August 26, 2020: Santa Fe Reporter

Emergency medicine physician Frank Huyler’s new book explores human trauma and resilience

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AUGUST 26-SEPTEMBER 1, 2020 | Volume 47, Issue 34

NEWS

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OPINION 5

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Fernando Baca | VP/Commercial Loan Officer

NEWS 7 DAYS, CLAYTOONZ AND THIS MODERN WORLD 6 FIRE ON THE RIDGETOP 9 The Medio Fire is far from over, having burned 2,700 acres as of press time LAND USE 11 Santa Fe nonprofits take over a small piece of the county’s La Bajada Ranch to grow food COVER STORY 12 TALES FROM THE ER Emergency room physician Frank Huyler’s new book, White Hot Light: Twenty-five Years in Emergency Medicine, explores human trauma and resilience. Read an excerpt from a chapter titled “The Gun Show”

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I want to suggest that, particularly with the difficulties of COVID-19—the isolations in the home, and the levels of anxiety—that this resource be made available to all the kids in our area. The kids need somewhere to turn if there’s abuse or violence in their homes, such as being able to call 911 for help.

If the schools give or send a letter to every kid informing them of this resource, and require that they and their parent or caregiver both sign it, everyone will know this is available. If they don’t sign, that’s a warning there may be a problem in that house.

There might be someone on the 911 staff to field these kinds of calls, so that kids don’t

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S FR E P O RTE R .CO M / N E WS

Flames on the Ridgetop Wildfire and burnout operations flare in the Santa Fe National Forest as crews fight to gain control of the Medio Fire and a new blaze in the west

The fire was first spotted on Monday, Aug. 17, and sent ash and debris into homes within the Santa Fe city’s northern boundary. An interactive map shows the fire’s closest edge is approximately 5 miles from the city limits.

“When we see flames it’s hard for us to believe we’re not in danger,” Chupadero resident Jessica Gerber tells SFR. That small community is 2.5 miles from the fire.

BY L E A H CA N TO R l e a h @ s f r e p o r t e r. c o m

and fire lines will attempt to keep the fire from crossing north into the Pecos Wilderness, he says. To the southeast, the fire is expected to smolder as it enters an area that forest service crews treated with prescription burns in 2019.

Joel Barnett, another information officer for the Medio Fire, tells SFR he expects the fire to be mostly contained within another six to 10 days, but that it could continue burning in the Pacheco burn scar for up to a month. Some small pockets at the heart of the fire might to continue smoldering “until it snows in the winter,” he says.

Also on Monday morning, Aug. 24, a second plume of smoke became visible on the other side of Santa Fe to the West from Caja Del Rio, where a different fire started Sunday night from a presumed lightning strike and had grown to and estimated at 600 acres by Monday evening.

Though crews are now fighting two fires and resources are spread thin across the west battling blazes in California, Arizona and Colorado, Santa Fe National Forest Public Affairs Officer Julie Anne Overton tells SFR the department will not have to move any personnel away from the Medio Fire to fight the Caja Fire because crews are supplied from a national rather than regional pool.

However, aerial resources bringing water and fire retardant may be shared between the blazes, she says.

The Santa Fe National Forest and several trails in the area between the Rio Nambe and the Borrego Trail are closed to the public, and Stage 1 fire restrictions began forest-wide Wednesday morning.

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I

rene Romero watched from her bedroom balcony as the flames of the Medio Fire licked the ridgeline just miles east of her home on Sunday night.

In the dark, the thin columns of smoke that had begun to appear during the day suddenly glowed bright and visible.

“It looked like a string of orange lights up there on the hill,” Romero tells SFR. Since that night, flames have been consistently visible along the ridge. “It’s the closest it’s ever been,” she says.

Residents at the end of State Road 592 near the Rio en Medio trailhead and residents along Santa Fe County Road 76 are on the “ready” stage of the “Ready. Set. Go.” evacuation protocol as the fire burns in the Santa Fe National Forest.

In daily updates, Fire Operations Section Chief Buck Wickham has identified holding the fire north of where 76 becomes Forest Service Road 102 as a critical objective for protecting tribal land holdings, the Santa Fe Watershed and the Santa Fe Ski basin.

“If we fail to hold that 102 road, it really opens up a huge new area of country and several new values at risk…that’s been one of our huge concerns,” he said at an update Tuesday morning, noting the fire is about 18% contained and is estimated to have burned 2,700 acres.

On Monday, a “finger of fire” jumped over 102 into a prescribed burn area on the other side of the road, however, crews were easily able to access the spot and put it out with the help of several fire engines, says Steven La-Sky, public information officer for the US Forest Service.

La-Sky says his phone has been ringing non-stop with calls from concerned residents living in Rio en Medio and Chupadero since the fire came over the ridge facing the valley.

La-Sky says many of the flames visible along the ridge and hillside facing Chupadero and Rio En Medio Communities this week are actually not from the wildfire itself, but from small managed fires started by the crews as part of a strategy to keep the high intensity flames of the wildfire in check. This tactic, known as “backburning,” burns out brush and loose dry fuel ahead of the wildfire to slow it down and keep the flames from reaching into the crowns of the trees.

A Forest Service Type 2 management team took over the coordination of firefighting on Aug. 21. On Monday, hand crews dug a hand line from 102 north toward the fire and began to intentionally ignite a fire line along an existing fuel break on a ridge just to the west, while other crews bearing chainsaws, axes and shovels cut a hand line down from the northwestern tip of the fire. On Tuesday, crews extended these hand lines towards each other to create a western barrier for the fire with plans to bring in a helicopter to begin burnouts in the steep and rugged terrain between the wildfire and the hand line.

In addition to the challenging country, thunderstorms and their accompanying winds each afternoon increase the risk.

As of presstime, crews had control of much of the southeastern edge of the fire. To the north, crews are “herding” the blaze into the scar of the Pacheco Fire, which burned an estimated 10,250 acres in 2011. La-Sky expects the Medio Fire to burn out on its own due to lack of fuel in the burn scar. Hand crews

NEWS

ABOVE: A National Guard helicopter carries water in a red bucket from Nambe Reservoir to the Medio Fire.

RIGHT: The Medio Fire as seen from US Forest Service Road 102 the day after the blaze began.

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COURTESY SANTA FE COUNTY

Land Use

NEWS

KATHERINE LEWIN

S FR E P O RTE R .CO M / N E WS

Santa Fe nonprofits take over a small piece of the unused La Bajada Ranch to grow food B Y K AT H E R I N E L E W I N k a t h e r i n e @ s f r e p o r t e r. c o m

H

undreds of acres of county-owned woodland and pasture in La Cienega have sat idle since 2009.

But now, a group of nonprofits are working together to grow food on a small plot at La Bajada Ranch, the first time the land has been put to use since Santa Fe County purchased it. The nonprofits plan to tap into existing food distribution programs in the city as well as sending future vegetables to Nambe and Pojoaque and other places identified by the Santa Fe Food Policy Council as without access to enough fresh food.

Less than a quarter of an acre on the 470-acre property, formerly known as Santa Fe Canyon Ranch, is now mulched and manured, thanks to young people from YouthWorks, one of the participating organizations. YouthWorks participants will plant a cover crop, likely winter wheat, in September, so the land is ready to be sown with vegetables in the springtime.

