Showing posts with label Ajijic Mexico. Show all posts
Showing posts with label Ajijic Mexico. Show all posts

Sunday, February 24, 2019

New Book: Seeker: a Sea Odyssey by Rita Pomade



Available at MiroLand here
Rita Pomade ... It was a name attached to an excellent article on amate, a Mexican folk art. I wanted to use the article so I sent a request for permission to the email listed. Thus began a connection which grows more interesting. 

We discovered common friends made when she lived here in Ajijic. She has written a book about her life on a sail boat (an unrequited dream of mine ... next life). And, she experienced the aftermath of 1968, a year I've become fixated on. Throw in the circumstance that I live next door to the summer house of President Diaz Ordaz, the anti-hero of those turbulent late 60s, and it seems like an unlikely flow of coincidences.

Anyway, Rita has offered to share the first chapter of her book, Seeker: A Sea Odyssey, and I'm delighted to be able to make that happen. I asked her to give us an introduction and she offered us a short view of her life and the trauma that changed it. Her story has me riveted and anxious for the book to come out. 

Amazon will release it on May 1 but it is available now at the link under the picture.

From Rita:


Rita at sea
The year I was diagnosed with cancer my marriage ended. I lost my health and partner at the same time, and felt paralyzed with fear. Knowing that I could die triggered a shift in how I viewed life. I realized that to put my life on hold was a loss of the journey I was here to experience.  I saw life as a gift, and that to not use it fully was to not honor the awesomeness of being here. Having broken and mended many times, I came to see each break as letting in more light. One day, I found a short saying in the upper right corner of the front page of my local newspaper. It read “Success is fear but doing it anyway.” I clipped the quote and pinned it above my desk.
            While still undergoing chemotherapy, I pressed the button for the elevator from the 19th floor of my apartment building. The door opened and shut, but not before I saw my tiny neighbor from the floor above being brought down on a gurney in a body bag. I felt that should I die, I didn’t feel like being taken down nineteen floors on a gurney in a body bag. I thought about how I craved earth beneath my feet, and how much I wanted to tear up the sidewalk every time I went out. I remembered how I had once felt earth’s magnetic energy flood my body. I felt the pull of Mexico. 
I lived in Mexico City in the sixties.  I had gone on vacation and stayed seven years, forfeiting my New York apartment to two young men who had sublet it. Though I had to leave Mexico, a part of me never let the country go. Now I wanted to go back. This time, I chose Ajijic with its gentle climate and flowering jacaranda trees. I built a house at the foot of its mountain overlooking Lake Chapala. I loved my home flooded with light, my garden with the light passing through the flowers, the orange tree I planted and from which I plucked fruit every morning. I planted a banana tree, that I discovered wasn’t a tree, and never stopped growing and reproducing to the delight of my neighbors who benefited from its bounty. The soil was rich, the mountain was alive with medicinal plants that my neighbor brought me for their healing properties, and the mountain range across the lake changed colours with the changing light, leaving me transfixed as I watched the changing hues. I wrote for Mexconnect, had a “Dear Rita” column in the Chapala Review, and learned to do lino-cuts from my friend Pat Apt. I didn’t die, but lived fully my years in Ajijic.
And then one day I had to return to Montreal. And it’s here in Montreal that I wrote Seeker: A Sea Odyssey. But the story began in Mexico. In this excerpt from Seeker, I write about the day I made the decision to leave Mexico to begin my journey. I feel privileged to be able to share it with the friends I had made in Ajijic during the years I lived there and with those that have come after me.
Bernard Rita and Lola
CHAPTER 1 – SUCH STUFF AS DREAMS ARE MADE OF…

I have no reason to go, except that I have never been, and knowledge is better than ignorance. What better reason could there be for travelling. – Freya Stark

OCTOBER 1969: MEXICO CITY

A great sense of adventure and curiosity about other cultures brought Bernard and me to Mexico in the mid-sixties from different parts of the world. He was a French geologist hired to find water for the Mexican government. I was a ceramicist in a potter’s studio, a freelance reporter for a magazine called Mexico/This Month, and part-time English as a Foreign Language teacher. On weekends, I read palms - a skill I had learned through reading books. Having walked away from an abusive marriage, I was trying to support my two young sons in a foreign country. Both of us were dreamers and open to new experiences. It was inevitable that our meeting would spark unexpected possibilities.

