Mike Callicrate: Regenerative Food Practices

DOWN TO EARTH: The Planet to Plate Podcast

The current economic model is failing; harming both the farmer and the consumer. Mike Callicrate argues powerfully for a new way of thinking about our agriculture. He advocates humane animal husbandry and “regenerative” farming practices that complete a full food cycle. This is good for the farmer, the consumer, and the animal. He also lays out the destructive practices of giant corporations consolidating their market share, and how they are corrupting our ability to purchase good, clean, honest food.

In this excellent interview with Mary-Charlotte on the Down to Earth (Planet to Plate Podcast), Mike Callicrate revisits and expands upon topics from his conversation with The Almagre Review, in Issue 2: “Leadership.”

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Mike Callicrate: Rural Advocate. People Advocate. Animal Advocate

Joe Barrera: Veterans’ Day is about Creating Community

In 370BC a Greek Army ventured into Mesopotamia, lured into supporting a claimant to the throne by the promise of money and booty. How the Greeks managed to extricate themselves from a hopeless situation in what is now Iraq and Syria is the subject of the famous account, The Anabasis of Xenophon. “Anabasis” means “a journey out of.” The story is that Cyrus, the pretender to the throne of the Persian empire, is killed by his rival and the Greeks find that they have backed the wrong faction. This, of course, sounds familiar. We are now in the same position as Xenophon, the wise and courageous soldier who leads the Greeks out of the trap. But unlike Xenophon we have no exit strategy to free ourselves from the Iraqi and Syrian quagmire.

Halicarnassus (Anabasis)
Go to the Military Veterans’ Community Dialogues

No doubt about it. We are stuck in Mesopotamia, not to mention Afghanistan. In my opinion it happened because we misunderstood the desires of those countries to create communities according to their own rules. The same for our tragic misadventure in Vietnam. The task for us now is to extricate ourselves by rediscovering our own rules for community. I don’t want to make too much of the analogy but the lesson is clear. Xenophon’s Ten-Thousand fought and won their battles and survived the long journey out of the desert by the unity forged in comradeship. They were a small army, but they acted more like a community, a nation on the march through hostile territory.

Community is essential. This is true in both the military and civilian spheres. Armies imbued with comradeship, the military equivalent of community, win battles against much stronger foes. Civil societies succeed, but only if they are true communities. During this season, when we honor veterans and the society they have protected, it’s good to reflect on this. Philosophers have described community in many ways. It’s useful to read what they say, especially those who write about human communities from the experience of war. J. Glenn Gray, the eminent Colorado College philosopher, in his book The Warriors: Reflections on Men in Battle says this about the communal spirit, what he calls “love as concern:”

The characteristic mood that accompanies love as concern is neither deep joy nor unrestrained grief, so often typical of erotic love. Concerned love knows relief and it knows anxiety in its depths, but seldom does it put everything at stake on the preservation of this or that life or treasure. Its care is for the whole and not the part.

The essence of community is a love concerned with the whole. Concerned love leads to the building of community after the destruction of war. Fortunately for human beings, most soldiers are not made into habitual killers by war, even if they are soldiers who have killed. They are capable of living civilian lives after war. Gray, the WWII veteran, is correct about this, even if many veterans doubt it. Other writers have sought to define community. Sebastian Junger, who was an embedded journalist with the 173rd Airborne Brigade in the Korengal Valley of Afghanistan and made a documentary about the experience entitled “Restrepo,” defines “concerned love” in a different way, the way of male bonding. In

his book, Tribe: On Homecoming and Belonging, Junger discusses a type of love among soldiers. The men form the ultimate in male bonding, a brotherhood which only men in battle can form. Hardship, such as war, enables soldiers to transcend selfishness. Junger knows from first-hand experience that the bane of modern armies, PTSD, would not exist if soldiers preserved that brotherhood when they return to the civilian world. Unfortunately, combat veterans lose this protection all too quickly. This Veterans’ Day, we should provide veterans the chance to re-enact the communal love of their small units, which existed in our society before we lost our tribal identity.

A good example of communal love is The Warrior Storyfield in Longmont. A group of veterans and artists formed a “tribe,” a sculpture project that gives the unspoken experience of war a voice through the creation of huge iron statues of a dragon, representing homo furens, the ferocious warrior, and the phoenix, representing the resurrection of human love in the soldier when he comes home. Closer to home we have the Veterans Community Dialogues, to be held on November 7.

Joe Barrera, Ph.D, is the former director of the Ethnic Studies Program at UCCS and a combat veteran of the Vietnam War.