The garden will take up a small portion of the couple hundred acres that Frank Mancuso Jr., a film producer, leased from the county for agricultural purposes in 2017 when he planned to build a house on an adjacent 850 acres nearby. He agreed to pay about $21,600 over five years. The contract limits the property to agricultural, livestock and educational purposes,

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and the nonprofits don’t have to pay anything to use the land. An existing well and a drip irrigation system will provide water.

“We want to create multilayered, intergenerational, intersectional healing along with being able to provide sustainable farm lands with closed loops that help our community,” says Israel Francisco Haros Lopez, one of the founders of the Alas de Agua Art Collective, a nonprofit that is part of the farming project. “Currently we are looking for more funding sources and hoping this is just the beginning of bigger collaborations with the county and other landowners.

This is the beginning of projects that we hope will help locally on many levels.”

Reunity Resources and the Mother Nature Resource Center are also working with YouthWorks and Alas de Agua on the project, which includes the plot of land on La Bajada Ranch and a second one adjacent to and owned by Reunity Resources. Reunity runs the former Santa Fe Community Farm at San Ysidro Crossing, a compost program and a farm stand. The new plot at Renuity will soon be planted with autumn vegetables like squashes and cabbages that are already sprouting in the nearby greenhouse.

Haros Lopez tells SFR both of these farming projects create another option

for fresh food for a city that has both an income and food access gap, as well as to teach people about farming techniques.

According to Santa Fe County Planning Manager Robert Griego, the idea for nonprofits to plant for free on a portion of the ranch came from the county’s agricultural implementation plan, which includes “approaches to agricultural use on county land to include development of improving the capacity of the local food system and development of demonstration gardens.”

But the implementation plan is slow going.

The county is “in the process” of figuring out other potential uses for the land it bought with taxpayer money, but that will require a new conceptual plan to replace the existing master plan for the ranch.

One of the separate proposals for La Bajada Ranch is to set up a regional food hub to aggregate, process, package and repack, market and distribute local food, according to Griego. But as of yet there is no timeline on when this food hub might come to fruition.

Mancuso tells SFR his famiy’s “intent has been and remains to create a working example of a small planted space for the community. We are aiming to use the space as a living demonstration, a com-

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LEFT: Nonprofits prepared a small plot of land on La Bajada Ranch for spring planting.

RIGHT: YouthWorks participants are also gearing up at the former Santa Fe Community Farm to grow food for locals.

munity-based initiative and to provide food to those in need.”

Melynn Schuyler, the founder and executive director of YouthWorks, tells SFR the increased food insecurity created by COVID-19 made it clear that more local food needed to be provided to the community. The nonprofit has applied for two federal grants from the United States Department of Agriculture and is working on a third for a different state department.

The grants would finance farming construction and equipment, she says.

Along with growing more food for Northern New Mexico, the farming is also good for the young people who have jobs with YouthWorks .

“YouthWorks just shifted some of our contracts to train and educate the youth to work on farms because we knew we could keep them socially distanced on that kind of property,” Schuyler says. “They could be out but together and that’s what young people need right now, that feeling of belonging and togetherness.”

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Hospital, Huyler also is the author of The Laws of Invisible Things and Right of Thirst; his poetry has appeared in The Atlantic Monthly, The Georgia Review and Poetry, among others.

This week, SFR presents an excerpt from White Hot Light accompanied by an interview with the author about writing, emergency medicine and, of course, the impact of COVID-19 in the hospital setting.

Bookworks in Albuquerque will present a virtual book event with Huyler in conversation with Dr. Danielle Ofri, editor of the Bellevue Literary Review, at 6 pm, Tuesday, September 1. RSVP to rsvp@ bkwrks.com for the Zoom link.

The following interview has been edited for style, clarity and space.

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salacious depiction of trauma than it is an investigation into the vulnerabilities and resiliencies of human nature. His patients’ stories intermingle with those from his own life: visiting his aging father; attending the wedding of an old friend with acute lymphocytic leukemia; his own motorcycle accident.

A tenured faculty member at University of New Mexico’s School of Medicine and ER doctor at University of New Mexico

BY JULIA GOLDBERG @votergirl

H

eart attacks. Car accidents.

Gun-shot injuries. The list of traumas that might land someone in a hospital emergency room runs long. Frank Huyler has probably seen them all.

An emergency medicine doctor in Albuquerque, Huyler’s first book, 1999’s The Blood of Strangers, wove together vignettes depicting his entry into the world of medicine with personal memoir. Kirkus Reviews described the book at the time as a collection of “utterly engrossing, moving, poetic accounts.” The same could easily be said for Huyler’s new book of essays, White Hot Light: Twenty-Five Years in Emergency Medicine, published this week

by HarperCollins, which explores similar professional and personal terrain from a later vantage point. The linked essays illuminate the lives Huyler encounters in his work—from the Iraq veteran whose brain is filled with shrapnel to the fake rock star with end-stage liver disease. Huyler depicts the crises he treats with vivid and cinematic detail, but the book is less about the

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COURTESY FRANK HUYLER

Emergency medicine physician Frank Huyler’s new book explores human trauma and resilience

SFR: Both your new book and The Blood of Strangers interweave vignettes from the emergency room with memoir.

What made you decide to revisit the form of your first book?

Frank Huyler: That first book was written basically at the end of my residency…and [when] I was just starting out in practice.

Inevitably, when you get to a certain age, you start reflecting back on your life and the choices you’ve made and so on. I realized I had a different view of medical practice than I did at that time. My perceptions had changed, and I had gotten older, and you want to try to ask yourself questions like, ‘have you learned anything from these experiences?’…‘Have you made any progress?’ So, I thought it was time to have another look at that world. I had the chance to go to a writer’s colony, the MacDowell Colony [while on sabbatical], and to really think back over the past 20 years or so and revisit that material…through a lens of a little more experience and age.

I’m guessing I’m not the first person to ask if you were influenced at all by William Carlos Williams’ The Doctor Stories, at least with the first book?

I was influenced. Absolutely. I think that’s a great collection and I actually read that in medical school. I wouldn’t say it was a complete model, but…I think the approach is very similar. One of the compelling things, particularly about The Doctor Stories, for me, is how undated it is. This was a different age entirely in terms of medical practice, but the stories themselves seem so alive and current. So that appealed to me, that notion of exploring the timeless elements of medicine, rather than anything specific to our age.

What drew you to emergency medicine specifically? Is it unusual for a doctor to spend an entire career in an ER setting or is that the only spot for that specialty?

PIXABAY

It is a specialty; people sometimes have misperceptions about that. It’s a specialty just like pediatrics or internal medicine or surgery or anything else. It’s the newest specialty in medicine and, at this point, people who work in most emergency rooms are trained in emergency medicine.

The difference in emergency medicine training is that it’s very broad. So, you’re seeing people in all different categories— from kids to old people and so on—with an emphasis on things that are bad that can be dangerous in a temporal setting. So, it’s sort of like your job is to identify serious conditions as quickly as you can and to do what interventions you can, but mostly it’s a diagnostic specialty and it’s sorting out people who are dangerously ill from those who are not—and that’s trickier than it sounds.