We met at the home of Leonora Carrington, a well-known surrealist painter who was as famous for helping to smuggle her then lover, Max Ernst, out of Nazi Germany as she was for her artwork. Leonora had a weakness for handsome young men, and Bernard filled the criteria with his rugged features, alert green eyes, and irreverently coifed head of thick, dark auburn hair. He was tall and lithe – the perfect escort for the parties Leonora used to attend at Diego Rivera’s home. They weren’t lovers, but it pleased her that others thought they were, since he was a good thirty years younger. Bernard, a young underpaid Cooperant (the French equivalent of a Peace Corp worker), took full advantage of the arty parties, replete with free food and flowing booze. I viewed him as a lightweight rake, and made a point of ignoring his overtures of friendship during Leonora’s ‘by invitation only’ Sunday salons.

But all that changed one afternoon when we bumped into each other at the La Merced Market in downtown Mexico City on a miserably hot day. 

“Feel like a beer?” he asked, after the obligatory cliché of “fancy meeting you here.”

“Why not?” I answered.

Over a generous plate of sopes, thick rounds of corn masa slathered with beans, cream, and salsa, and cold bottles of San Miguel beer, we talked about Mexico. We discovered that we shared a love for this vibrant country with its diverse indigenous cultures still intact, its extraordinary shifts of landscape, and its warm and gracious people. But suddenly I started to speak about how the heart had been ripped out of it the year before.

I came to Mexico in 1966. It was a time of tremendous creative output in all the arts. Many Latin American writers and painters, in exile from their own countries or by choice, had settled in Mexico. It brought other intellectuals from all over the world who were caught by the creative energy that defined the country. I planned on being there for a summer vacation, but I sublet my apartment in New York, and decided never to return. Bernard came at the end of 1968.  He arrived in Mexico City a month after the horrific massacre of hundreds of students in the Plaza of the Three Cultures just weeks before the Mexican Olympics. 

It was now 1969 but the repressive measures of the Diaz Ordaz government had not abated. Many of the foreign intelligentsia were accused of instigating the students and were deported. The unlucky ones were jailed and tortured. Others left the country of their own accord. I witnessed students taken from their homes without just cause never to be heard from again, while the secret police roamed the streets with walkie-talkies to report any sightings of “suspicious” young people. Several teenagers hid in my home until they were able to procure forged passports to leave the country. Fear replaced open dialogue and the dynamic euphoria that had marked the city evaporated overnight.  

Paralyzed by depression brought on by the horror of what had happened in a country I loved, I couldn’t leave. I didn’t realise how traumatized I was until I related the story to Bernard. I was looking for something I could hold on to that made me feel alive again. I remembered my childhood when my life was alive with the belief that I could make whatever I wanted come true. We spoke about our childhood dreams.

 Bernard related a half-buried dream of his. It began with his boyhood on the Loire in France, where he had built his own raft to sail the famous river. His makeshift sail was not rigged to be turned, and he found himself going downriver with no control until he crashed into the river bank. “I told myself I’d have a real sailboat one day,” he said.

I had no technical aptitude, but an early desire to explore. I was raised in upstate New York, and my family spent summers in a small cottage colony beside the Hudson River. Left to myself, during the summer months, I wandered freely with no restraints. I found hidden streams where I collected frogs that I housed in abandoned ice boxes. I watched fishermen bring up buckets of fish, and I stared with fascination when one of the fish, dumped from a bucket, looked strangely prehistoric with fins and tiny front legs. I tasted oily eel grilled over an open pit that the fishermen offered me when I sat with them at lunchtime. I followed a handyman around – a tall, angular man who made me think of the tin man in the Wizard of Oz, but he was the colour of coal. He told me he was from far away. It all hinted at more than I knew, and I always wanted to know more.

I started digging my way to China with a toy shovel at the age of six, when I learned it lay at the other side of the world. I had to abandon the project two feet down and two summers later, when my port of departure was flooded by an underground spring. The memory lay dormant until our conversation. Now, it resurfaced with a new-born energy that manifested itself in the form of a yacht and a desire to sail. What better way to see the world than from our own boat without the narrow perspective of travelling as a tourist. No hotels. No limited stays. No heavy backpacks…

We fell in love with the idea and with each other. Bernard moved in with me, and we talked about it endlessly. We shared our vision with my sons Jonah and Stefan, who were then four and six years old, and eager for adventure. I had a young housekeeper, Laura, and she had a boyfriend named Benjamin. Laura had become a close friend, so we included her and Benjamin in our plans.

