Un petit garçon, Beto, est élevé dans une 'casita de adobe' par sa grand-mère Josephina, fervente catholique, guérisseuse-'curandera' et pianiste de blues, et son grand-père Manuel, autochtone Yaqui qui voyage en esprit du côté de la grande rivière de ses ancêtres, tout en se balançant sur son rocking-chair... Le monde vibrant de toutes les langues croisées et imprégné de magie. Gracias !!
[...] "Forgive my ignorance," said Harold, "but what is La Maravilla?"
Josephina dried her eyes. "It means a marvel," she said softly, "or a marigold."
She had a power that was somehow tied into the real powers that gripped this land. Familiar, earth and field powers; horizon energies not on paper. Josephina kept trying to name the nameless, and somehow Catholic wasn't exactly it, though she desperately wanted it to be.
Manuel, on the other hand, did not suffer the same conflict that his wife did. He hated the Catholics. He hated the Spanish part of Mexicans while loving the Indian part. He especially despised the word Hispanic.
"Would the Irish like to be called English just because the language was forced on them and because they were subjugated by the English ?" he would snarl whenever that offensive word was used : Hispanic.
"Find me a black man from Johannesburg who would like to be called Afrikaans. Just one. Find me a black man from the Congo who wants to be called Belgian." [...]
interview of Alfred Vea Jr (english)
* 'Zapata se queda', con Lila Downs, Celso Piña y Toto la Momposina : *