Is a particular kind of person drawn to that, someone who really enjoys pressure? Stress?

Yeah. And I have to say, my personality does not really fit terribly well with my specialty choice. My choice to do emergency medicine—part of me is drawn to the intensity of it, certainly—but I made a somewhat calculated decision when I was young that I wanted to have time to do other things outside of medicine, specifically write. And it’s one of the specialties that allows you to do that. It allows you to be in the thick of it in a real way when you’re working, and then to have the time around it to do other things. I’m probably naturally an internist at heart.

There’s lots of fictional TV doctors and now, because of COVID-19, it also feels as though actual doctors have more of a visible presence on the news.

What’s your sense of the public perception of doctors’ work? Is that something you’re trying to address in your writing?

I’m certainly not interested in the dramatic heroics and the ego validation that…a lot

Thank you

Emergency medicine—medicine’s newest specialty—requires making diagnoses as quickly as possible.

of doctor shows, at least traditionally, are about. I’m much more interested in what it reveals about our lives in general. There’s certainly well-worn paths around the idea of being Sherlock Holmes or House, somebody figuring out…this rare diagnosis and there’s this basic notion that…the best doctors are those who can reason their way to an elegant perfect solution. But that’s not true to the world; those kinds of things occur hardly at all. What you’re really trying to do is check the boxes, be thorough. It’s not so much about the intellect as much as it is about casting a wide net and being appropriately cautious when you need to be.

You have a House moment in your book, though, when you diagnose AIDS in one of your patients by being old enough to remember AIDS. That was not an intellectual moment; that was a moment of memory. It wasn’t that I

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was like, ‘wow, I’m so smart that I figured that out.’ It was more like, ‘that guy looks like an AIDS patient’ because I’ve seen them in the way that the younger generations of physicians just haven’t.

There’s another side to public perception, which is mistrust of Western medicine, of doctors. Is it warranted?

What do you think has contributed to it?

I think that’s a large topic. And there’s a lot of reasons why people are mistrustful. One is the profit motive in medicine, and the expense and the perception of monetary interest on the part of the medical system, which is absolutely accurate, incidentally.

The other is the resistance to any kind of authority…There’s an anti-authoritarian streak in America, where people want to believe in their own individual liberties and choices and they’re suspicious of expertise. And frankly, in many cases, most

of the time, most of our lives, we’re not sick, so most people are not sick most of the time for most of their lives. So, a lot of these notions about mistrust of Western medicine are largely academic most of the time.

And there are certain things that Western medicine is very bad at: complaints that are hard to pin down, for example. Western medicine is very bad at navigating the difference between the physical and the mind/body intersection point. And also—this shouldn’t be underestimated—there’s a very great coldness in Western medicine; there’s a clinical white coat, bright lights, needles, tests, that sort of thing; it’s not a welcoming or warm environment at all. In fact, it’s a pretty terrifying environment and it’s unpleasant to be a patient. People don’t want that: People want warmth and emotional support and the sense that whomever is seeing them cares about them. We live in a time,

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Tales from the ER particularly now, where it’s very hard to make people feel that way.

We’re publishing a chapter excerpt called The Gun Show, which contains short vignettes of people injured or killed by gun violence whom you ended up treating in the ER. I’m wondering if, aside from the detachment you need to do your work, it’s had an impact on your political position one way or another.

I wasn’t out to make this a political treatise but, yes, do I have political views. Am I in favor of gun control? 100 percent. We’ve been seeing a lot of shootings recently and…a lot of it has to do with simple availability of handguns. I realize this is very controversial in America—because I can see the arguments for the Second Amendment at times—but, nonetheless, there’s a wholesale absurdity to these young guys killing each other for no reason.

And a craft question about that chapter: Can you talk about the lyrical repetition about learning how each incident happened.

I thought it brought a resonance to the story in a way that a poem might, a little bit, that was the intent. There are unique circumstances [in each shooting] but patterns endlessly repeated with slight variations. That’s something that you do see a lot of in emergency medicine is patterns of behavior, patterns of events that repeat and repeat and repeat.

You seem to see more abject and depressing sights in one shift than most of us will ever see in our entire lives.

What do you think has made you and makes other medical professionals able to handle so much human suffering? Is it constitutional? Is it training?

Is it both?

I think one of the things people tend to dramatically overstate is human sensitivity. People are pretty tough, everybody, and this idea that people who work in emer-

gency rooms are some sort of different breed is just not true. We all get used to things. There’s an essential sort of toughness among people, and you see it in many parts of the world. One of the consequences of privilege or wealth in a wealthy society is this notion of hyper-sensitivity: ‘How can you take this?’ People have been taking things like this forever, and there’s a lot of people also in their lives who go through things far worse.

But, obviously, you need some level of detachment when you’re treating people who have been beaten by their partners or are dying of cancer or are having a heart attack. Is it hard to keep that balance between detached but not indifferent, which seems what you depict in the book?

That’s exactly right. People go through a great predictable psychological pattern when they start doing this stuff. When medical students start off, they are super earnest and emphatic a lot of the time and then they very rapidly change and…kind of go the other way, which is black humor and real detachment…which are all…about distance. I think what you want is a kind of sincerity about trying to do what you can within the limits of what you can do while protecting yourself. You want to find some sense of a little bit of human warmth in all of this, not only because it helps you be more invested in your work, but also because one of the problems and casualties in this kind of work is it bleeds out into your personal life and your perception of the world as a whole. You have to try to remember [that you’re] working in a selected dark environment: Most people are not being run over and shot. Most of the time, people are doing just fine. Most of the time, people don’t have metastatic cancer.

The book begins with an epigraph from JM Coetzee: “I don’t think we are ready to die, any of us, not without being escorted.” The first half of the book seems as though you’re focused specifically on

He was in his twenties, in a uniform, the driver of an armored van. He’d been ambushed outside of town, in the desert, by men with rifles. They’d fled before they got the money.

The top of his skull was gone. His brain had a delicate pink hue, and a strange beauty to it, like a jellyfish unfolding in the water.

We learned the story from the police. *** She was seventeen, getting off the school bus, and caught in the crossfire between two rival gang members. At first we could not find the wound, because it was a small-caliber handgun, but she lay there dead on the gurney, anyway, and finally we rolled her and saw it—a tiny blue hole, the size of a pencil eraser, high on the nape of her neck, covered by her long dark hair.

We learned the story from the paramedics. *** He died quickly, and he was unlucky, because it was only a .22, and it hit him in the right side, right above the belt line, and went through his aorta. He had been running for his life up the ramps of a parking garage. His assailant shot him through the gap from the level below.

We learned the story from the police. *** They were sisters, nine and ten, lying beside each other on adjacent gurneys in the trauma room.

Someone had mistaken their house for another, and fired blindly from a car with an assault rifle. The girls were sleeping together in the same bed upstairs.

My girl had a perfect red crease through her earlobe from the bullet, but that was all.

She lay quietly and looked up at me, and didn’t cry.

Her sister beside her, on the other side of the curtain, was dead.

We learned the story from the papers. *** He was in his thirties, and came by helicopter, and was still alive. Someone had called an ambulance from the house in a little town on the Colorado border. He had two small-caliber holes in his forehead, placed very closely together, wounds that radiated experience and lethal calculation.

