John Lewis: Stepping Down

Due to changes in my professional life over the last year, I am no longer in a position to provide the time and energy toward the Almagre Review as a biannual publication. I am stepping down from my editorial role in deference to these circumstances.

It has been an honor to work with each and every contributor the last few years — with six novel length editions containing stories and poetry from people all over the world. I have learned an enormous amount about this process of bringing narrative to fruition and into paper form. It requires tremendous dedication to grant each author the dignity of her time and the humanity of her work — something I’m no longer in a position to do. I am also much more sympathetic to editors and publishers who run magazines and journals. It turns out, they are not the frosty exterior blocking the way to our beautiful prose. Editors and publishers the industry over are by and large quite sympathetic, and have dedicated their livelihood (to great sacrifice) toward actually pulling authors into the professionally published world.

Because Colorado Springs has a deep connection to John Nichols and his work, The Almagre Review still plans to finish the project of publishing our interview and essay collection about John and his novels. The finished publication will be available locally and on our site.

The website will remain functioning too, and Joe and I can still be contacted through it.

With Gratitude,

John Lewis

Issue 5 Contributors Spend Sunday at Rico’s, Downtown.

Thank you to those who came. A lovely time with wonderful people doing writerly things among an inspiring place. Thank you to Poor Richard’s for their continued support in this ongoing literary project.

IMG_1561
The Lady Llorona can be found in the rocks, the water, a bush…
IMG_1571
Colorado authors… relaxed, confident, exemplars of craft
IMG_1547
Lucy Bell: there from day one

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.”

Mike-Callicrate-900x1350
Mike Callicrate: Rural Advocate. People Advocate. Animal Advocate

Ken Burns’ “The Vietnam War”

MVCD Button
I have been watching The Vietnam War on PBS, the nation’s largest TV network. The program is billed as one of the best film documentaries about our misadventure in Southeast Asia. I agree that it’s a good one, but I have my reservations. It seems that I always find things that are wrong, or at least not accurate, about the Ken Burns effort and others like it. When I read books or news stories about Vietnam, watch old TV news clips, or see contemporary documentaries and movies, I cannot help but feel that we are not told the honest truth. Vietnam was never truthfully explained when Kennedy, Johnson and Nixon were in the White House. This is still the case even if the latest offering is good history, exposing the lies and miscalculations on the political and military levels that got us into Vietnam. The documentary does a good job of that. We see the duplicity of our government, the bloody tragedy that resulted and the bitter wounds of division, not yet healed, that the war and the betrayal by our government, caused at home. Many are now saying, “I didn’t know the history.” But I am concerned about other things.

I am a combat veteran of the Vietnam War. I did my duty as a soldier. But my experience puts me in a small category of Vietnam veterans. I did not want it, but I am numbered among the few who actually fought. This affects my vision. Once an infantryman, always an infantryman. This means that I am unforgiving when civilians attempt to explain my war. This is common among combat veterans. We love our wars. Yes, in our hearts we love them, for most of us an embarrassing secret, hard to explain. We are sensitive about this and sincerely try to tell our fellow citizens that we and our wars have been distorted by well-intentioned people. But it never seems to make a difference. Ken Burns and Lynn Novick do not understand my war and this love. In spite of their interviews with combat veterans, they manage to distort the Vietnam combat experience. Since this film started I have been telling people that it is distorted. All I get is doubtful looks and pitying stares.

Almost every U.S. veteran war story told in the documentary is a tragic one: Ambushes and human wave attacks. Platoons, companies, battalions overrun. Horrendous casualties. The story of innocent young men like Mogie Crocker, KIA in 1966, woven throughout the entire series, told by his mother and sister who can barely contain their grief fifty-one-years later. The starving POWs, reduced to killing and eating cats. John McCain, with two broken arms and a broken leg, tortured by his captors. The 7th Cavalry, decimated in the Ia Drang Valley. The 173rd Airborne Brigade and the arrogance of their commander, who let three companies suffer near annihilation on Hill 875. Only the Marine, Karl Marlantes, tells a heroic story of taking a hill and killing the North Vietnamese. But there was much glory for us, if you can accept that  there is glory in war. I wish the story of my battalion, 1/8th Infantry, 4th Infantry Division, had been told. In May of 1968 we fought and destroyed two regiments of NVA five klicks (kilometers) from the Laotian border during “Mini-Tet. What about the barrage of 152 millimeter Russian artillery that we endured for weeks during that battle? Now, there’s a story.