“We’ll find an island for you and Benjamin,” I promised her. “Benjamin can build us a house, and you’ll tend the garden.” It was Laura’s dream to have her own garden, and I envisioned us eating homegrown produce around a large, rough-hewn table that Benjamin would build. They’d settle there permanently. For us, it would be a refuge after long journeys.

The two of them were as excited as we were to start this new life. Laura, who had been raised on a farm, didn’t feel at home in the city. Work brought her north from a small village in Oaxaca, but every vacation she went back and took my boys with her. “They need the fresh air,” she said. “And some good armadillo tamales that only mi abuela can prepare.” Benjamin was a construction worker, but work was hard to find. When he did find employment, there was never any security or protection when he got laid off. I wanted to share what I thought was a better life with them – perhaps as a way of coping with all the injustices I had seen.

We remained in Mexico three more years trying to save the money for our adventure, while the government continued its propaganda against foreigners. When someone wrote “Gringo go home” in the dust of Bernard’s car, we knew it was time to leave. We also knew by then that the pesos we were earning weren’t sufficient to support our goal towards building the boat.
Bernard and I opened an atlas on the kitchen table and looked for a suitable country where we could prepare to start our project. With Bernard’s background as a geologist and my years of teaching, we had the good fortune of being able to pick our country. It was the early seventies. Life was full of opportunity. Borders were easier to cross, and work was abundant everywhere. The pencil came down on Canada – sane, democratic, stable, a high standard of living. Bernard had spent time there in 1966 and 1968 mapping the unexplored North for the Quebec government and was excited to return. He liked the fact that he could speak French in the province. I was happy that I could speak English. We’d work hard and earn good money. We promised Laura and Benjamin we’d return for them when we were ready.

Friday, December 14, 2018

Robina Nicol: homo artistican and maestra

"Love blooms in the garden" by Robina Nicol
by Joyce Wycoff

There are two types of artists: the ones born with paint brushes in hand and a waiting line of astonished adults ready to heap praises on their work … and the rest of us.

I’m not complaining. It’s just a fact that no one was any more surprised than I when I became a writer and an artist. There is a growing legion of us grateful late-bloomers. However, I’ve noticed that I still look at those life-long artists almost as if they are a different species … homo artisticans … born artists … “real” artists.

Painting by Robina Nicol
I met one of “them” at an art show here in Ajijic. We were both in the same show, both members of the same art society … but she was … well, different. Her abstract paintings were stunning, everything about her was color and style, and when we talked, she sounded like an artist with her international accent and her fluid conversation about her work. One thing she said shifted my opinion of her from “perfect, privileged artist” to “interesting person I’d like to know.”

Robina Nicol moved to Ajijic about six years ago from Canada, where she lived after emigrating from England as a child. For the past five years she has volunteered as an art teacher with the LCS Children’s Art Program and with the summer Art Camp. The painting that connected us is shown above and when I asked her about it, she talked about how much the children in the art program had affected her, inspiring her to paint with a looser style and bring more joy into her art.  She describes what she gains from her work with the children, “They have that joie de vivre spirit. They aren’t afraid to grow and try things."

Robina on couch painted by her.
Her humble, open approach to life and art drew me in, and a few weeks ago, she offered a class on “the rules of abstract art and how to break them." It was a painting class and I had spent years trying to paint before I fell in love with digital art. I had no intention of taking up painting again but I wanted to learn from Robina and she invited me to join the group. While I can’t claim she transformed me into a painter, I learned a lot with her and practiced what we call “art yoga” where I stretched my thinking which resulted in new work. 

However, what I truly loved was being in her incredibly beautiful space. Robina says her purpose in life is to make everything a little more beautiful than it was. Her home reflects that drive with its lime walls, turquoise walls, hand-painted furniture, large, colorful canvases, and a bathroom where the multi-colored wall was so luscious it made me want to lick it. (I didn’t.)
Hand-painted bed.
Cabinets Robina designed and painted (made by a carpenter).
Surrounded by the comfort and beauty of her home, Robina told me about her life. Growing up as a Brit in French Canada, she never felt like she fit in. While, her story confirmed that she was a “born artist,” perhaps it wasn’t a paint brush she was born with, but rather a handful of silk and a needle and thread. She began life as a designer, constantly drawing fashions, making clothes for her dolls, aprons for her dad’s work, her own clothes. At 10, she had saved up enough money for her first sewing machine and by age 12, when she was ready for a bra, she knew she could make it herself.

