Food: Passionate About Pitahaya

It's pitahaya season. Being a northerner I hadn't been aware of this fruit, also known in English as dragon fruit, until I moved to Yucatán. When I first saw a pile of red and green, splotchy, fairly unappetizing looking pitahaya in a small Mérida restaurant I was not tempted. However when eventually I took a sip of agua de pitahaya I was hooked on this wonderful fruit.

Mmmmmm. Just the thought of taking a long drink of sweet, cooling pitahaya juice on a hot summer afternoon makes my mouth water. It's delicate, subtly sweet, and as it is often served, mixed with a few drops of lemon juice and poured over ice, it is a truly native Yucatecan refreshment.

Pitahaya is a member of the cactus family, and grows over rocks, walls, and on large shrubs and trees. There are three varieties, red, yellow and pink. Pink seems to be the variety most seen around Yucatán. The plant can extend along the ground, but continually sends shoots upward in search of support and sunlight. A stem that encounters a solid vertical object promptly sprouts clinging roots and grows upward. In my yard pitahaya grows up the stone walls, as seen above, and also has climbed and entwined itself with a large nopal cactus plant.

Propagating pitahaya is easy. A section broken off and set on the ground will send out new roots and branches. If the plant finds support and plenty of sunlight, it will begin to flower and produce fruit within a couple of years. I planted some sprigs of pitahaya about three years ago and it first flowered last year. Pitahaya usually produces from June through August. This year I have had lots of fruit and the plants are still flowering in late August, so I can expect to enjoy pitahaya through September.

A pitahaya flower is large, measuring at least as broad across as my hand open with fingers widely spread. It also is very short-lived, blooming one evening, reaching full splendor overnight, and beginning to wilt as the morning sun warms the air. White pitahaya flowers set aglow by a full moon are a fantastic midnight sight. Bats are the primary pollinators, although in the morning as the petals fade, bees also can be seen getting their fill.

Timing is extremely critical. If it rains during the critical flowering and early fruit-forming stage, the fruit will rot. As pitahaya begins to mature, it is a favorite food of insects and various birds, which make small holes order to eat the interior portions of the fruit. Once perforated, the fruit begins to spoil.

When mature, pitahaya is picked promptly and can be peeled or cut in half and the heart scooped out. I love it chilled as part of a fruit salad, but my favorite way to enjoy pitahaya is as a drink. The heart of one fruit is mashed (not blended) in a glass of water. A little sugar and lemon juice are added. Agua de pitahaya is a chunky concoction which is both sipped and chewed,

and for this reason is usually served with a straw and a long spoon. The seeds add texture and crunch in much the way poppy seeds do to breads or muffins. I also have heard that pitahaya can be cooked and used in a variety of dishes. I have yet to try this, but am looking for recipes.

Reportedly pitahaya is high in phosphorus, Vitamin C, iron and calcium, and the fats contained in the seeds aid in digestion.

Pitahaya is a tasty and healthy delicacy available in the gardens and markets of Yucatán this time of year. It is an unusual plant, one that is interesting to observe in the garden and a treat to consume during the summer growing season. I love this fruit. I would be missing a great pleasure still had I not overcome my initial reluctance to try it.

Crafts: The Dollmaker

One sunny, comfortable July afternoon about eight years ago I was helping my friend Katharine Collins shoot a video segment for a documentary about the Otomí culture in San Ildefonso Tultepéc, in Mexico's Querétaro state. That day I met the subject of our interview, an Otomí woman I know only as Doña Isidra. I have been stopping by to visit her from time to time ever since.

I suspect that Isidra could be at least 80 years old, but it is hard to tell, as is often the case with old people who live in the country, have worked hard since childhood, and remain energetic into their seventh, eighth or ninth decades of life. It is trite to say that the face of an old person, especially an indigenous one, is leathery and lined, but that's the best way to describe Isidra. Her hair remains startlingly black. Her colorful traditional Otomí clothing and stylized hair braids exactly match those of the cloth-faced straw dolls she carefully makes and sells to help support her family.

A few weeks ago on a day identical to the one on which I first met Doña Isidra, I was in her neighborhood with a couple of friends who are interested in traditional handicrafts, and decided to drop in for a visit. We were in luck; she was home. After saying hello I commented to Isidra that she had been so busy the past couple of summers that I had missed her when I stopped by. She chuckled, yes, she'd been busy, and usually goes to Mexico City in July, participating in the annual pilgrimage to La Basílica de Guadalupe there each summer. That means that this diminutive elderly woman throws a bedroll and a few other things in a bag or wraps them in her shawl (I somehow don't see her wearing a backpack) and as an act of religious devotion goes out of the door of her rural house and walks from there somewhat more than 100 kilometers, or more than 70 miles, to attend mass.