Losses happened. Many firefights ended inconclusively. The enemy was brave, just as brave or braver than we were. It was a war of attrition. But the fighting men never lost a battle. We lost the war, but that was no fault of ours. In their eagerness to tell the pathos of the war, accented by the maudlin lyrics and whine of Bob Dylan, Burns and Novick paint a picture of U.S. victims of the war. They make us out to be victims. It is true that the draftees didn’t want to be in “the Nam,” but the conscripts fought as bravely as soldiers in any other war. This is said by some of those interviewed but it is lost in the general narrative.

In contrast, the VC and NVA narratives ring with righteousness and heroism. Our men don’t smile for the camera. We see more than one stereotypical GI weeping veteran. The VC and NVA veterans look happy. Of course, they won, so they should look happy. U.S. film footage that Burns and Novick show is all real–we see bloodied American corpses. The North Vietnamese Army (NVA) footage is obviously Communist propaganda, staged scenes of the victorious People’s Army of Vietnam, the PAVN, as they called themselves. No dead NVA in their films. That is the first thing that seized me when I saw the first episode. I asked myself, “don’t Burns and Novick realize that they are showing Communist propaganda?” They interview an NVA cadre in his dress uniform. The man looks much too young to be a veteran of a war fifty-years ago. No Americans are interviewed in dress uniforms and they are all old men.

There is one more bone to pick. Burns and Novick almost completely ignore the presence of Hispanic soldiers. Only Everett Alvarez, the longest-held POW in Hanoi, is interviewed. If not for that dubious distinction I feel that Alvarez would not appear in the documentary. It’s a pattern. Burns was forced to add an episode about Hispanic soldiers to his WWII documentary after the American GI Forum, a Hispanic veterans’ organization, threatened a boycott in 2007. He had completely left out the role of 500,000 Hispanic soldiers in WWII.  Burns should take another look at the Vietnam Veterans Memorial in Washington. It is the only public monument in which Hispanic valor is faithfully honored. Thousands of Spanish names are engraved on that Wall, written and paid for in blood.

Joe Barrera,
Publisher
AR monogram K

Issue 3: ENVIRONMENT, available June 22

In January, 2017, The Almagre Review went to Taos to interview famed American author John Nichols. For two nights, he spoke about his life, his novels, and his political and environmental philosophies. Highlights from this interview are in Issue 3: ENVIRONMENT.

A literary journal founded in the crease; Come be a part of the narrative that tells the story of the mountains and the prairies.

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

business-card-monogram

Issue 2, December, Promises Special Contributors

When Joe and I started The Almagre Review/La Revista Almagre, we wanted to build a journal that promotes local and regional talent. Often, the most important voices are the ones yet to be discovered. Our goal is to be a stepping stone in helping these authors along their journey toward literary success.

It’s with pleasure we share that two very special contributors will appear in our next issue; Clay Jenkinson and Mike Callicrate. Mr. Jenkinson is the creator of The Thomas Jefferson Hour heard every week on NPR, and Mike Callicrate is the owner of Ranch Foods Direct. As pleased as we are that both of them join us in conversation, it’s the up-and-coming authors that form the spirit of our publication.

The Staff at The Almagre are dedicated to building issues where new talent can appear beside established voices. We do this as a way of saying, no matter where you are in your literary trajectory, our pages welcome people of all backgrounds. We might buy an issue because someone we love to read is in there, but one of the chief delights is discovering a new favorite author who enriches our future reading experience.

promo-card-jpeg

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
orange

Reflecting on Leadership through the book, “The Character of Meriwether Lewis”

Clay Jenkinson Book

A wonderful book! Clay Jenkinson explores Meriwether’s character and leadership like a geologist in the field, not a benchtop analyst in the lab. This is an intimate journey; he does not simply put the specimen under a magnifying glass and jot down a detailed list. He picks the matter up, rotates it, puts it under various lights, illuminates the textures, and manages to pluck a real person out of the shady bin of historical mythology. Lewis becomes someone we start to know.