Meth, they said. A professional killing. We learned the story from the flight crew. *** He was in his teens from the reservation, shot six times in the head with a .22 rifle, and everyone was drunk, and no one really knew what the story was, but the flight crew said it was a domestic dispute. He was alive, but his face was swollen and bruised and distorted, his lips puffy and his pink tongue protruding a little around the endotracheal tube. *** She was clutching her belly and fading in and out, her dark skin pasty and gray, and you see that only toward the end. The wound was low, beneath her belly button.

The surgeons saved her by a whisker. The police didn’t know the story—only that

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she was in a car, in a parking lot, with the motor running. Someone had seen a man near the car. *** His son frightened him, and he was trying to get him out of the house, and when he told him he had to go, the boy fired a single shot from a istol into his chest.

He came in almost alive, still moving a little, and what I remember most was his startled, staring blue eyes and the way he kept opening and closing his mouth and flicking out his tongue like a snake. I haven’t seen this before or since.

They opened his chest in the trauma room, but it was too late. We learned the story from the police. *** He was drunk, and harmless, but he tried to get into the wrong house, the next house over, because the houses look alike there. He kept banging on the windows and then he started kicking the front door. The father met him in the threshold with a shotgun.

Twelve gauge, right through the chest, just below the heart and just above the belly, and I thought he was dead for sure, that he had no chance with a wound like that, from alive and defied us all and that close, with that kind of wea on, but he made it to the filed. were charges o him. saved surgeons the somehow We learned the story from the police. *** He was a cop alone at night, and he pulled over the car when the plate lit up as stolen, and when he a roached, the man o ened the door and came out firing as he ran into the darkness. He was hit twice in the belly and once in the hip. The vest saved him, but his hip was shattered. He lay there on the gurney and stared furiously at the ceiling, tight-lipped and disciplined, crying out only when we moved him.

Later, I walked out into the hall to a sea of blue uniforms.

We learned the story from the police. *** They were kids in a party house all night, and he owed another boy sixty dollars and told him that he didn’t have it. The boy shot him through the chest with a 9 mm handgun.

Then everyone was awake, and panicking, and they didn’t know what to do.

They carried him outside, to the park, and left him beneath a tree, and though it was early in the morning, someone saw him under the tree and called an ambulance.

I never found out how long he was beneath the tree.

We learned the story from the papers. *** her neck with her name and phone number around sign a with woman, old She was an in case she wandered, and her husband had shot her through the temple before killing himself because, as we learned later, he was sick also and could no longer care for her.

She lay there, blinded by the wound, with the sign, muttering incoherently, with frail a ery skin, and erha s she weighed eighty-five ounds.

I can’t remember how we learned the story because it was a long time ago. But I remember her because of the sign. *** in office clothes, and looked directly thirties, his in man young He lay beneath me, a He told me his wife’s cell phone mask. and gown my in him over stood I as up at me number, that he was allergic to penicillin, and that he was going to die. He said all three things calmly, in the same tone.

He’d gone to work on an ordinary day. Another man had come into the offices, firing indiscriminately before shooting himself as the sirens grew nearer.

It was breaking news, and even then the story was on TV, but I didn’t know any of that.

I told him we’d take care of him. I told him we would save him, because I always do. But he was right. When they say that there, in the trauma room, in that tone, they are speaking with an animal’s authority.

We learned the story from the police.

From the book: WHITE HOT LIGHT by Frank Huyler. Copyright © 2020 by Frank Huyler. Reprinted courtesy of Harper Perennial, an imprint of HarperCollins Publishers.

people who are alone and isolated— and this was pre-COVID when you were writing this. Was that a concern?

I can’t speak to other societies, but I can say I think America is a very isolated lonely place for many and the idea of solitude and loneliness in the face of events is something I think is deeply and inherently terrifying for most people. That was absolutely a theme I was trying to explore, and in the second half of the book [I was] trying for a little bit more light.

Lab and Los Alamos working with the Department of Health—and they’ve done a lot. As a result, New Mexico is a lot better [than surrounding] states, but we’re still up against it…and now the weather is cooling and the schools will likely reopen at some point and flu season is coming. So that combination is very ominous.

So our declining cases aren’t comforting to you?

It’s certainly better than if it was up…it’s encouraging to see, but people need to not think we are not facing a major, major challenge ahead, which is winter, flu season and open schools, and that is a very daunting prospect.

You grew up in Iran, Brazil and Japan.

Do you think your upbringing influenced your perception?

I think it did. I grew up basically as an expatriate as a kid, not in the United States, and so I’ve always been a little bit uneasy Has COVID-19 completely changed wherever I am. I’m an American, obvious- your work? ly, but I’ve never felt completely American, It’s absolutely completely changed our work. We’ve divided up the emergency if that makes sense. One room into COVID and of the reasons I think I non-COVID areas. We’re saw the COVID pandemic trying to separate and coming a little more clearYou have to try distinguish patients ly was because of that exto remember [that with COVID from paperience; because I know tients who don’t have how small the world is; I you’re] working COVID—that’s a great know how interlocked it in a selected dark challenge. The screening is. I have this basic pertest that you use is probception that the other, the environment: Most ably 50 or 60 percent acfar away, is really not so people are not being curate because you have far away, and I think that a lot of asymptomatic came from probably my run over and shot. and pre-symptomatic childhood.

Most of the time, infection, and it’s very important to keep it out Let’s talk about people are doing of the general patient COVID-19. You wrote just fine. Most of the population. Right now, a piece for VICE at the the prevalence here in outset of the pandemtime, people don’t New Mexico is still, relaic expressing concern have metastatic tive to other parts of the about hospital precountry, low enough so paredness. How are cancer. things are functioning, things now? but we still remain at The problems that we’ve -Dr. Frank Huyler risk for surges and cases seen are almost exclusivethat are going to put a ly national. The hospitals huge strain on us. in New Mexico in the early spring, like many hospiThe title of the book, tals, were caught off guard, like everybody White Hot Light, seems to reference was caught off guard. But I think the hospiboth a Ray Bradbury quote you use, tals have caught up and are doing the best they can at this point, including UNMH, “Let the world burn through you. and a lot of people are working very hard. Throw the prism light, white hot, on The problem is we’re faced with just unbe- paper,” and an image at the end of the lievably disgraceful national failures that book of the New Mexico winter sun: make [everyone’s] jobs very hard, and one “If you let it, it will fill your windshield of them is testing. There are rapid tests with white hot light, and blind you in that can come back in an hour and we don’t the mirror with its power.” I took this have enough of them; the PPE situation is all to mean that you were placing great importance on not letting these indijust a terrible disgrace across the country. …Hospitals are on their own and they’ve vidual stories blur together—that you been struggling to try to adjust to this new wanted to illuminate them. reality and they have and New Mexico Yes. It’s also sort of like the rising sun of has actually done very well compared to the morning—that transcendent qualiother states, thanks to the governor. She ty—hopefully of illumination and grace did a great job and we also have some sci- and, so, the attempt at both illumination entists—particularly at Sandia National and grace.