 

Again, Please. Tell Me Your Story

As fall turns to winter, I’d like to reconsider a particular reaction.AR_Fall Harvest

We have all been in the room before. Someone else is there…it might be one person, or two, or a crowd. A friend or family member begins a story. We’ve heard it already…many times.

But we let them go on out of politeness. (Is this person okay? Is he well? Does he not remember telling this story last Thanksgiving?)

This got me thinking about the importance of telling the same story again and again. First, it comes from a place of acknowledgement — I grow older, responsibilities increase, the kids acquire new demands; demands on my time, my attention, my bank account, my emotional and spiritual reservoir.

I used to think that my “elders” (I use this term carefully and loosely) were trapped in forgetfulness. At the dinner table, during or after, somehow, someway, the conversation inexorably drew to the moment where someone would re-commence the time when…

Often the details change. But what are details other than the sharp edges on a sugar cube? They don’t matter…around the pond of reminiscence, they polish down into the smooth stone of one-liners, zingers, bad accents, cued laughter. Or is it cued sadness? Either one, yes? Everything in between.

One day, not too many years ago, I noticed myself telling the same story…one I’d told many times. There was also this other strange little thought. I knew I was telling a story everyone had already heard. I knew it. They knew it. I knew that they knew it. And so on.

But, what followed proved to be an insight, albeit small. I did not care that I’d told this story before. I plowed through my social reserve and kept the performance alive, armed with those punches and zingers, cued their laughter, and delivered what my polite audience allowed. I told this story because it was a pleasure to tell. It’s always a pleasure to tell.

Why?

Because it is important. To me, it was a bright cherry along the branch of experience that is worth repeating. I have to repeat it. Others have to hear it. Memory is bad and faulty, and so much of what we live is lost along that long gray branch. But the bright cherries become the lodestars of identity. This is who I am. This is one among many stories that define the “johnness” of John to others…and to me.

Which leads me back to my original thought. That reaction! When a friend or family member begins again that story we’ve heard throughout the years…we stop, listen, and appreciate. We know they’ve told this story before. But they know it too! It does not matter.

We listen, because it is the teller’s pleasure to tell! We grant this woman or man the dignity of his or her story, the dignity of his or her life and experience. We permit them the bright cherry of identity. We listen…because it is a pleasure to listen.

John Lewis
Artist/Editor

 

 

 

Joe Barrera: Los Dias de los Muertos/The Days of the Dead

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Artist: Jose Guadalupe Posada

The season of death and dying is here. Autumn brings the end of the year, the end of living things, the end of growth in the cold of winter. October 31, All Hallows’ Eve, Halloween, albeit much altered from its original intent, is a celebration of the end of the harvest but also a recognition of the presence of the dead on earth. Originally, Halloween was the time when ghosts of the dead, along with unholy spirits, were given free rein to roam the earth before they were again confined in Purgatory or in Hell. They had to be confined in anticipation of November 1, the Day of All Hallows, the Holy Ones, the saints in heaven. All Saints is followed by All Souls on November 2, during which we honor the Souls in Purgatory, suffering purification before entry to heaven in the Catholic belief that was once universal in Europe. The season is the last vestige in modern culture of the reality that life and death are two sides of the same coin, that where there is life there must also be death, that the same Creator who created life also created death. The season tells us that we should not ignore death, nor fear it, because it is part of our existence and we cannot avoid it. In our culture, which deludes us into believing that youth and physical beauty are eternal, we don’t pay much heed to this kind of thing anymore.

Our Halloween customs derive from northern Europe, but traditions known as The Days of the Dead, usually the last days of October and first days of November, have come in from lands to the south. These influences are often mistakenly considered to be “Mexican Halloween,” but Halloween and The Days of the Dead are very different celebrations. In Mexico, death is traditionally honored in a much more open fashion than it is here. Death is held in high esteem, in a reverential sense, not in the spooky, haunted sense of Halloween.

Awareness of the dead is typical of a culture that looks to the past, as in Mexico, not of a future-oriented culture as in the U.S. In Mexico, which is strongly mindful of the past, the amalgamation of Iberian Catholicism, full of ancient Greek and Roman roots, with the indigenous religions of the Aztecs, has given rise to a rich tradition known as los Dias de los Muertos, or The Days of the Dead. We enjoy the celebration here in spite of the cultural differences. A manifestation of this in U.S. culture is the creation of “altares,” altars in remembrance of deceased friends or relatives. These are  commonly found in art galleries, where they are seen as opportunities for artistic license. In Mexico, altars to the dead are found in many homes. They are sincere tributes to loved ones, not art installations. Portraits of the departed are displayed, and their favorite food, drink, cigarettes, personal items, etc. are laid out in anticipation of their earthly visitations. The intent is to honor the deceased out of love and affection but also from a profound sense of the very thin veil that separates this life from the other life. In some ways, The Days of the Dead resemble American Memorial Day. Families in Mexico go to cemeteries to visit and adorn the tombs and to share meals with the dead. This is something which we should respect.

