyond Remembering – The Collected Poems of Al Purdy. Harbour Publishing, Madeira Park, B.C. (Forewords by Margaret Atwood and Michael Ondaatje).
  • Jeffrey Aaron Weingarten. 2013. Lyric Historiography in Canadian Modernist Poetry, 1962-1981. PhD Thesis, McGill University, 101-2.

Comments, corrections or additional material related to any of the writers and artists featured in this series of mini-bios are welcome. Please email us or use the comments feature at the bottom of individual posts.

Mar 282019
 

Ven a cantar conmigo was filmed in Jalisco two years after the making of Verano en Guadalajara (1965). Both movies are musical romances that incorporate lots of tourist-alluring footage of markets, ancient buildings and cultural events in Guadalajara and at Lake Chapala. The two movies also share the same lead actor – Robert Conrad – but this is where the similarities end.

The storyline of Ven a cantar conmigo is much stronger than the uni-dimensional plot of its predecessor. The central romantic plot line in Ven a cantar conmigo is more nuanced and complex, giving viewers a much more satisfying experience. A splash of adventure in the middle of this film serves as a counterpoint to too much romantic gushiness. The central romance does not unfold without some melodrama towards the end.

Ven a cantar conmigo was produced by Miguel Zacarías and written and directed by Alfredo Zacarías. The company behind the movie was Producciones Zacarías S.A. The cinematography was by Raúl Martínez Solares. The film was first released in Mexico on 19 October 1967.

The three major stars in this movie are Robert Conrad, playing an American artist named Bob Seaman, Alicia Bonet playing Aurora, the nurse he falls in love with, and the talented young singer “Evita” (Eva Luisa Aguirre Muñíz), who was eleven years old at the time and plays the role of a precocious orphan, living at the Hospicio Cabañas, who is a show-stopping, not-to-be-ignored matchmaker. This was the Guadalajara-born youngster’s first movie. She subsequently enjoyed a stellar, though short-lived, career as a singer, actress and T.V. presenter before retiring from show business in her early twenties.

Given that the opening credits thank the Jalisco state governor, Francisco Medina Ascencio, for his support, it is not surprising that many of Guadalajara’s most important tourist attractions form the backdrop to scenes in the story. The photographs of the Hospicio Cabañas (now Instituto Cultural Cabañas) and its murals (explained by Evita to a visiting group of tourists) are among the highlights.

As a young, charismatic minx, Evita steals the early scenes of the movie. She is quite determined to find a suitable beau for her friend Aurora, a young nurse who grew up in the orphanage and works in a local hospital.

Evita and Aurora are shopping in the San Juan market for fruit and vegetables when they bump into a handsome American artist. A misunderstanding leads Aurora to believe that Bob is poor and hungry. In reality he drives a sports car, is staying at a top hotel and is clearly wealthy. He visited the market to purchase single vegetables to compose a still life. When he returns to his hotel to paint, he can’t help drawing a portrait of Aurora instead.

Minor misunderstandings continue as he seeks to get to know more about Aurora and to ask her on a date. The process includes, in true Tapatío fashion, Bob hiring mariachis to serenade her at dawn.

Before long, accompanied by Evita and one of Bob’s friends, they are all on their way to Lake Chapala for the afternoon. The short section of the movie shot at Chapala shows the beach, the Beer Garden restaurant, the main church and nearby Braniff mansion. The proceedings are enlivened by buying balloons and a game of hopscotch.

There are many worse ways to spend your time than watching Ven a cantar conmigo!

The entire 87-minute movie is available via Youtube, as is a clip of the short section showing Lake Chapala. Enjoy!

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

 Posted by at 5:58 am  Tagged with:
Mar 212019
 

Canadian poet Al Purdy visited Lake Chapala more than once in the late 1970s. Purdy spent more than a month in Ajijic over the winter of 1978-79 and later had a short travel piece entitled “Let There Be Light – Perhaps” accepted by Leisureways.