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Did you know black bears can only be found in North America? That they’re great swimmers? Did you know black bears are fantastic climbers, or that they can run up to 50kph? If you didn’t know these things but thought they sounded cool and want to be friends with the noble black bear (they’re also cute), perhaps you oughta get onboard with the virtual version of the Los Alamos Bear Festival? Created under the auspices of the Pajarito Environmental Education Center, the all-day livestreamed affair also comes with a special lunch option courtesy of the Pig+Fig Café and based on things a dang black bear would eat. You’re not only learning something new, you’re supporting environmental efforts in the region. Did we mention bears are cute? (ADV)

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Los Alamos Bear Festival (Virtual Edition): All day Thursday, Aug. 27. $25-$30. peecnature.org

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ART OPENING FRI/28 TELLES ABOUT IT OK, look—we know we were just talking about both Hecho a Mano gallery and artist Vicente Telles in recent issues, but when something amazing happens, what’re we supposed to do about it? Not bring it up? Pshshst. Outta here. Telles returns to Santa Fe for Convergence: Of Time and Place, a new solo show at the Canyon Road space based both in his collaborative efforts as an artist, his ingrained memories and a contemporary take on the role of the santero. If you didn’t know, santeros create art works based on saints, and Telles’ particular brand pulls from hundreds of years of tradition while adding brighter colors, a political leaning and, hopefully, a little bit of deconstructing history.

Note that the gallery only allows four patrons in at a time and masks are required. (ADV) Convergence: Of Time and Place: All day Friday, Aug. 28. Free. Hecho a Mano, 830 Canyon Road, 916-1341

PUBLIC DOMAIN

EVENT ALL WEEK GIVE A LITTLE BIT We’ve got friends with kids, and if there’s one thing we know about the whole school-during-pandemic thing, it’s that tensions are high. No one expected we’d have to keep kids home for so long, and setting aside the implications to their social educations, internet access and straight up stresses, imagine going into this terrifying school year without the proper supplies. Such an issue disproportionately affects students of color, like most things in this country, but there are people working to ease the burden. Take the Santa Fe Indian Center and its School Supplies and Backpack Drive.

The organization will be accepting donations all week, and needed items on the list include pens and pencils, glue, notebooks, backpacks and more. Certainly you could do a little something right? Catch the full list at santafeindiancenter.org, and do what you can. (ADV) School Supplies and Backpack Drive: All week, santafeindiancenter.org

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A Tree Grows in Santa Fe Landscapery in the time of COVID-19 If you’re reading this, you probably know how Santa Fe is one of the largest art markets on the planet—and we’re gaining on those New York jerks everyday!

But you might have also thought a lot about how to get into making art yourself; y’know, outside of going to some overpriced school or just picking up the materials and doing it. You want tips, you want tricks, you want to start by building a foundation and learning the ropes.

Now then, changing tack slightly (but we’ll get back to the art stuff, promise), you might also have found yourself faced with a lot of extra free hours as COVID-19 continues doing its thing. And we get that, too.

If only you could kill two birds with one stone, right? Well, summon the timbre of a commercial announcer in your head when you read this: Now you can!

Artist Robbi Firestone has over 30 years of creating and teaching under her belt, and with her ongoing virtual classes through her santafeartclasses.com site,

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she’s helped about a billion (we’re exaggerating, relax) budding artists learn a thing or two about canvas, brushes, techniques and more. She’s been so popular, in fact, that TripAdvisor users ranked the classes as the best in the area for a lot of years.

This week, Firestone has multiple class times available, and each focuses on the stately aspen grove (both local or not—your call), and you and your friends and/or loved ones can Zoom into the lesson for a mere $67. The way we hear it, all sorts of interesting things will come to bear, and you’ll all have a “frame-worthy” art piece by the time you’re done.

So to recap, take a class, kill some time, have some art for your walls. What the heck else are you doing? (Alex De Vore)

ROBBI FIRESTONE: HOW TO PAINT AN ASPEN LANDSCAPE: All day Saturday, Aug. 29. $67, santafeartclasses.com

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S F R E P O RT E R .CO M / A RTS

wanted to reach out to artists who fit into the ‘if you build it they will come,’ zeitgeist,” artist Thais Mather tells SFR. “I was looking for artists that created DIY movements in their communities, to give those communities something unique— something brilliant and beautiful.”

She’s referring to Flags of Resilience, an ongoing series of commissioned works—namely, 3-by-5-foot flags created by artists from near and far— sponsored by and sold through form & concept gallery (435 S Guadalupe St., 780-8312) and Zane Bennet Contemporary Art. The original idea, Mather says, came about in response to the COVID-19 pandemic as a means for artists to consider its implications to humankind alongside longstanding issues of racism and oppression brought to a particularly intense head of late following the murders of Breonna Taylor and George Floyd by police and Ahmaud Arbery by white supremacists—among countless others. Any proceeds made from sales go to the cause of the artists’ choice, and subsequent artists are chosen by the last featured solo person or group to design a flag.

“We asked artists of color, female artists, queer artists, graffiti artists and tattoo artists to create a different narrative around the symbol of a flag with us,” Mather explains. “The flag is loaded, right? I always like to subvert icons and challenge people with new concepts.”

So far, the series has featured work by Denver-based muralists Jaime Molina and Pedro Barrios, who together create under the moniker The Worst Crew.

They released their flag in July, and for their cause, Barrios and Molina chose the Denver branch of the International Rescue Committee, a worldwide nonprofit that helps the displaced through monetary and direct actions—notably, within 72 hours of a crisis.

“Our concept wasn’t to memorialize in the sense of loss, but more to illustrate and document the important moment we are all currently living in,” the artists say in an interview on the form & concept site. “When the lockdown first started several months ago, we felt like there was much potential for us to have a massive collective shift.

Everyone was faced with hardship as well being stripped of their routines and, in a sense, their lifestyles. This drastic change forced people to see through to what was most important to them and their families.”

For the project’s next featured artist, Barrios and Molina chose Brooklynbased creator, tattooer and activ-

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Pledge allegiance to powerful arts projects

BY ALEX DE VORE |

a l e x @ s f r e p o r t e r. c o m

ABOVE: August’s flag Brooklyn’s Tamra Santibanez. BELOW: July’s flag from Denver-based duo, The Worst Crew.

ist Tamara Santibanez. Working within the talavera style, which is more often associated with ceramics, Santibanez’s flag features deceptively simple and colorful designs that ride the fence between talavera and traditional tattoo imagery.

The words “A Future” are emblazoned across its center. For Santibanez, the

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future’s worth fighting for, even if it’s a particularly fraught topic at the moment. It’s an election year. The world’s on fire. People are terrified. What hope is even left?

“I’ve found myself looking more towards sci-fi and speculative fiction in the last year, and the idea that

working towards a new and better world first requires imagining something that doesn’t exist,” she tells SFR. “Envisioning a future can be the first step in radically reconsidering our contemporary actions. I wanted the idea of future to be a hopeful one, but to also make space for the reality that ‘future’ is not a static concept or a singularly defined idea. ‘Future’ can look like many different things depending on who is doing the imagining, and can be responsive to our changing selves and realities.”

Given Barrios and Medina’s take on the present, it’s an apt continuation of Mather’s project and, looking deeper, a closer look at the America known to its non-white denizens who so often wind up marginalized. A flag is indeed loaded, even if it’s become akin to background noise at this point. By shaking up our preconceived notions about what they might stand for, deconstructing their meaning feels decidedly radical.