The veil separating life and death is indeed flimsy. We must realize that we will all soon be dead. What happens then? The Mexican artist, Jose Guadalupe Posada, is famous for his depictions of skeletons behaving as if they were still alive, enjoying all the pleasures of human life–food, drink, fancy clothes, parties, dancing, even sex. Posada’s skulls and bones in the midst of carnal pleasures symbolize the union of life and death. They also warn us of the illusory nature of pleasure. His art has been appropriated by the dominant U.S. culture and is now found everywhere. But his ideas have not. We see the dancing, drunken, fornicating skeletons as just funny art, missing the point of the illusion of human existence and the much more real intimacy of life and death.

The Days of the Dead celebration in U.S. culture is an example of cultural blending, something which always happens when distinct cultures rub against each other, as is the case in this part of the country. This can be good because cross-fertilization like this saves U.S. culture from stagnation. It goes the other way, too. Mexican culture is influenced by American culture. However, the popularity of The Days of the Dead is an appropriation by the American dominant culture of an element from the subordinate Mexican culture. As such, the meaning of the celebration has been altered. Things get changed when cultural elements are removed from their original context. They diverge from their original meanings. They may be  trivialized, stripped of serious meaning, made into “kitsch,” becoming pretentious, shallow and gaudy. This is what has happened to The Days of the Dead in the U.S. The sacred meaning of Los Dias de los Muertos has been lost.  This sacredness can be understood to be an escape from human rationalism, a journey into a space of intense, passionate, personal religion, a religion not about obeying God but more about one’s relationship with the physical world and simultaneously with the spiritual world. This is a religion of beauty, and definitely not one of fear of death and punishment for sins, but one of love in a space where loved ones await living human beings, who are the soon-to-be dead.

Joe Barrera, Ph.D., is the former director of the Ethnic Studies Program at UCCS, and a combat veteran of the Vietnam War.

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Almagre Upcoming Events; from the Publisher

Dear Friends,

Once again, we share with you news from The Almagre Review. We interviewed famed Taos writer John T. Nichols, the author of the Milagro Beanfield War trilogy, in January, 2017. The Almagre Review will soon publish our Environmental Issue, with an excerpt from the John Nichols interview featuring his environmental philosophy for which he is famous.

We are also planning a Symposium on Sustainability and the New Agriculture. We anticipate that Colorado businessman and organic rancher Mike Callicrate will participate. Also soon to come, we are scheduling The Almagre Review Literary Salons. Our first Salon will be with Janice Gould, former Poet Laureate of Colorado, who will lead a reading and discussion of Kate Chopin’s, “Story of an Hour.” This is a very short story (about 2 pages) which we will read on April 6 at the Salon (location and time TBA).

In May, I will lead a reading and discussion of Ernest Hemingway’s, “Soldier’s Home,” another very short story.

Regards,
Joe Barrera,
Publisher

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Why Readers Matter

image1Our publication’s newest reader. And we’re thankful to the parent of this greatness-in-the-making for sharing such a candid moment!

Writers ask a lot of their readers. It’s more than just time. The solicitation is quite intimate, begging more of a total investment.

We can’t speak for everyone, but here at our humble publication, we know how slippery and temporary ideas are…all ideas, great ones especially. Once committed to paper, an idea finds a quasi-permanence.

So in the age where most stories are told through moving images and sound, the written word in all its static glory must rely on its most powerful quality. That quality is this intimacy…the theater of another’s mind. Here, a poem or novel moves in, like a circus, it sets up camp, unfolds its tents, un-carriages the animals, and builds a show between the ears of another human. Think of this invitation, this opportunity to inhabit each other. It’s a unique dialogue. When the reader shares his time with all those set pieces stored in the attic of his imagination, those wares built from the thread of experience, he gives the writer her reason to be. He also gives her the stage for her ideas. The necessary loop is complete and the current can flow.

We all remember that thing the last exquisite novel provided which a movie cannot produce. The scenes and scents and people moved through our head. We were not passengers, we were not emotional patients strapped to the operating table. We were part of the story. In some ways, it was even about us.

Thank you to our readers who have taken the time to be a part of our journey. We look forward to the big sky horizon of the West and all the future stories waiting to fill our pages.

~John Lewis,
Artist/Editor
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