Around here, such a walk is not a big deal. During the month of July, thousands of pilgrims, or peregrinos, pass through San Ildefonso on their way to Mexico City on the same mission. Isidra simply waits until a group of women pilgrims comes along on the highway near her house, and joins in. Life in the hilly, rugged countryside where she has lived all her life, has kept Isidra in training.

We told Isidra that we were interested in buying dolls and embroidery, and she brought out a couple bags of work. The embroidered designs, which feature stylized flowers, maguey plants and birds, have been handed down by the Otomí through the generations. The embroidery is used on the women's own clothing, and on clothing, napkins, tablecloths and other handmade items that are made for sale.

As we selected embroidered napkins, servilletas, and dolls for possible purchase, I asked Isidra how much she was charging for the dolls these days. She looked off in the distance and talked for awhile about how prices for materials had gone up, and I prepared myself for a huge price jump, when she quoted a price of thirty pesos each, which is less that two and half U.S. dollars at the time of this writing. I believe that when I first purchased some dolls from Isidra eight years ago, the price was twenty pesos each. Considering the time that has passed and the fact that prices of everything have gone up, the dolls are still a fabulous deal. We bought the four dolls she had, and a few embroidered servilletas.

I asked Isidra if I could take a picture of her with the dolls I had just purchased. As she composed herself, her faint smile changed into a formal, serious line, and she

squinted a bit in the bright sun. I was impressed by how much the dolls resembled their maker. Nowadays these same types of dolls often are seen in the city with round cheeks, bright plastic eyes and happy V-shaped smiles applied to their faces, the traditional design made "cute," an apparent marketing ploy, better to appeal to tourists. But Isidra's dolls are the real thing. Just like their maker.

For more information on the documentary "More Than Dolls," by Katharine Collins, visit this web site:

http://www.wyoptv.org/programming/morethandolls/

Nature: Close Up

I haven't posted much recently because I've been traveling and had quite a bit of work. I got home early last week and was submerged in piles of details for a few days, but on Friday I got away and spent some time in the country. The "excuse" was to get some potting soil and incidentally to explore a highway I'd never been on. After more than three weeks living out of a suitcase, teaching summer school to adolescents and spending a lot of time in airports, bus terminals and cities, I needed some quiet time.

After buying an icy refresco in a small pueblo about 40 minutes south of Mérida, we pulled onto a side road that runs a long distance through fields and trees where I was assured no one would care if I filled a few bags and buckets with the rich red soil found there. Working close to the earth, digging, and sorting out rocks and roots with your hands you end up noticing things that otherwise you wouldn't. The rivulets of sweat that I couldn't wipe from my eyes because my hands were too dirty did not keep me from spying this iridescent blue-green beetle about the size of a walnut scurrying away from the shovel. It must have been under some leaves we disturbed with the pick axe. After detaining it long enough on a stick to take its picture, I let it go.

The next resident found under the leaf litter was this fat caterpillar, in its curled position looking a lot like a prehistoric Ammonite shell fossil, and just as still as one. No matter what I did to prompt it to move so I could see the motion of its many centipede-like legs, it showed no signs of life. We left it where it lay and replaced the protective blanket of leaves that we had disturbed.

Digging through leaf litter we found a lot of scorpions, alacranes in Mexican Spanish. It looked as if eggs had just hatched. There were many small scorpions such as this one, posing next to the tip of my pencil. I don't believe I have ever seen another this tiny. Small as it was, I did not touch it, assuming that although tiny, its venom still packs a punch. I did not want to test the theory.

A nearby tree was the next thing to catch my attention. The peeling bark of this tree sloughs off in large sheets, leaving fresh light-colored new bark beneath. As the newly-revealed bark ages it turns green in patterns created by the stencils of the fallen bark, then slowly assumes the rough reddish-gray color seen here. Then it, too, dries, separates, and falls in large curling pieces to leave new white under bark exposed to the air and light, beginning the process once again.

Once I started looking at the trees I saw this butterfly, at first with its wings folded and exposing only the dull gray undersides, which blended well with the tree bark. Suddenly it began to open and close its wings, flashing me with these bright neon-blue stripes. From a distance this movement contrasted against the shaded dark side of the tree really does resemble a light being switched quickly on and off. The butterfly did not seem disturbed by my presence. I was able to approach closely and take my pictures without startling it.