I hadn’t heard this story when I saw her in a coffee shop one day wearing a stunning lime green-outfit. When I commented on it, she said, “I made it.” I was gobsmacked. I have a history with sewing machines and making clothes … a frustrating, unfortunate history. When I expressed my shock, she said, “Oh, I was a designer.” To me, drawing a picture of a piece of clothing was a comprehensible action. Turning that drawing into a hand-embroidered, designer outfit was the work of the gods. It was that encounter that made me determined to know more about this multi-talented woman. (She is also a writer and has published a children's book about death.)

One of the fun things about being in Ajijic is hearing the life stories of people who live here. A thread that seems to run through a lot of those stories, such as Robina’s, is independence and curiosity. She dropped out of school at 15 1/2 and went to work. (At age 59, she went back to school to study journalism at Concordia University.) 

She spent most of her career working for McCalls' (the pattern company), traveling across Canada. After the McCalls job ended, she began a lingerie company, Lotus Wear, with a line called “Naughty Nothings.” She married twice and has a son who lives in the US.

"Flight to Freedom" by Robina Nicol
When I asked her how she got into painting, the story surprised me, although, by then, it shouldn’t have. In 1970, when the Apollo 13 mission developed problems that threatened the mission and the astronauts aboard, the world tuned in to watch. The images that flooded televisions everywhere sparked a need in Robina, a need to capture the feelings prompted by the images she was seeing. She rushed out to buy paints and brushes and has been painting since then. One of the frequent themes in her paintings is the Phoenix, an image of rebirth, that she says represents her own life of rising again and again after challenges and losses.

Robina says that one of the things she likes most about herself is “curiosity.” Curious about everything, she has studied palmistry and astrology and is currently studying 2500 year-old Babylonian astrology. She believes moving to Mexico gives people the freedom and time to become themselves, exploring things they may never have had time for before. Naturally, she says it in her own way ...

“Weave your own tapestry … and wear it!"  

The take-away from this lovely conversation with Robina was that it doesn't matter whether we are "born" an artist or a late bloomer, what matters is that we keep on learning and expressing and sharing who we are with the world. Thank you, Robina!

Saturday, November 3, 2018

Ajijic's "Wall of Skulls" deserves to be a designated landmark


Muro de Los Muertos by Efren Gonzalez
Last night, I met a couple who were taking photos of a specific area of the Wall of Skulls. They told me the skulls were in honor of his mom and dad. There were hundreds of people gathered for the annual lighting of the candles. Young men were hanging off the roof to light the top ones; a young boy was clinging to a ladder lighting some of the middle ones.

I often pass this work several times a week and, generally, there are people there, reading the names, taking photos, slowing down from their comings and goings to absorb the work and its meaning to them. The immensity of it captures the imagination as it continues down the wall of the Marcos Castellanos School and then wraps around the corner and continues onto a huge mural, also by the artist.

Efren, getting ready for the lighting, stops to chat and for a photo
By my estimation, there are close to a thousand skulls on the wall created by popular, local artist Efren Gonzalez and titled Muro de Los Muertos intended as a way to honor ordinary folks. Each skull on the bas-relief plaques are inscribed with the name of the real person to whom it is dedicated. This uniquely modern (2016) artistic creation, located on the wall of a school and across from the central San Andres Church, honors the ancient traditions of Mexico, the living as well as the dead. It deserves to be designated an official landmark.

Stunning both during the day and at night, it touches a deep well of emotion about life and death. The picture below and a lovely blog post by Barb Harmon, offers one tribute to the power of the wall. It stopped her as she approached the second anniversary of the death of her son and she asked a man on the street to tell her more about it. He told her, "By having this on a school you are teaching kids from a young age that this (death) is a beautiful thing, something to cherish and not fear." She cried what she called "ugly tears."

One of the aspects of the wall that receives less attention than the skulls themselves, is the bas-relief sculpture honoring the history and symbology of Mexico. Like all good murals, you could study this part of the wall for a long time.

Mexico 1810 1910 2010 Libre
Detail of the sculpture
The words begin ... En la noche de 15 Sept. de 1810 Don Miguel Hidalgo ...