The quotes incorporated in the following summary of that piece come from the manuscript version of the article in the Purdy archives at Queen’s University in London, Ontario.

Statue of Purdy in Queen's Park, Toronto. Photo: Marisa Burton.

Statue of Purdy in Queen’s Park, Toronto. Photo: Marisa Burton.

Purdy thought that Chapala was “a sprawling untidy settlement,” where “a real estate boom, perhaps twenty years ago,” followed by a bust had left “half—built houses on the outskirts and red brick streets running nowhere.” Purdy summed the town up as “half ghost town and half a hive of geriatric tourists and the native Mexicans.”

As for the tourists, they were “mostly very old” and had “made their pile in New York or wherever when they were younger, and now come here to play bridge, soak up the sun and live the good life, wading thru sunshine instead of snow.”

Purdy wanted to soak his “arthritic knee in hot springs at San Juan Cosala then take off for places the tourists haven’t found yet.” They had trouble finding living quarters for a month “in an area that is completely jammed.”

Hank Edwards, a painter friend who had built a house in Ajijic, suggested they visit “La Russe” (Zara) because he had heard that her lakeside cottage was unoccupied. However, a meeting to “Save the Lake” was in progress on Zara’s patio, preparing the text of a telegram to send to the state governor protesting the dire situation of the lake. The following day, Purdy and his wife viewed the cottage only to discover that it was “a pretty crummy joint.” They were eventually able to “rent a small apartment on the mountain slope above Ajijic.”

During their time in Ajijic, Purdy viewed the D. H. Lawrence house in Chapala – “a sprawl of brick and stucco mansion, complete with falling plaster” – on the market at that time for $75,000.

Not surprisingly, given that it was more than fifty years since Lawrence had been there, Purdy was unable to find any trace of Lawrence in the building, but enjoyed letting his imagination picture the author in the building: “… there is a wrought iron spiral staircase, ending at upstairs bedrooms, that I’m sure Lawrence must have climbed; and an immense glass chandelier glittering its thousand suns in the living room, and which at one time must have reflected Lawrence’s own blue eyes.”

Actually, the house had only a single story when Lawrence rented it and the deficient electricity supply at the time would have necessitated candles in the chandelier.

Lunching at the Posada Ajijic, Purdy and his wife chatted to a pair of elderly American ladies who knew La Russe and recounted stories of her dance career (in Europe and elsewhere), her “brother”, and Zara’s attempt to star in a ballet she had written.

Purdy commented on the great Mexican muralists, Orozco and Rivera, and how the “cultured English novelists, Graham Greene, Evelyn Waugh and Aldous Huxley” who had visited Mexico, all “hated the place”, before turning his attention to how “D.H. Lawrence was alternately fascinated and repelled by Mexico with its basically Indian population, whose tradition of blood stretches back to the Aztecs and long before. Mayan and Aztec gods were deities of violence and death, the dark side of life.”

Despite the roads, roadkill, police, and the sketchy electricity supply, Purdy loved Mexico.

Prefacing a conversation he overheard while soaking in the mineral baths of San Juan Cosalá, Purdy described the scene in lively prose: “The white Aztec sun blazed down; brilliant red and purple flowers trembled on the fringes of vision; the blue lake was incandescent in its multiple reflections. Human bodies of all sizes, sexes and degrees of fatness lounged in and around the several pools, their temperatures graduated according to personal inclination.”

The hills were dormant in the winter dry season but on the “luxuriant green” lakeshore, “Mexican kids play their game in the dust, gabbing together; fat mothers feed their babies, thin mothers feed their babies; old men totter thru the cobbled streets, a flash of their eyes responding to friends’ flash of their eyes in greeting.”

Purdy was an astute, sensitive observer of Mexico and it is Lake Chapala’s gain that this great Canadian poet chose to follow in the footsteps of D. H. Lawrence and spend some time here.