“Flags of Resilience is creating new imagery, new iconography, new concepts around what it means to be American,” Mather says.

Today, right now—and for the foreseeable future at least, all Americans share the pandemic. Quarantine has been a bit of a socio-economic leveler—though someone recently told me “We’re in the same storm, not the same boat,” and that felt wise. Maybe it’s just that we’ve all been trying better to take care of others lately, and though the conditions may change from place to place, we now all know a thing or two about quarantine. Mix that with Santibanez’s talavera design, one which she says often conjures deeply personal images and a sense of home, and there’s a lot more to unpack than a quick glance at a small flag.

“Quarantine certainly had me thinking differently about the concept of home, but also about the divide between interior and exterior spaces,” Santibanez says. “I felt like it made me hyper aware of my interior world and what I connected with outside of it— socializing, walking, seeing neighborhoods other than my own—there is a certain comfort in talavera for me that does have to do with its ubiquitousness in Mexican households and interior design.”

Proceeds from Santibanez’s flag will go to F2L (Freedom to Live), a New York-based nonprofit that raises commissary bucks for incarcerated LGBTQIA2+ people in New York State.

Flags are available in the gallery or at formandconcept.center.

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Stone Cold Creamery

Xzavian Cookbey and the Freezie Fresh sojourn to frozen foodtruck bliss

BY ALEX DE VORE a l e x @ s f r e p o r t e r. c o m

I

f Santa Fe had an official origin story, it would be that of the cockeyed optimist who showed up for school, a vacation, an art show, whatever; found themselves, and then never looked back. Xzavian Cookbey has one such story.

In 2011, Cookbey enrolled at the now defunct Santa Fe University of Art and Design (don’t worry—he graduated in 2015 before the school closed), picked up a degree in film and had planned to spend the rest of his days as an indie film producer working on passion projects and creating with his friends.

Fate intervened, as it does, and in 2016, Cookbey instead found himself behind the wheel and in the kitchen of Freezie Fresh, Santa Fe’s only rolled ice cream business (in truck form or otherwise).

“I was working as a cashier at The Coop, and was doing research about food trucks, looking at different ideas and trying to figure out what I was trying to do,” Cookbey tells SFR. “Then I came across this one article…saved up enough to buy my first ice cream pan, and then I was just at home watching YouTube videos trying to figure out how to get this ice cream rolled. It’s all self-taught.”

An ice cream pan, for those not in the know, is like the frigid response to the crepe pan. The operator pours fresh in-

gredients on top, they freeze in realtime; addons (like lavender honey and salted caramel with red chile to name a couple of Cookbey’s) enter the fray and eventually the custom concoction is flattened and cut/rolled into small ice cream tubes. It’s fun to watch, it’s fun to eat, it’s probably the most enjoyable ice cream thing to happen since whatever the hell Dippin’ Dots are (don’t @me).

“As I saw it, I was like, that’s something I would want, and other people would want to try it as well,” Cookbey adds. “Four years in, and I’m still in love with it.”

But what of the pandemic and the already nomadic nature of food trucks?

According to Cookbey, the change in the world has been oddly fortuitous from a business standpoint. He’d been parking at Meow Wolf for some time, but the perma-installation’s closure in March forced him to move once the government lockdown allowed him to operate once more. He wound up in the Big 5 parking lot (2860 Cerrillos Road) with a lot more parking—something he said

FOOD

guests at Meow Wolf had pointed out as challenging. Because of that, busibusi ness has boomed, and Cookbey has been able to bring on two employees. They learned the process more quickly than he did, Cookbey points out, but also asas sumes it has to do with how he mastered the technique.

And it doesn’t end there. Cookbey says he’s been in contact with the peopeo ple behind the reportedly soon-to-open CHOMP food hall inside the Luna Santa Fe center. Assuming Cookbey does go the brick and mortar route, he envienvi sions more add-ons and toppings as well as items like milk shakes and ice cream sandwiches. He might just do the sandwiches in the truck, anyway, he just doesn’t know yet. Besides, he’d still drive the Freezie Fresh truck around to spehis favorite haunts and spe cial events and the like— he’d just have the space to get more creative. emotional“I think I’m emotional ly attached to the truck,” he says with a laugh.

Cookbey is also crowdfunding makan industrial-sized ice cream mak er through Gofundme.com and says a lot of his future plans hinge on that.

Either way, he’s found a home in Santa Fe and he’s in no rush to leave. The food truck scene, he says, lacks any sort of mean-spirited competitiveness.

“Everyone is very supportive. You adcan pick up your phone and ask for ad vice,” he says. “They understand the dedication that goes into your food truck. It looks like a lot of fun, but behind the scenes it’s brutal.”

All that so you can have a cup of rolled ice cream. Believe it’s worth it, though, and make sure you follow Freezie Fresh on Instagram (@freeziefresh) to make sure you know exactly where to find it on any given day.

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MOVIES

RATINGS BEST MOVIE EVER

Vinyl Nation Review

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BY ALEX DE VORE a l e x @ s f r e p o r t e r. c o m

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There was a time in the ’90s, at the advent of widespread CDs taking over our homes and cars, when the vinyl record suddenly became the least important physical media on Earth. Or so it seemed, anyway. In Vinyl Nation from filmakers Christopher Boone and Kevin Smokler, however, we learn that while the rise of digital formats placed vinyl firmly in the ICU for a decade and change, the audiophiles, record store geeks, artists, businesspeople and young folks looking for a more meaningful experience somehow managed to keep it on life support long enough for a resurgence, and we’re now smack-dab in the middle of a real-life renaissance.

With the help of collectors, musicians, producers and craftspeople, Boone and Smokler argue that vinyl holds a magical and superior place amongst the true believers in the pantheon of recorded sound. As one subject succinctly puts it, some folks are just drawn to its inconvenience.

6 5 4 3 2 1 WORST MOVIE EVER

HAPPY HAPPY JOY JOY: THE REN & STIMPY STORY

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+ ANIMATION RULES! - SHOULD’VE STUCK IT TO JOHN K. HARDER!

In the aftermath of the ’80s glut of just, like, truly terrible cartoons that worked more like commercials than anything else (lookin’ at you, Transformers), something seemingly impossible happened—children’s network Nickelodeon completely revitalized the art form with a block of programming known as Nicktoons. People of a certain age may recall how the 1991 Nicktoons premiere included Rugrats, Doug and little show called Ren & Stimpy. The latter moved mountains.

The brainchild of animator and animation obsessive John Kricfalusi, the stories of the idiot cat Stimpy and his unhinged lunatic best friend Ren the chihuahua not only became a fast favorite of kids and parents alike, it brought a significant level of artistry back into the cartoon world that hadn’t been part of the equation since Fleischer Studios. The world was rapt, the newly formed Spumco Studios behind the cartoon was stocked with rockstars of animation—and someplace at the center stood Kricfalusi, proving creator-driven content steeped in actual artistry was possible if

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+ FULL OF COOL

INFORMATION; INSPIRING - STONES LEFT UNTURNED; WE’D HAVE WATCHED MORE

We learn that the size and shape were marketing ploys that unwittingly cast a spell on those who wished to hold something tangible, how liner notes were and still are important and who’s making the beefy 180-gram records and creatively fascinating packaging of today.