What works well in this narrative is the use of various angles to explain the subject. One encounters John Donne, Dickens, L. Ron Hubbard, Eric Sevareid, etc., as vehicles to clarify the complexities of Meriwether’s difficult, sometimes overwrought nature. Clay’s application of Donne’s poetic conceit, likening Lewis and Clark to a fusion core, is an example of successfully using this approach. The polarity of prose is also effective. One goes from literary metaphors, Jefferson’s “theater” of grief in Virginia after his wife dies, Lewis’s “attic” of isolation and anxiety as governor, to the vernacular of being, “shot in the ass.” Whether this works for all is difficult to say, but it contributed to the book’s wonderful readability. In a page, one might laugh out loud, then delight in the discovery of a new word (“hendiadys”), next to feeling sadness over the tragic and rapid decline of Lewis.

One also appreciates Clay’s integrity to truth. It’s quite a feat, to bring to life and humanize someone as mythologized as his subject, yet maintain a constant fidelity to fact. The narrative never veers off into wild speculation, nor does it favor sensationalist assertions over strongly argued conclusions. The reader is led down a rational, sober, extremely interesting path, and Clay offers compelling insight as to how events affected Lewis and helped to lead him to his end.

A supremely interesting narrative about the complex character of one of America’s greatest leaders.

About Issue 1

THE ALMAGRE REVIEW

Issue Number One 

Summer 2016

Coming Home

by Joe Barrera, publisher

Colorado Springs Downtown (1880)jpeg

We would like to inaugurate our new literary journal, The Almagre Review/La Revista Almagre, with the theme of “Coming Home.” The theme of coming home is not uncommon in literature. “Home” always provokes nostalgia, a return to roots and a sense of security which no other human experience can duplicate. In our case, “coming home” suggests itself in the name of our magazine, which we are publishing on the banks of Fountain Creek in El Paso County, Colorado, in the city of Colorado Springs, home to myself and our Editor, John Lewis. We are conscious of the history of this part of the Front Range of the Rockies, and as such would like to “come home” to this history.

The “home” or context in which we want to publish The Almagre Review is what we hope will give it a unique character. That context is embodied in the history of the Pikes Peak region. The name “Almagre” dates back to the Spanish and Mexican presence. Fountain Creek, as the stream which flows down Ute Pass through Manitou Springs and Colorado Springs is now called, was known to the New Mexicans who traveled this region long before the arrival of Anglo Americans. The Spanish military officers and their New Mexican soldiers called the placid stream, which could be a raging torrent in flood stage, by several names. The best known name was el río Almagre, or the River of the Red Ocher. Undoubtedly, these early explorers, military commanders, soldiers, priests, shepherds and buffalo hunters found deposits of red ocher along the banks of the stream, and must have noted its use by the Utes, Cheyennes and Arapahos who frequented the area. The Spanish cartographer, don Bernardo Miera y Pacheco, who accompanied don Juan Bautista de Anza on his famous expedition of 1779 to this part of Colorado, drew on his map a mountain range he called la Sierra de Almagre. Perhaps this was an attempt to lure settlers to the area, because it was a common belief at the time that deposits of red ocher indicated the presence of gold ore. To the east of these mountains he drew a tributary of el río Napestle, as the Arkansas River was called, which he labeled el río del Sacramento, or River of the Sacrament. It seems that a previous Spanish expedition had come upon the stream on the feast of Corpus Christi, and so piously named it in honor of the Eucharist. This tributary we now call Fountain Creek, after the French name, Fontaine qui Bouille. French fur-trappers and traders from St. Louis, men whom John C. Fremont called voyageurs and who were his guides on the expedition of 1842 to the country lying between the Missouri River and the Rocky Mountains, had visited the bubbling springs at the foot of Pikes Peak and given the colorful name to the creek, “the fountain that boils.” Apparently, the voyageurs believed that the springs were the source of the creek.