Note

All quotes come from the manuscript version of “Let There Be Light – Perhaps” in the Queen’s University Purdy Archive (CA ON00239 F02017-S06-f0003 – “Article on Chapala, Mexico accepted for Leisureways Magazine”). I have so far failed to locate any published version of this article, accepted by Leisureways (according to Purdy’s notes) in about 1979-1980. The first edition of Leisureways was published by the Ontario Motor League in 1981. It is likely that Purdy’s article actually appeared in the final (1980-81) volume of Canadian Motorist, the publication’s name prior to its rebranding.

Acknowledgment

I am very grateful to Queen’s University archivist Heather Home and her administrative assistant, Lisa Gervais, for their help in supplying copies of materials from the university’s Purdy Archive.

Comments, corrections or additional material related to any of the writers and artists featured in this series of mini-bios are welcome. Please email us or use the comments feature at the bottom of individual posts.

Mar 142019
 

Wes Penn, a highly creative visual artist, lived in Ajijic from 1967 to his death in a vehicle accident three years later. Penn was the fourth husband of Jan Dunlap (“Big Mama”).

William Wesley Penn Jr. was born 11 February 1935 in Big Spring, Howard, Texas. He was the son of the Reverend and Mrs. William W. Penn. Reverend Penn (1913-1988) was a Methodist minister who served in the Navy and was the pastor for a time in Renner, Texas, where, coincidentally, Jan Dunlap spent most of her childhood.

Wes Penn. Mixed media abstract. Untitled. Undated. Collection: Rico Semple.

Wes Penn. Mixed media abstract. Untitled. Undated. (image courtesy of Rico Semple)

Penn attended high school in Commerce, Texas, and gained his first degree from East Texas State College (now known as Texas A&M University–Commerce) in 1959, and had married while living in El Paso, where he was studying for a Masters in Education at the University of El Paso. His younger brother, Paul, an engineer also studied at the University of El Paso. Paul later fell foul of the law in Mexico and was sentenced to a multi-year term in Puente Grande, the penitentiary just outside Guadalajara.

Dunlap met Wes Penn when they were both studying at the University of Texas. They lived in El Paso and New Mexico before deciding to try their luck in Mexico where Penn had friends who lived at Lake Chapala. In the run-up to the 1968 Mexico City Olympics, language teachers were in demand and Dunlap, who had four young children in tow, and Penn hoped to support themselves by teaching English.

The family lived for a time in the Mill House at the western extremity of the village. It was difficult to make ends meet and, like many others living in Ajijic at the time, Penn and Dunlap decided to risk driving a stash of weed across the border in order to raise some much-needed funds. They made it back to Ajijic without incident but when Penn went to collect their dog from a friend’s house in Chapala, the timing turned out to be disastrous.

No sooner had he arrived than the police raided the house looking for drugs; everyone present, including Penn, was arrested and locked up overnight in the local jail. Dunlap, meanwhile, had sent son Ricardo to look for her husband. Ricardo returned saying he’s found Penn’s car and that it was still parked in Chapala.

When Dunlap went to collect her husband the following day, she was told that the federales had taken over the case and had moved Penn and the others to Guadalajara. It turned out that they were being held in the same jail as Penn’s brother. Dunlap called in a favor from a friend who had the ear of the state governor and was able to get Penn and the others released in exchange for a substantial contribution of pesos.

Wes Penn. 1966. Collection: Rico Semple.

Wes Penn. 1966. (image courtesy of Rico Semple)

Tragically, Penn was killed on 25 March 1970 when the car he was driving was hit by a bus on the Chapala-Guadalajara highway. Jan and her children remained in Ajijic where she ran a succession of restaurant-bars, boutiques and galleries during the 1970s and 1980s, one of which was named the Wes Penn Gallery in his honor.

Wes Penn worked in a variety of media. As a painter, he specialized in abstracts, many of which leaned towards surrealism.