And, if that were not enough, Gonzalez embedded a poem, titled "Death." Local poet, Susa Silvermarie offers us an artist-approved translation:

All that lives will die.
All the good, the bad, will be finished.
All that is strong and all that is weak will have an end.
Everything that breathes in, has to breathe out, to expire.
Everyone who is famous will be forgotten.
Everyone who believes himself indispensable, will perish.
Every creator, the ones who sing, the ones who dance—
those that admire, those that underestimate and criticize—
will stop existing.
And if someone is lucky, they will put his name on the wall 
and thus he will be remembered a little longer.
And they will be sung and danced, or underestimated and criticized, and then,
finally, along with the wall,
they will cease to exist.

Eat, child. Sing, Dance, Love. 
You won’t live forever.
Make art for which you will be remembered.
Do it now, you don’t have much time.
Say what you have to say, even if
you have to shout to be heard.
Fight to defend yourself!
Ask forgiveness, or forgive,
whatever you need to do
to keep going forward
Live.     Live! 
-- Efren Gonzalez

Gonzalez has definitely made art for which he will be remembered. This wall, this unique piece of art, is definitely part of the cultural patrimony of Ajijic.  He has been added to the "Heroes" page... see tab above.

What would it take to have it declared a Cultural Landmark of Mexico?

Thursday, October 25, 2018

Day of the Dead #8: Ajijic Wall of the Dead for the Living

Muro de Los Muertos by Efren Gonzalez (detail)
In Ajijic, on the wall of a school that faces the San Andres church, there is a giant mural of skulls, what my friend and fellow blogger, Susa Silvermarie calls "a wall of the dead for the living." (Click here to read her post about the wall and the poem she wrote about it.)

Popular, local artist Efren Gonzalez created Muro de Los Muertos as a way to honor ordinary folks. Each skull on the bas-relief plaques are inscribed with the name of the real person to whom it is dedicated. And, during Day of the Dead people gather to light candles on the wall.

This mural is one of the many signs that reflect a different cultural view of death than the one I am used to. Death is a highly visible part of life here, perhaps a constant reminder to live, and that everyone and everything will die. While death is taken seriously here, there also seems to be a thread of humor that runs through the relationship of life and death.

Accompanying the long wall of skulls is a poem written by the author in two pieces. Susa, being bi-lingual, translated the poem to the approval of the artist and is sharing it with us here.

Here's the translation in two pieces along with an image of the original:

Morir

All that lives will die.
All the good, the bad, will be finished.
All that is strong and all that is weak will have an end.
Everything that breathes in, has to breathe out, to expire.
Everyone who is famous will be forgotten.
Everyone who believes himself indispensable, will perish.
Every creator, the ones who sing, the ones who dance—
those that admire, those that underestimate and criticize—
will stop existing.
And if someone is lucky, they will put his name on the wall 
and thus he will be remembered a little longer.
And they will be sung and danced, or underestimated and criticized, and then,
finally, along with the wall,
they will cease to exist.

Eat, child. Sing, Dance, Love. 
You won’t live forever.
Make art for which you will be remembered.
Do it now, you don’t have much time.
Say what you have to say, even if
you have to shout to be heard.
Fight to defend yourself!
Ask forgiveness, or forgive,
whatever you need to do
to keep going forward
Live.     Live! 
-- Efren Gonzalez

Friday, October 12, 2018

Day of the Dead: The ONE best place to celebrate


The popular holiday Día de Los Muertos is getting ever more popular, and over-crowded, as people head for the places most highlighted by tourist publications. It reminds me of the museum photos where crowds are standing 10-15 deep in front of the relatively small Mona Lisa with no time to think much about the picture, the artist, the times, or how it affects them. 

If you want to celebrate this day, here are some recommendations in the order of Great, Better, Best.

GREAT: If you want a Times-Square-on-New-Years-Eve experience, there are several amazing choices that most travel sites recommend: Oaxaca, Janitzio Island and Patzcuaro, Mixquic, Mérida, Aguascalientes, Riviera Maya, Chiapa de Corzo, Campeche, Cuernavaca, and San Miguel de Allende. 
Janitzio Island and Patzcuaro
BETTER: if massive crowds aren’t your thing, and if the meaning of this holiday is important to you, and you want to be embraced by families and neighbors honoring their departed loved ones, it’s good to remember that Día de Los Muertos is celebrated everywhere in Mexico. Pick a place that interests you and discover its uniquely charming way of celebrating the holiday.
Ajijic family altar
Found on one of the street altars here in Ajijic
BEST: However, the one best place would be to celebrate in your own neighborhood, town and home. Delve into your own ancestry, create your own altar, design your own family tradition, make this very special day your own. 