This means interviews with everyone from Gen Z noobs and Record Store Day founders to Urban Outfitters buyers and Instagram recreationists. We learn how the stuff is made, how it’s a shareable media across generations; we meet precocious pre-teens and certified snobs—all of whom tell the same story: Vinyl can and does change lives.

Thankfully, Boone and Smokler also tackle the concepts of misogyny and racism, though a

one could assemble a talented enough team.

The first year was legendary.

But as we learn in the new documentary Happy Happy Joy Joy from filmmakers Ron Cicero and Kimo Easterwood, the good times were short-lived and quickly overshadowed

by Kricfalusi’s dictatorial work practices, obsessions, missed deadlines and even pedophilia.

Through interviews with former Spumco artists, Nickelodeon execs and Kricfalusi himself, we learn of impossible hours and heartbreaking conditions; of the 16-year-old who moved to California to become an animator only to live under Kricfalusi’s manipulative thumb. On camera, he readily admits it happened, though its late-film inclusion feels unfortunate when stacked against the many other “We were true artists and he was a genius!” interviews beforehand.

It’s the most important part of the story, and one that comes perilously close to ruining the built-up image of Ren & Stimpy harbored by many. But as the doc eventually points out, Kricfalusi was only one part of the machine, and the dozens of others who made Ren & Stimpy—without abusing a child—deserve their moment in the sun. They created something truly special. (ADV)

Amazon, NR, 104 min.

SFREPORTER.COM

slightly deeper look would have been a welcome extra few minutes in an already fairly short running time. Still, the notion of ponytailed weirdo spinning records like some Hornby-esque unappreciated scholar is thankfully diminished in place of music lovers at every end of the spectrum. If nothing else, you’ll wanna flesh out (or start) that collection after watching this film.

Luckily, local shop Lost Padre Records (905 1/2 Alameda St., 310-6389) is in on the Record Store Day celebrations this Friday, Aug. 28 and the Jean Cocteau has this doc online.

THE FIGHT

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+ WORTHY FIGHTS; COOL LAWYERS; - TOO SHORT; ALMOST FAWNING; NOT QUITE ENOUGH INFO

Filmmakers Josh Kriegman and Elyse Steinberg (2016’s Wiener on the nefarious New York Congressman Anthony Wiener) join forces once again and welcome Eli B. Despres into the director’s circle for The Fight, a film you’ll probably hear described as a “David and Goliath” kind of thing for the next little bit.

Therein, American Civil Liberties Union attorneys take on some of the Trump administration’s most despicable deeds—abortion rights for immigrants; the dreaded “Are you a citizen?”

Census question; trans folks’ right to enlist in the military and kids caged in border area internment camps. Through the eyes of lawyers Brigitte Amari, Lee Gelernt, David Ho, Chase Strangio and Joshua Block, we observe each case in intertwined fashion, meeting some of the clients, rifling through some of POTUS’ darker, more hateful moves and gaining an all-around clearer perspective about what it is, exactly, that the ACLU does.

On the one hand, it’s an inspiring portrait of progressive lawyers hellbent on grinding themselves into oblivion if it’s in service of the case.

Ho’s family, for example, winds up taking a backseat to most of his travels and court dates, but he

VINYL NATION Directed by Boone and Smokler Jean Cocteau Virtual Cinema, NR, 132 min.

waxes philosophical on “this moment” with a grim determination that certainly makes one wonder how or if they’ve contributed to the fight against the terrors in power enough. Elsewhere, sadly, we get mere glimpses into the lives of the other lawyers. Strangio, for example, raises an unruly kid while trying to work; Gelernt’s lamentation on the separation of immigrant parents and children feels also feels like a universal refrain, but both scenarios are all too brief within the confines of the film’s 90 minutes.

That short runtime detracts in other ways as well, such as in scenes which remind us the ACLU will work for anyone. This includes far right instigators in Charlottesville, Virginia, circa 2017, which ultimately led to the death of protestor Heather Heyer, and a famous 1978 free speech case wherein the org defended neo-Nazis in Skokie, Illinois.

Part of everyone being entitled to legal representation is that it does mean everyone, and though the larger implications therein are countless, The Fight seems to gloss over the uglier cases in a too-quick melange of fast and furious cuts and topic changes.

As such, questions still loom large, even if the concluding moments of the film are some of the most hopeful and uplifting in recent documentary memory. (ADV)

Violet Crown Virtual Cinema, PG-13, 96 min.

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JONESIN’ CROSSWORD “Mental Blocks”—The answers will fall in line. [#177, Nov. 2004]

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37 Heavy president and family 39 Court figure 41 Drill bit, usually 42 Mean 44 Big galoot 46 Namer of Einstein as Person of the Century 47 She played Ferris Bueller’s girlfriend 49 One who gives up too easily

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DOWN 1 Dominic Monaghan TV show 2 Buffalo’s lake 3 Whipping reminder 4 They may show actors’ or doctors’ names 5 Et cetera 6 Betty of cartoons 7 King of Katzenstein, in a Dr. Seuss story 8 Fit together 9 Fix a botched job at BaskinRobbins, e.g.

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MIND BODY SPIRIT ACUPUNCTURE Rob Brezsny

Week of August 26th

ARIES (March 21-April 19): Aries author Kareem Abdul-Jabbar writes, “Some stuff can be fixed, some stuff can’t be. Deciding which is which is part of maturing.” I offer this meditation as your assignment in the coming weeks, Aries. You are in a phase when you’ll be wise to make various corrections and adjustments. But you should keep in mind that you don’t have unlimited time and energy to do so. And that’s OK, because some glitches can’t be repaired and others aren’t fully worthy of your passionate intensity. You really should choose to focus on the few specific acts of mending and healing that will serve you best in the long run.

your creatively to the max, adopt the fresh-eyed attitude of a rookie or a novice. Forget what you think you know about everything. Make yourself as innocently curious and eager as possible. Your imaginative insights and innovations will flow in abundance to the degree that you free yourself from the obligation to be serious and sober and professional. And keep in mind that Stevens said you need courage to act this way.