Penn’s parents were not very appreciative or supportive of their son’s art. Dunlap told me how her father-in-law had once offered her husband $100 for a painting on the grounds that it represented the cost of the materials!

Fortunately, Penn’s fellow artists held him in much higher esteem. For example, his works were exhibited at least once in the renowned Udinotti Gallery in Scottsdale, Arizona, run by Greek-born poet and painter Agnese Udinotti.

Sources

I am deeply indebted to the late Jan Dunlap for sharing her knowledge and memories of Wes Penn, and to Rico Semple for sharing photos of examples of his work.

  • Big Spring Daily Herald, Big Spring, Texas, 13 February 1935, p8
  • Henrietta Clay County Leader, Henrietta, Texas – 11 June 1970

Comments, corrections or additional material related to any of the writers and artists featured in this series of mini-bios are welcome. Please email us or use the comments feature at the bottom of individual posts.

Mar 072019
 

Writer and illustrator Ellis Credle Townsend moved from Guadalajara to Ajijic in about 1974 and lived and worked at Lake Chapala for more than a decade. She was the author and illustrator of more than twenty children’s books over a long career.

Ellis Credle Townsend

Ellis Credle Townsend

Ellis Credle (she used her maiden name on all her books) was born and raised in North Carolina. Born in 1902, she studied at Louisberg College and taught high school in the Blue Ridge Mountains before moving in 1926 to New York City, where she studied interior design and took painting classes at the Art Students League. She worked as a governess for two children before landing a commission to draw reptiles for the American Museum of Natural History. While continuing to write in her spare time, she was also asked to paint a series of murals for the Brooklyn Children’s Museum.

She had several rejections from publishers before one finally accepted Down Down the Mountain (1934), the first ever illustrated children’s book set in the Blue Ridge country. Helped by her deep familiarity with the area’s folk tales and life styles, it was an immediate success and quickly became a classic; it sold more than 4 million copies.

Credle visited Mexico in the early 1930s and another of her early books, Pepe and the Parrot (1937), a story about a dog and a parrot, was set in a traditional Mexican village. Other books Credle published before moving to Mexico include Across the Cotton Patch (1935), based on her childhood days on a grandfather’s farm; Little Jeems Henry (1936); That Goat That Went to School (1940) and Janey’s Shoes (1944).

Credle married Charles de Kay Townsend; the couple had one son. Born in Rhode Island, her husband was a Harvard graduate and served in the Navy during the second world war. He was a photographic technologist with the National Gallery of Art in Washington, D.C. for many years, and it was after he retired that the couple left for Mexico with their young son, Richard, in 1947. Her husband’s photographs were used in some of Credle’s later books.

Richard grew to love Mexico and became an eminent authority on pre-Columbian cultures. He gained a masters degree in anthropology form the University of the Americas and a doctorate from Harvard for work on the art of Tenochtitlán. He was curator of the Department of Africa, Oceania, and the Americas at The Art Institute of Chicago, and edited numerous exhibition catalogs including The Ancient Americas: Art from Sacred Landscapes and Ancient West Mexico (which has many close links to the Lake Chapala area).

The family arrived in Mexico planning to stay only six months so that Credle could write without distraction, perhaps to put the finishing touches to My Pet Peepelo (1948), a story set in Mexico. Here Comes the Showboat was published the following year. By then, the Townsends had settled in Zapopan, Guadalajara, where their stay kept being extended by other book commissions; Credle ended up living in Mexico for more than 40 years.

Even in so-called retirement, Credle continued to write and based several more stories in Mexico, though none ever received the same high praise as her tales of the Blue Ridge country. In 1964, she and her husband were commissioned by Nelson to write a school book about Mexico, aimed at young teenagers. This was published in 1968 as Mexico, land of hidden treasure in Nelson’s World neighbors series.

Following the death of her husband in 1974, she moved to La Floresta in Ajijic on Lake Chapala. Late in life she also wrote “Dog Ignacio Lives On“, a short piece published in El Ojo del Lago, November 1994.