I often have the opportunity to observe tourists and it seems that they are normally drawn to in-the-face spectacular, big things, like pyramids and breathtaking ruins, the architecture of historic Mérida, long white beaches, red sunsets, and contrived, garish, over-the-top attractions like Las Vegas and theme parks. One of the nicest aspects of living in Yucatán is that, along with treasures like Chichen Itza, the coast, beautiful cenotes and lovely colonial towns, there is a never-ending wealth of smaller attractions awaiting discovery, not quite so obvious, but just as rewarding.

Nature: Mariposas

Not long ago I was carefully making my away along a back-country road when, as I gained distance from the main highway and got further into monte, I noticed the increasingly thick clouds of butterflies, like animated yellow, white and green snowflakes, rising in front of my car. This time of year it is normal to see a lot of butterflies, mariposas, and the farther away you are from the contamination and chemicals of towns and agricultural areas, the more you are likely to see.

Along dirt roads during the rainy season, which we are in the middle of now, butterflies tend to congregate in the heat of the day to rest in shady areas and ruts where there is mud or dampness left from the last rainstorm. Here is what I found that day.

I apologize to my friends who knew me as a professional photographer and producer, and may expect a little higher quality. I was exploring and not out to make video that day. I had one shot at it with a handheld point and shoot camera on a dying battery. It's still a marvellous sight...just another of the many little surprises you encounter when wandering around Yucatán.

Mystery: La Princesa, Part 2

Last week I posted the story of La Princesa, wife of a 19th-century owner of the Yucatán hacienda San Antonio Xpakay who was brutally murdered by her husband for infidelity with a hacienda employee. She bled to death in the main house, known in Yucatán as a casona, more than 150 years ago, but locals believe that her unhappy spirit still lingers on the hacienda. Verse by the Mayan poet Briceida Cuevas Cob, translated into English by current San Antonio Xpakay owner Jonathan Harrington, helps tell the story.

When Jonathan bought San Antonio Xpakay about ten years ago, there was a family that had been on the hacienda for twenty years still living in one of the houses, and Jonathan kept them on for awhile after he moved in. Jonathan reports that Basilio, long-time hacienda employee and father of the family, his wife and children all had stories about La Princesa.

...in these moments in which the blood of the sun

is scratched by the limbs of a tree

like the blood of my heart

is scratched by the claws of solitude. (1)

She appears as a faint female figure normally seen at a distance, wandering around the grounds in the evening. She is beautiful.

The children reported seeing a lone female moving along the albarradas, or stone fences, at the far ends of the garden. And they were pretty sure it wasn't just some neighbor. San Antonio Xpakay is located in the midst of wild monte, which is forest or what we in Alaska might call The Bush, kilometers away from the nearest pueblo or other house. It is reached by traveling over horse trails or rough ranch roads and has no close neighbors. The area is remote, can be dangerous, and is an easy environment in which to get lost. Occasionally in the Mérida newspaper there appears a story about a skeleton or just a few scattered human bones found in the monte, which if they are ever identified, usually turn out to be the remains of someone who had been reported missing. Authorities and family members often can only speculate how and why the deceased died alone in el monte. The wild country around San Antonio Xpakay is not the kind of place where someone, especially a woman alone, would be out wandering in the moonlight.

Basilio's family did not go out at night.

Night falls, and the crickets begin to sing again,

once again the night sinks into my sadness. (2)

Late one night not long after moving in, Jonathan was asleep in his bedroom in the casona when he was awakened by the clap-clap of sandaled footsteps on the tile floors. He went back to sleep and thought little of it until the next day, when he casually asked Basilio why he had come into the house in the middle of the night. Basilio swore that he had stayed in with his family after dark, and had not been in the main house the night before. Basilio was not surprised because the explanation was easy: it was just La Princesa.

After posting the first part of this story last week, I decided to go back out to

the hacienda to talk once again with Jonathan about La Princesa and to take more pictures. Although the murder room (right) has undoubtedly changed a lot since La Princesa died here more than 150 years ago, it still exists just off of a main living area used as a guest bedroom, where I usually sleep when I visit. The large room measures five by ten meters, with six meter ceilings (16 by 33 feet with 20-foot ceilings). It is sparsely furnished with several small tables, shelves, and a bed with mosquito net, and is accessed by three doors and two windows.

