Showing posts with label America. Show all posts
Showing posts with label America. Show all posts

Thursday, August 22, 2013

Robin Rosenberg, "What is a Superhero" | Talks At Google


In What Is a Superhero?, psychologist Robin S. Rosenberg and comics scholar Peter Coogan (Co-Editors) explore this idea and mainstream of American comic and film history from a variety of perspectives. Here is the publisher's ad copy for the book:
It's easy to name a superhero--Superman, Batman, Thor, Spiderman, the Green Lantern, Buffy the Vampire Slayer, Rorschach, Wolverine--but it's not so easy to define what a superhero is. Buffy has superpowers, but she doesn't have a costume. Batman has a costume, but doesn't have superpowers. What is the role of power and superpower? And what are supervillains and why do we need them?

In What is a Superhero?, psychologist Robin Rosenberg and comics scholar Peter Coogan explore this question from a variety of viewpoints, bringing together contributions from nineteen comic book experts--including both scholars in such fields as cultural studies, art, and psychology as well as leading comic book writers and editors. What emerges is a kaleidoscopic portrait of this most popular of pop-culture figures. Writer Jeph Loeb, for instance, sees the desire to make the world a better place as the driving force of the superhero. Jennifer K. Stuller argues that the female superhero inspires women to stand up, be strong, support others, and most important, to believe in themselves. More darkly, A. David Lewis sees the indestructible superhero as the ultimate embodiment of the American "denial of death," while writer Danny Fingeroth sees superheroes as embodying the best aspects of humankind, acting with a nobility of purpose that inspires us. Interestingly, Fingeroth also expands the definition of superhero so that it would include characters like John McClane of the Die Hard movies: "Once they dodge ridiculous quantities of machine gun bullets they're superheroes, cape or no cape." 
From summer blockbusters to best-selling graphic novels, the superhero is an integral part of our culture. What is a Superhero? not only illuminates this pop-culture figure, but also sheds much light on the fantasies and beliefs of the American people.
Interesting stuff. I think most boys who grew up in the 1970s were comic book fans and most of read superhero comics, either Stan Lee's Marvel Universe (Spider Man, The Hulk, Captain America, Thor, Fantastic Four, and so on) or the DC Comics Universe (Batman, Superman, Wonder Woman, Green Arrow, The Flash, Aquaman, and the Justice League).

I knew I could never be Superman, being from Earth and all, but Batman was just smart and had really cool toys - I could do that. Boys often saw these characters (almost certainly unconsciously) as role models.

In the end, a Superhero, for me, was someone who sacrificed their own safety and sometimes happiness to keep the world safe from villains. Gender, planet, or species, super powers or not - none of that matters. Superheroes are those who serve good and resist evil.

Rosenberg recently stopped in at Google to talk about her new book and our ideas about superheroes.

Top 25 superheroes on screen

* * * * *


Robin Rosenberg, "What is a Superhero" | Talks At Google


Published on Aug 22, 2013

Robin Rosenberg, Geoff Klock, Tom DeFalco, and Danny Fingeroth, "What is a Superhero"
What is a superhero? Everyone knows, right? And yet everyone seems to have a different answer. If asked, most people will say that a superhero is a fictional character with "superhuman" abilities or powers — and one who uses those abilities for the common good. Some might add that superheroes wear costumes. But this is only part of the story. 
In this innovative collection of essays, renowned psychologist Robin Rosenberg and comics scholar Peter Coogan explore the question "What is a superhero?" from a variety of viewpoints. What is the role of power and superpower? Heroism? The environment? How is the superhero a metaphor? Perhaps most intriguing, what are super villains and why do we need them? These and many other fascinating topics are taken up in this exciting new book. With essays from scholars and commentary by the writers and creators themselves, including exclusive material from Stan Lee, Danny Fingeroth, and their peers, What is a Superhero? is the first volume to provide a true synthesis and reflection of the state of superheroes in our culture today.

Wednesday, January 2, 2013

Men's Health Best and Worst Cities for Men, 2013

For men who thinking about relocating - or who will want to relocate after seeing where their city places on this list - Men's Health offers their 12th annual analysis of the best and worst cities for men in the U.S. My own city of residence, Tucson, placed 45th out of 100 cities named. I guess it could be worse, I could live in Birmingham, Alabama.