Last year, when I moved to Ajijic, Mexico, I decided to stay home and experience the holiday through this small village. I explored the tradition and meanings of the holiday electronically and wrote a series of blog posts about it. I wound up creating my own altar and thinking deeply about my ancestors and how they enriched my life. 
My in-progress altar from 2017
As you think about this celebration, I have 3 recommendations:
  1. Rewatch the movie, “Coco.” Even watching the brilliant trailer will get you in the mood to contemplate this important part of life.
  2. Read the series of blogs that I will repost to help you better understand the details of this tradition.
  3. Make the holiday your own.
Enjoy!

More Information: 
All of the Day of the Dead posts from last year are available on the Day of the Dead tab at the top of the page.

Tuesday, October 9, 2018

Following in the Footsteps of Neill James


Sign on the Neill James tree at Lake Chapala Society

Was she rich? 

Was she a spy? 

Was she friends with the glitterati of the world?

Just who was Neill James?


Those are just a few of the questions surrounding Neill James, a woman of some mystery whose spirit hovers over the small, Lake Chapala village of Ajijic, Mexico. She left her home and gardens to the Lake Chapala Society which is the first stop most foreigners make when they come to Ajijic, as well as a continuing source of support to them as they move here. 

That’s where I first heard about her and when I went looking for more information, I found a book … Kokio: A Novel Based on the Life of Neill James … which left me more puzzled than enlightened. The book claims to be fiction but uses real names, dates, and events. The author’s main question, and reason for calling it fiction apparently, was about whether or not she was a spy (probably was). The book left me with many questions. One of the main ones is why this adventurer/travel writer settled here in this small village.


LCS Garden, begun by Neill
When she came here in the mid-1940s to recuperate after two life-threatening encounters with volcanoes, it was a backwater place … pretty, but here’s how she described it ...
"We have no means of refrigeration, and indifferent, jittery electric light for three hours at night only. Nobody can call me by telephone, because our village has none. The one telephone in the post office closes at 7 o’clock at night, and it is impossible to call a doctor or send a telegram after that hour."
Almost nothing an American world traveler needed could be found here … plus, there were bandits in the mountains! Why did she stay?

As her body mended from a multitude of broken bones, she wrote a book about her travels in Mexico: Dust on My Heart. At the end of the book she says:
My projected six months’ Mexican jaunt, by force of circumstances, stretched into nearly four years. Now that my fractures are practically healed, I can walk well once again, and my book is finished, there is no real excuse for remaining in this private little paradise. I must be on the move.
By that time, Neill James was almost 50 and had been a world traveler all her life. She called herself a gadabout, an explorer, and a “Petticoat Vagabond” in her travel books. She was always conjuring up new trips. 

What changed her mind? What made her stay in this small village where she would wind up making such a lasting impact?

 Teomichicihualli by Jesús Lopez Vega
Inquiring minds want to know

Bette Brazel and I have launched a project to discover Mexico through the eyes of this adventurous writer/traveler, and hope to answer a few of the questions about this woman who started libraries, a children’s art program, a women’s embroidery business, and seems to still touch everyone who comes here with her generosity.

This wall mural "Goddess of the Lake"
was done by one of the highly respected
artists here in Ajijic ... Jesús Lopez Vega,
an artist mentored by Neill James. 

Neill was a magnet for foreigners and helped turn this area into a tri-cultural experiment (Mexican-Canadian-American). Some people are a bit doubtful about whether or not it's working. However, local people often remind us to look at what she created and the generosity she brought to this village. 

We asked one local artist about his memories and what he thought about the increasing numbers of foreigners coming to his village. He talked about the new jobs and prosperity that came with the immigrants, stating, “If it weren’t for them, we would probably still be eating roots and chayotes.” 

Mural at the lake - by Efren Gonzalez and students
Of course, progress comes with things like stop lights, traffic, increasing rents, and Walmart, so many residents have mixed feelings about where things are going, and many have no idea who Neill James was or what she brought to this community.

Popular Mexican artist, Efrén González, was another young artist mentored by Neill James

We expect this project to go on for some time, however, we’ve already concluded that Neill James was not a saint and that she often added dramatic touches to her stories. Still, she is called the “godmother of Ajijic,” and was awarded the “Woman of the Century” designation in the February 19th, 2012 edition of the USA Today’s weekend feature La Voz de Mexico.