The rock-hound’s use of the word Indian, rather than Mexican, opens fertile ground. A different idea of territory, of legitimacy, of history, of boundary, of intersecting identities. Who then the interloper? Who the immigrant? The undocumented?
Or perhaps these are the inevitable themes of a certain kind of writing in a certain kind of era. The narrator of the story of the Venus on the Malecón believes that a Time of Terror calls for the most elementary of reconstructions: “primitive materials . . . life histories, fictions, collections.”