The original Spanish name for Fountain Creek did not long endure. Miera y Pacheco made his map soon after Anza’s victory over the Comanche chief, Cuerno Verde, in 1779. By the year 1810, however, el río del Sacramento was called el río Almagre in official New Mexican colonial documents, a name which was known to Irving Howbert, who records it in his Memories of a Lifetime in the Pikes Peak Region, published in 1925. This change happened probably because la Sierra de Almagre, or the Almagre Mountains, was the better known geographic feature to the New Mexican frontiersmen who frequently traversed the region. A memory of the Spanish name for the southern Front Range of Colorado survives in the designation of Almagre Mountain, to the south of Pikes Peak, which was conferred on this summit by the Colorado Mountain Club, who wanted a more distinctive name for it than Mount Baldy.

When we envisioned the creation of The Almagre Review, which we also call La Revista Almagre in order to provide it with a genealogy rooted in history, we wanted the first issue to remind us and our readers that everyone at some time comes home. Coming home is a natural thing. We all travel, depart from familiar places to wander in new and strange ones. In those travels we experience adventures, face challenges and overcome obstacles, learn lessons through both sorrow and joy. We hope to return home wiser and more mature than we were when we left. But wiser or not, in the end we all want to come home.

When we come home we want to tell those who have remained at home about our adventures. We want loved ones and friends and neighbors to know what risks we took, what we have lost or gained. We also want to tell them how we feel when we come home, what it is like to return, the joys or disappointments we may face upon our return. We hope that they will understand our feelings and our desires now that we are safely back home.

We all return home eventually and we all tell our stories of coming home. This is my coming home story. In 1968, I came home from the Vietnam War. First, I returned to my original home in south Texas, in the region now called the Rio Grande Valley, but which at one time was part of the province of Nuevo Santander, on the northern borders of New Spain, as Mexico was then known. The province of Nuevo Santander, or New Santander, was settled in the 1740’s by Spanish Mexican pobladores or settlers led by don José de Escandón, a Spanish nobleman from the province of Cantabria and the city of Santander, in the north of Spain. Don José was a Spaniard, as were almost all the high-ranking colonial officials, but the settlers he brought were from the older settled parts of Mexico, hence the term “Spanish Mexicans.” My family line goes back to those first settlers, people who came in the 1740’s and 1750’s with Escandón and settled along the Gulf coast on both sides of el río Grande, the Rio Grande, which is now the international boundary. This means something very significant in terms of identity. The significance is that when the United States invaded and occupied that territory in 1846-1848 my ancestors did not come to the U.S. The U.S. came to them, to us, to me. As their descendant I am heir to that legacy of imperial incorporation into the United States. I am conscious of this, but reconciled to it, even if at the same time still caught in an in-between space culturally. This history is important to me because I have always felt that in order to live a meaningful life one has to know the truth about his or her origins. You can’t go forward unless you know where you come from.

So, in 1968, I came home from Vietnam, from a war for which I had volunteered. I soon left south Texas and came north to Colorado Springs, where I was stationed at Fort Carson, named for that intrepid Anglo American, Kit Carson, who came west as a boy in the 1820’s, took up residence in Taos, married a beautiful New Mexican girl named Josefa Jaramillo and quickly became thoroughly Mexicanized. He learned Spanish and was so completely assimilated into New Mexican culture and society that he became a Mexican citizen. He never went home again, but he never forgot his origins and thus was able to serve as a mediator between Anglos and Mexicans on the frontier. Like Kit Carson, I also came west and have not returned home to south Texas. Home is here now, and when I tell my coming home story it is about coming home to Colorado Springs. This is my story of coming home and I wish very much that all who pick up this modest publication, The Almagre Review/La Revista Almagre, and read my story will feel inspired to draw upon their own deep reservoirs of reminiscence and begin to tell their own stories of coming home.

March 17, 2016. To Be Continued…