SCORPIO (Oct. 23-Nov. 21): “As idiotic as optimism can sometimes seem, it has a weird habit of paying off,” writes author Michael Lewis. According to my analysis, the coming weeks will provide you with TAURUS (April 20-May 20): “There are all kinds of ample evidence that proves his hypothesis—on one love in the world, but never the same love twice,” wrote condition, that is: You will have to cultivate and author F. Scott Fitzgerald. This is true even between the express a thoughtful kind of optimism. Is that possisame two people in an intimate alliance with each other. ble? Do you have the audacity to maintain intelligent The love that you and your spouse or friend or close rel- buoyancy and discerning positivity, even in the face of ative or collaborator exchanged a month ago isn’t the those who might try to gaslight you into feeling stupid same as it is now. It can’t be identical, because then it for being buoyant and positive? I think you do. wouldn’t be vibrant, robust love, which needs to ceaseSAGITTARIUS (Nov. 22-Dec. 21): Author Rebecca lessly transform in order to be vibrant and robust. This is always true, of course, but will be an especially potent Solnit writes, “The things we want are transformative, and we don’t know or only think we know what is on meditation for you during the next four weeks. the other side of that transformation.” Her statement GEMINI (May 21-June 20): As a professional writer, is especially apropos for you right now. The experinovelist Thomas Wolfe trained himself to have keen ences you’re yearning for will indeed change you sigperceptions that enabled him to penetrate below sur- nificantly if you get them—even though those changes face appearances. And yet he wrote, “I have to see a will be different from what your conscious mind thinks thing a thousand times before I see it once.” In other they’ll be. But don’t worry. Your higher self—the eterwords, it was hard even for him, a highly trained nal part of you that knows just what you need—is fully observer, to get a deep and accurate read of what was aware of the beneficial transformations that will come going on. It required a long time and many attempts— your way when you get what you yearn for. and rarely occurred for him on the first look. Even if CAPRICORN (Dec. 22-Jan. 19): At age 22, future pioyou’re not a writer, Gemini, I recommend his approach for you in the coming weeks. You will attune neer of science Isaac Newton got his college degree just as the Great Plague peaked in 1665. As a safety yourself to current cosmic rhythms—and thus be more likely to receive their full help and blessings—if precaution, he proceeded to quarantine himself for many months. During that time of being sealed away, you deepen and refine the way you use your senses. he made spectacular discoveries about optics, graviCANCER (June 21-July 22): It’s sometimes tempting ty, and calculus—in dramatic contrast to his years as for you to seek stability and safety by remaining just a student, when his work had been relatively undisthe way you are. When life pushes you to jump in and tinguished. I’m not predicting that your experience of enjoy its wild ride, you may imagine it’s wise to the 2020 pandemic will prove to be as fruitful as refrain—to retreat to your sanctuary and cultivate the those of your fellow Capricorn, Isaac Newton. But of strength that comes from being staunch and steadfast and solid. Sometimes that approach does indeed all the signs in the zodiac, I do think your output could be most Newton-like. And the coming weeks work for you. I’m not implying it’s wrong or bad. But will be a good time for you to redouble your efforts to in the coming weeks, I think your strategy should be generate redemption amidst the chaos. different. The advice I’ll offer you comes from Cancerian author and aviator Anne Morrow Lindbergh: “Only in growth, reform, and change, paradoxically enough, is true security to be found.”

AQUARIUS (Jan. 20-Feb. 18): The rapper named Viper has released over 1,000 albums. In 2014 alone, he created 347. His most popular work is You’ll LEO (July 23-Aug. 22): “To be successful, the first thing Cowards Don’t Even Smoke Crack, which has received over three million views on Youtube. According to The to do is fall in love with your work,” says author Sister Chicago Reader, one of Viper’s most appealing features Mary Lauretta. Have you been making progress in accomplishing that goal, Leo? According to my astrolog- is his “blatant disregard for grammar.” I should also ical analysis, fate has been offering and will continue to mention that he regards himself as the second Christ, and uses the nickname “Black Jesus.” So what does offer you the chance to either find work that you’ll love better than the work you’re doing, or else discover how any of this have to do with you? Well, I’m recommendto feel more love and excitement for your existing work. ing that you be as prolific, in your own field, as he is in his. I’m also inviting you to experiment with having a Why not intensify your efforts to cooperate with fate? fun-loving disregard for grammar and other non-critiVIRGO (Aug. 23-Sept. 22): “Self-love is also remem- cal rules. And I would love to see you temporarily bering to let others love you. Come out of hiding.” adopt some of his over-the-top braggadocio.

Poet Irisa Yardenah wrote that advice, and now I’m PISCES (Feb. 19-March 20): “If you don’t ask the right passing it on to you, just in time for a phase when you will benefit from it most. I mean, it’s always good question, every answer seems wrong,” says singercounsel for you to Virgos to heed. But it will be espe- songwriter Ani DiFranco. I suspect you may have experienced a version of that predicament in recent cially crucial in the coming weeks, when you’ll have extra potential to bloom in response to love. And one weeks, Pisces. That’s the bad news. The good news is of the best ways to ensure this extra potential is ful- that I expect you will finally formulate the right questions very soon. They will most likely be quite differfilled is to make yourself thoroughly available to be ent from the wrong and irrelevant questions you’ve appreciated, understood, and cared for. been posing. In fact, the best way to find the revelatoLIBRA (Sept. 23-Oct. 22): Libran poet Wallace Stevens ry questions will be to renounce and dismiss all the wrote that if you want to be original, you must “have questions you have been asking up until now. the courage to be an amateur.” I agree! And that’s an important theme for you right now, since you’re enter- Homework: What could you actually change about ing a phase when your original ideas will be crucial to your life that would give you a great sense of your growth. So listen up, Libra: If you want to stimulate accomplishment? FreeWillAstrology.com

Go to RealAstrology.com to check out Rob Brezsny’s Expanded Weekly Audio Horoscopes and Daily Text Message Horoscopes. The audio horoscopes are also available by phone © CO P Y R I G H T 2 0 2 0 R O B B R E Z S N Y at 1-877-873-4888 or 1-900-950-7700.

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LEGAL NOTICE TO CREDITORS/ NAME CHANGE STATE OF NEW MEXICO COUNTY OF SANTA FE FIRST JUDICIAL DISTRICT COURT IN THE MATTER OF A PETITION FOR CHANGE OF NAME OF THERESA PEREAMARTINEZ Case No.: D-101-CV-2020-01717 NOTICE OF CHANGE OF NAME TAKE NOTICE that in accordance with the provisions of Sec. 40-8-1 through Sec. 40-8-3 NMSA 1978, et seq. the Petitioner Theresa Perea-Martinez will apply to the Honorable Matthew J. Wilson, District Judge of the First Judicial District at the Santa Fe Judicial Complex, 225 Montezuma Ave., in Santa Fe, New Mexico, at 2:00 p.m. on the 11th day of September, 2020 for an ORDER FOR CHANGE OF NAME from Theresa Marie PereaMartinez to Theresa Marie Thompson-Martinez.

KATHLEEN VIGIL, District Court Clerk By: Bernadette Hernandez Deputy Court Clerk Submitted by: Theresa Perea-Martinez Petitioner, Pro Se

LEGAL NOTICES - ALL OTHERS FIRST JUDICIAL DISTRICT COURT STATE OF NEW MEXICO COUNTY OF RIO ARRIBA Case No. D-117-PB-2016-00015 IN THE MATTER OF THE ESTATE OF ENRIQUE SERRANO, DECEASED. NOTICE OF HEARING The Honorable Jason Lidyard will hear the Motion to Amend Petition in the above matter in the Santa Fe County Courthouse located at 225 Montezuma Avenue, Santa Fe, New Mexico, on the 18th day of September, 2020, at 3:30 p.m., with 30 minutes is allotted for the telephonic hearing. Please call: Number: 1-651-504-5687, PIN: 492 868 159# Dated: August 18, 2020 THE LAW OFFICES OF STEPHEN C. ROSS, P.C. By: Stephen C. Ross, Esq. 708 Paseo de Peralta P.O. Box 4774 Santa Fe, NM 87502-4774 Tel: 505-660-0365 Email: srosslaw@cybermesa.com

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GRAFFITI ART OPENING Debajo del Puente Gallery.

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