Ellis Credle Townsend was often asked to lecture in the U.S. on account of her knowledge of authentic folklore and was a regular at the Ajijic Writers’ Group.

Interviewed for El Ojo del Lago late in her life, Credle said, “I have never regretted coming to Mexico. I have always felt happy, at home, and strangely safe here.” She did not travel very far apart from occasional trips to Chicago to visit her son. She was in Chicago at the time of her death on 21 February 1998.

Sources

  • Guadalajara Reporter: 2 April 1964: 1 Oct 1964.
  • Shep Lenchek. “Ellis Townsend —A Lakeside Literary Treasure.” El Ojo del Lago,
    1996; reproduced March 2015 issue.
  • Richard Walser. 1960. Entry for Ellis Credle in Picturebook of Tar Heel Authors. Raleigh, N.C.: State Department of Archives and History.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Feb 282019
 

For a sense of what Guadalajara and Lake Chapala were like in the early 1960s, the movie Guadalajara en verano is a great starting point. To watch the 95-minute film, released in 1965, via Youtube, click the link.

Guadalajara en verano is an enjoyable mix of a simple, cross-cultural romantic storyline in the city of roses and a documentary highlighting some of Jalisco’s tourist sights and infrastructure.

Written by Adolfo Torres Portillo, and co-produced by José Luis Bueno and Xavier Torres Ladrón de Guevara, the movie was filmed in the summer of 1964 in Guadalajara, at Lake Chapala and at the Pacific coast beach town of Melaque.

The plot revolves around a group of students who arrive in Guadalajara to attend summer school classes. This allowed the producer to open the movie with shots illustrating Guadalajara’s excellent links to the outside world via buses, trains and its international airport, and its varied accommodation offerings, from a casa de huespedes to the Hotel Fenix and Camino Real. In those days, the city streets were not clogged with traffic, the roses bloomed in profusion and the parks were well-maintained gardens..

Having foreign students visit Guadalajara also provides the excuse, if one were needed, to film the city’s newly-opened Hilton hotel and follow the students around as they explore the city’s markets, parks and buildings, with time spent admiring some of the many murals that grace its public buildings, including the Hospicio Cabañas (then an orphanage, now the Cabañas Cultural Institute) and the Government Palace. The movie’s director, Julio Bracho, later made a film about the New York experiences of Jalisco muralist José Clemente Orozco: En busca de un muro (1974).

The part of Guadalajara en verano made at Lake Chapala includes footage of the highway, the Beer Garden in Chapala and a luxurious private residence.

Needless to say, the movie does not miss the opportunity to showcase a girls’ choir, mariachi singers and musicians, and the Ballet Folklórico de Jalisco (performing the Jarabe Tapatío) along the way.

The short Melaque section, near the end of the movie, served to underscore the tourist potential of the Jalisco coast and promote the then relatively unknown attractions of the Pacific coast of Jalisco, coincidentally at about the same time as Richard Burton and Elizabeth Taylor helped put Puerto Vallarta on the map.

Actors in Guadalajara en verano include Elizabeth Campbell, Xavier Loyá, Alicia Bonet, Claudio Brook, Emma Roldán and Andrea Palma. The movie’s main male protagonist, Robert Douglas, was played by U.S. singer and actor Dean Reed who went on to enjoy a stellar career in Latin America and Eastern Europe, regions where the audiences appreciated his lyrics, which protested U.S. foreign policy, war and nuclear tests.

It is a sobering thought that the movie was made at a time when the population of Guadalajara had barely reached one million (compared to around 5 million for the metropolitan area today). On the other hand, 1964 was the year when Walt Disney visited the city for the “De Pueblo a Pueblo” meeting, Bing Crosby promoted golf at Guadalajara Country Club, Tequila Sauza started sponsoring “Noches Tapatías” on national TV, and when the  Chapala Society officially  changed its name to become  The Lake Chapala Society.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

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