The poems in I Sleep Between the Moons of New Mexico are as condensed and glittering as the facets of a diamond. Words are used with a beautiful, powerful economy that expresses healing, anti-war, nature, the human experience, and other large themes. This is imagistic poetry that combines the complex metaphorical emotion and meaning of Emily Dickenson with the intense visual language of an H.D. or Amy Lowell. Davis's skill as a pastel artist has been metamorphised into words that explore an interior New Mexico landscape as spare, extravagant, and unique as a Steller's Jay flashing blue wings against the backdrop of soaring red cliffs.
The Zuni Mountains have over 360,000 acres of pristine wilderness. The volcanic area of the El Malpais National Monument is riddled with great, black lava flows, caves, and lava tubes. The El Morro National Monument has writings from ancient peoples flowing backward into time, early Spanish explorers, and later American explorers near a precious pool of deep water hidden beneath towering cliffs. Throughout Plateaus, mesas. cliffs, canyons, and small mountain peaks is the pygmy forest of pion and juniper trees interspersed with pines and towering Ponderosa pines with their red bark and straight trunks. The continental divide rises and falls as it winds its way north to the great Rocky Mountains. A polygot of peoples, Zuni, Pueblo, Navajo, Spanish, and the various ethnicities of Anglos make the Zuni Mountains home. Not all of the poems in this anthology are about the Zuni Mountains. The poets come from different places and different cultures, but the Zuni Mountains are in all the poems in this volume. Some of the poems capture the beauty of New Mexico sunlight that enlightens the human spirit in a way that sunlight in other places does not. Some are caught up by the mourning, laughter, sadness, comedy, tragedy, and endless stories that arise out of individuals living individual lives. Zuni Mountain country is not always an easy country. The trails through ancient volcanic flows frozen into black stone can challenge the most experienced hiker. You can be walking along a ridge and suddenly become aware that a mountain lion is watching you from a sandstone outcropping above your head. But it is a beautiful, wild place where horses can still find grass in green summer meadows and elk and antelope grace Mother Earth with the fluidity of movement and magnificence of the elks rack of horns. The poetry in this volume arises from the Zuni Mountains, and, as such, is as dynamic, interesting, and beautiful as the country from which it comes.
White Ermine Across Her Shoulders has all the elements expected by readers of Ethel Mortenson Daviss poetry. The lines are highly imagistic and intense. Descriptions of the earths beauty are intermingled with comments, sometimes caustic, about the human experience. Often a music rises that is both emotional and filled with language and insights that remain in the memory long after the book has been put down. This, Daviss second volume, speaks eloquently about Kevin Michael Davis, her son who died of cancer in 2010 in Poughkeepsie, NY, and touches on other family relationships, making some of the poems more personal than those she has published before. These poems are balanced with an understanding of the universe and all of its creatures that encompasses both delight and wisdom. What makes this collection appealing is an intellectual depth that resonates, in the way of Emily Dickenson, with the imagistic and emotional core that has always been a hallmark of Daviss poetry.
From hiking sandstone canyons to chowing down on southwestern cuisine, fall under the spell of the Land of Enchantment with Moon New Mexico. Inside you'll find: Strategic, flexible itineraries with ideas for art lovers, outdoor adventurers, history buffs, and more Top experiences and unique activities: Wander through a ghost-town graveyard, count the bullet holes in the ceilings of preserved 19th-century saloons, or visit the birthplace of the atomic bomb. Soar through New Mexico's clear blue sky on a colorful hot air balloon. Spark inspiration and delight in the spirited art scene of Santa Fe, or seek an extraterrestrial experience at the International UFO Museum & Research Center in Roswell Savor the flavors: Dig into traditional local cuisine, like red sauce-smothered enchiladas, tender carne adovada, and hearty posole. Indulge in juicy green-chile cheeseburgers or opt for something lighter from one of New Mexico's many organic farm-to-table restaurants Outdoor adventures: Go deep on a trek into the mesmerizing underground world of Carlsbad Caverns or venture off-trail in the De-Na-Zin Wilderness to view stunning hoodoos. Raft from surging waters to gentle currents on the Rio Grande or explore the wavelike gypsum dunes of White Sands National Park Ways to respectfully engage with indigenous cultures: Attend a dance ceremony or a powwow, tour a pueblo, or peruse handmade goods at a market Local insight from Santa Fe dweller Steven Horak Full-color, vibrant photos and detailed maps throughout Thorough background on the landscape, wildlife, health and safety, climate, and local culture, plus advice for families, seniors, international visitors, and LGBTQ+ travelers Focused coverage of Albuquerque, Santa Fe, Taos, Navajo Nation, Las Cruces, Carlsbad, and more Find your adventure with Moon New Mexico. Exploring more of the Southwest? Try Moon Arizona & the Grand Canyon or Moon Zion & Bryce. Hitting the road? Try Moon Southwest Road Trip. About Moon Travel Guides: Moon was founded in 1973 to empower independent, active, and conscious travel. We prioritize local businesses, outdoor recreation, and traveling strategically and sustainably. Moon Travel Guides are written by local, expert authors with great stories to tell—and they can't wait to share their favorite places with you. For more inspiration, follow @moonguides on social media.