When I arrived at San Antonio Xpakay, Jonathan was not there, so I located a hidden key and let myself into the house. It was afternoon, so I put sheets on my bed, readied some food I had brought along, and after a short walk decided to take a siesta while I waited for him to get home. Laying on the bed, I looked straight up at the high ceiling, with the mosquito net, designed to cover the whole bed and lowered on a rope by means of a pulley attached to a ceiling beam, directly over my head. The drape of the suspended mesh reminded me of the hems of an old-fashioned woman's dress. I began thinking about my first night in this room, several years ago.

On my first overnight visit, after a long day on the hacienda and in the nearest pueblo, we stayed up late in the dark, sitting on the front terrace and talking. Jonathan had told me stories about the hacienda, mentioned that there had been a murder in the house and that people believed that the ghost, called La Princesa, still haunted the area.

Finally I went to bed in the big room, and Jonathan went to his adjoining bedroom. Nights in the country can be noisy, and when you are not accustomed to the variety of sounds, it takes awhile to get comfortable and to sleep. I am not accustomed to sleeping in such a large room, and it is not cozy, with its numerous open windows and doors.

It took me a long time to get to sleep. Besides all of the noises, including frogs, crickets, owls and other night creatures, the house has its own set of sounds: creaks and bangs of the old metal kitchen roof, scurryings of unidentified creatures, the sounds of the metal windmill and its tower, and many small knocks and rustlings.

Although there were not many insects about, I had lowered the mosquito net over the bed. In the candlelight it glowed a soft yellow. Another candle flickered twenty feet away inside the bathroom, where La Princesa died so long ago. It took me awhile to get there, but I slept.

In the middle of dreamless sleep I suddenly awakened with the feeling that someone had closed a cloth bag or pillowcase over my head. Although I lay in the middle of the double bed and the mosquito netting formed an ample tent overhead, the netting from the right side of the bed was now pushed inward toward me, covering my face and head. Startled, I lay still for a few minutes, listening and moving only my eyes back and forth in an attempt to figure out what had happened. Sensing nothing, I calmed down and rearranged the netting. Although I observed no air movement, I attributed the event to a maverick wind blowing through the open windows, and after tossing and turning for a good long time, eventually went back to sleep.

Now you suffer.

You remain in the sounds of the deaf night. (3)

Later, I was having one of those dreams in which I am scared, being chased or hiding from something that I never can quite recall after I awake. Suddenly it GOT me. I was enveloped and suffocating, and I awoke with a gulping for air, to find the gauze of the netting again in my face and over my mouth. This time I did not stay still, but bolted up and groggily pushed the net quickly away with a flailing of my arms. I sat still and looked around the room. Not a breath of wind wafted through the windows, but again the tent was deformed, the netting to my right pushed inward toward me. I could see that the candle in the room where La Princesa died was no longer burning. Nothing else was disturbed. I wanted to say something out loud, but I didn't know what to say, or to whom.

Where is your voice?

Where have you lost it? (4)

I never figured out what happened and it does not matter. There did not seem to be wind, and my arms were not tangled in the netting when I twice woke with a start, so I did not think that I had somehow pulled the material over onto myself. It was an interesting experience and it makes a good story, no matter what the cause. Although I like to think that I had an encounter with La Princesa, it will remain another of the occasional mysteries I come across around here that keep life interesting.

Notes:

(1) from the poem, In These Moments, by Briceida Cuevas Cob, translation (in draft) by Jonathan Harrington.

(2) from the poem, Like the Morning Star, by Briceida Cuevas Cob, translation (in draft) by Jonathan Harrington.

(3) from the poem, Hypocritical Moon, by Briceida Cuevas Cob, translation (in draft) by Jonathan Harrington.

(4) from the poem, Your Voice, by Briceida Cuevas Cob, translation (in draft) by Jonathan Harrington.

Mystery: La Princesa, Part 1

On a recent Friday night I slept in the midst of el monte, or forest, and it was the noisiest night I have spent in a long, long time. I had driven out that morning to Hacienda San Antonio Xpakay, owned by my friend Jonathan Harrington, the poet, translator and writer, to spend a couple of relaxing days enjoying the remoteness, to read, and to have a rambling conversation with him about one of our favorite topics: translating poetry.

It rained Friday afternoon, and roused by the moisture, as soon as the sun went down the frogs, ranas in Spanish, began to call. When the frogs on Xpakay start up, you can't help but notice. There are hundreds, possibly thousands of them, and their groaning, ribbeting chorus is a wall of sound that they begin constructing at dark and maintain into the morning hours of the next day. In addition there was an occasional breeze, which meant that the old windmill next to the house would begin to turn from time to time, adding its rusty screech to the din. A broken rhythm was added to the mix by the fruits of the ramón trees whose branches overhang the back of the house. With an irregular-regular beat these fell tapping like hail on the metal roof of the kitchen, and then rolled slowly down its canted surface to drop on the ground. To this, Jonathan's calf and sometimes owls or other animals of the night added their voices. Romanticizing the atmosphere, there is no electricity at Xpakay; flickering candles provide the only illumination.