On the east face of the Canyon del Río Hondo there is an ancient cave known to the Mescal Indians as Moon Cave. It is a sacred place to the Mescal used for the Ceremony of the Ancients, a ceremony performed every five years rewarding the five most honored braves for their bravery and honesty. The ceremony must take place in Moon Cave because that is where the great medicine man, Owan-atan, created the magic. The reward the braves receive is the opportunity to go back in time to live among their ancestors in the old way of life. This is a great honor and the fact that there is no way back to their former lives is of no relevance to the selected braves. But what does this mean to Denny Miller, who innocently enters Moon Cave during the 2004 ceremony and finds himself suddenly living in 1874? And what does this mean to Scott Franklin, Denny's best friend, who is determined to find out what happened to his vanished friend and help him if he can? Scott "coerces" Cha-tah-wa, a local Mescal shaman, into taking him back to 1874 to search for Denny--and the adventure begins.
Examines how the US-Mexico border is seen through visual codes of surveillance When Donald Trump promised to “build a wall” on the U.S.-Mexico border, both supporters and opponents visualized a snaking barrier of concrete cleaving through nearly two thousand miles of arid desert. Though only 4 percent of the US population lives in proximity to the border, imagining what the wall would look like came easily to most Americans, in part because of how images of the border are reproduced and circulated for national audiences. Border Optics considers the US-Mexico border as one of the most visualized and imagined spaces in the US. As a place of continual crisis, permanent visibility, and territorial defense, the border is rendered as a layered visual space of policing—one that is seen from watchtowers, camera-mounted vehicles, helicopters, surveillance balloons, radar systems, unmanned aerial vehicles, and live streaming websites. It is also a space that is visualized across various forms and genres of media, from maps to geographical surveys, military strategic plans, illustrations, photographs, postcards, novels, film, and television, which combine fascination with the region with the visual codes of surveillance and survey. Border Optics elaborates on the expanded vision of the border as a consequence of the interface of militarism, technology, and media. Camilla Fojas describes how the perception of the viewing public is controlled through a booming security-industrial complex made up of entertainment media, local and federal police, prisons and detention centers, the aerospace industry, and all manner of security technology industries. The first study to examine visual codes of surveillance within an analysis of the history and culture of the border region, Border Optics is an innovative and groundbreaking examination of security cultures, race, gender, and colonialism.
On June 28, 1868, a group of men gathered alongside a road 35 miles north of Albuquerque to witness a 165-round, 6-hour bare-knuckle brawl between well-known Colorado pugilist Barney Duffy and "Jack," an unidentified fighter who died of his injuries. Thought to be the first "official" prizefight in New Mexico, this tragic spectacle marked the beginning of the rich and varied history of boxing in the state. Oftentimes an underdog in its battles with the law and public opinion, boxing in New Mexico has paralleled the state's struggles and glories, through the Wild West, statehood, the Depression, war, and economic growth. It is a story set in boomtowns, ghost towns and mining camps, along railroads and in casinos, and populated by cowboys, soldiers, laborers, barrio-bred locals and more. This work chronicles more than 70 years of New Mexico's colorful boxing past, representing the most in-depth exploration of prizefighting in one region yet undertaken.