After getting used to this music it is possible to sleep, but the erratic nature of the cacophony makes for a wakeful night. A weird thing that happens is that suddenly, coordinated by a signal that we humans cannot perceive, the frogs all stop at once, both the ones close by and all those barely audible in the far distance. This abrupt silence wakes me with a start more certainly than any sudden noise. When I awoke at these silences and found myself unable to go right back to sleep, I began wondering what kind of signal it could be that would prompt all of the frogs over a wide area to stop together so suddenly. Whatever it might be, it is something I am unable to detect. I then, watching long shadows thrown by a single candle flame play on the high beamed ceiling, began thinking about another mystery on the hacienda, that of The Princess, known here as La Princesa.

I was reminded of the stories of La Princesa earlier that day because Jonathan and I were reading over his translations of work by the Mayan poet from Campeche Briceida Cuevas Cob. She writes in the Mayan language and has translated some of her poems into Spanish. Jonathan is working for a publisher in the United States on English versions of some of these poems. The themes of Cuevas Cob's writing, often revolving around love, longing and loss, frequently remind me of the story of La Princesa.

Some time in the early to mid 1800's, La Princesa was the wife of the hacendado, the owner of Hacienda San Antonio Xpakay. Hacendados didn't usually live full time on their haciendas, preferring to overlook their business interests from the comfort of Mérida or another larger town, and to leave the dirty day-to-day running of things to managers, called encargados. However for a period this hacendado was on the hacienda, accompanied by his wife. Apparently La Princesa became interested in the encargado. An attraction that began perhaps with small smiles or a glance held a little longer than appropriate eventually became something more.

Because your heart, you handsome boy,

is a red firefly that winks in the darkness of my existence. (1)

We do not know how it began or how long it lasted. We don't know whether it was love or just a strong physical attraction. But one can imagine a protected, younger wife (why else is she called La Princesa?) who is tired of being stuck in the middle of nowhere, bored with her pampered existence and distant, busy husband. She feels irresistibly drawn to the muscular, energetic hacienda foreman in his wide-brimmed white hat. Perhaps she observes him through a barred and partially-shuttered window as he supervises work around the main house. Possibly he notices her watching, and occasionally glances toward the house to see if she is still at her window. There is more eye contact. This goes on innocently for awhile, but at some point they find themselves alone together, and the situation escalates.

What do I care?

I love you down to my bones!

What the devil do I care if our love goes to hell,

if I go by your side. (2)

The story goes that the hacendado walked one day into the bathroom and discovered not just that his wife was being unfaithful. There he saw that she was willing to perform the most intimate of acts with his employee -- things that a proper woman, a lady of this era should not even have known about, much less done -- things that, if the hacendado had ever experienced them, he probably paid a prostitute to do.

This very day

the knees of my soul are sore,

because they have knelt down to cast off your sins,

because they have gone down to receive the lash of your voice, Sir:

...this day you have dismantled my soul (3)

In his rage the hacendado stabbed his wife to death on the spot. Whether the encargado fought or ran, the story does not mention, but considering the customs of the times, to fight El Patrón probably would have meant a death sentence whatever the short-term outcome. The encargado most likely fled and was never able to return to the area. After the murder, possibly the hacendado did not return either. What we do know, if the stories told by local people can be believed, is that the restless spirit of La Princesa, brutally killed by her husband and abandoned by her lover, never left the hacienda.

Come back.

You must realize that if you are not with me,

the night does not fall. (4)

It is believed around the hacienda that La Princesa still lingers at San Antonio Xpakay. I have mentioned La Princesa to others but have rarely told the whole story, in part because I don't want people to think that I have cracked or started having hallucinations from drinking rot-gut mezcal. I'll tell the rest of this story, including my experience with her, in my next post.

Notes:

(1) from the poem, In the Darkness, by Briceida Cuevas Cob, translation (in draft) by Jonathan Harrington.

(2) from the poem, By Your Side I Go, by Briceida Cuevas Cob, translation (in draft) by Jonathan Harrington.

(3) from the poem, This Very Day, by Briceida Cuevas Cob, translation (in draft) by Jonathan Harrington.

(4) from the poem, Come Back, by Briceida Cuevas Cob, translation (in draft) by Jonathan Harrington.