The Best and Worst Cities for Men 2013

Our 12th annual statistical smackdown unveils America's top towns for men—and places to run from
By Margaret Niemiec, Researched by Christa Sgobba, Posted Date: December 14, 2012 

Back in the 1860s, a gold rush lured men from all over the country to the Boise Basin. Some struck it rich, but most simply struck out. Today most of the gold is gone, but in its place is something much more valuable: a rich vein of health, happiness, and fitness that the men of Boise, Idaho, are mining every day. 
We arrived at Boise after a long journey measured not in miles traveled but in numbers crunched. All told, we delved into more than a dozen data sources in order to assemble city rankings in 38 different criteria, including everything from air quality to unemployment, cost of living to death rates. We factored in property crime and criminally long commute times. We even took into account the ratio of single men to single women. (After all, what's a great town if you can't enjoy it with a great woman?) But as much as this is Boise's time to shine, the rest of America's men don't need to rush there again. We've unearthed five nuggets of wisdom that will enrich your life no matter where you live.
THE 10 BEST

1. Boise, ID
Health: A-
Quality of Life: A-
Fitness: B+

2. San Jose, CA
Health: A+
Quality of Life: C
Fitness: A

3. San Francisco, CA
Health: A-
Quality of Life: C+
Fitness: A

4. Plano, TX
Health: A+
Quality of Life: C+
Fitness: B

5. Seattle, WA
Health: A+
Quality of Life: C-
Fitness: A-

6. Burlington, VT
Health: A+
Quality of Life: A-
Fitness: C

7. Austin, TX
Health: B-
Quality of Life: B
Fitness: A+

8. Salt Lake City, UT
Health: A+
Quality of Life: C
Fitness: B

9. Madison, WI
Health: B+
Quality of Life: A-
Fitness: B-

10. Portland, OR
Health: B+
Quality of Life: C-
Fitness: B+


THE 10 WORST

91. Tulsa, OK
Health: F
Quality of Life: C
Fitness: F

92. Detroit, MI
Health: F
Quality of Life: F
Fitness: C

93. Columbia, SC
Health: F
Quality of Life: D-
Fitness: D-

94. Cleveland, OH
Health: D-
Quality of Life: F
Fitness: D

95. Memphis, TN
Health: F
Quality of Life: D-
Fitness: F

96. St. Louis, MO
Health: F
Quality of Life: F
Fitness: D

97. Toledo, OH
Health: F
Quality of Life: D-
Fitness: D-

98. Charleston, WV
Health: F
Quality of Life: D-
Fitness: F

99. Philadelphia, PA
Health: F
Quality of Life: F
Fitness: D

100. Birmingham, AL
Health: F
Quality of Life: D-
Fitness: F

And make sure you check out these 13 Places to Visit in 2013.

Boise, ID: Win the rat race
Eighteen minutes. That's the average commute time for our boys in Boise. Now, given that new Brown University research finds that the less time you spend commuting, the more minutes you have for sleep, exercise, and making your own meals, it's no wonder Boise took the top spot overall. The secret? Pedal power. See, when you drive, your commute is susceptible to slowdowns from packed roadways, but travel time on a bike is the same every day, explains Boise State University professor George Knight, M.A., founder and director of the school's Bicycle Congress. And the city is definitely cycling-centric: More than 220 miles of on-street bike lanes and 46 miles of designated bike routes run through Ada County. You'll also notice a raft of road-widening projects and find bike racks outside most public buildings. If you're a first-time bike commuter, spend a Saturday morning practicing your route to work.

San Jose, CA: Give your heart a lift
Weight training isn't a "cardio" workout, but it can prevent a coronary. Just look at San Jose, a city of lifters that also has the lowest rate of heart disease deaths. "When your muscles are toned, they're more effective at extracting oxygen," says Theodore Chow, M.D., a cardiologist at the Regional Medical Center of San Jose. "That means your heart doesn't have to work as hard." What's more, moderate resistance training (60 to 80 percent of your 1-rep max) may lower your blood pressure enough to significantly reduce some of your risk factors for heart disease, according to a 2011 study review published in the journal Hypertension.

San Francisco, CA: Defuse a gut bomb
If you want to see fat mammals in San Fran, check out the sea lions at Fisherman's Wharf. You won't spot many heavy humans here, though—the city has the lowest obesity rate in our ranking. That may also help explain why prostate cancer is as rare as flat roads here. "Following a low-fat, limited-calorie diet and maintaining a healthy weight, along with exercising regularly, contribute to reducing the incidence of prostate cancer," says Peter Carroll, M.D., M.P.H., the chairman of the urology department at the University of California at San Francisco school of medicine.

Plano, TX: Survive your drive
Texas may have the highway with the fastest speed limit in the country (85 mph!), but Plano knows how to make drivers slow down. From 2005, the year before the city installed red-light cameras, to 2010, crashes at camera-monitored intersections decreased by almost 40 percent, according to the city's police department. The net effect: a motor vehicle accident death rate well below the national average. But even if your city is sans cameras, you can still reduce your own risk of being T-boned. "If you're the first car at a stop light, you have a duty to look for approaching traffic even when entering the intersection on green," says Jeff Agnew of the National Campaign to Stop Red Light Running.

Seattle, WA: Order venti protection
To fight the Big C, you need a Bigger C: coffee, the official beverage of Seattle. A new American Journal of Clinical Nutrition study found that drinking 4 or 5 cups of coffee a day reduces colorectal cancer risk by 15 percent. But it isn't just the java that's taming tumors in the city. "The above-average economy in Seattle may provide men here with better access to colon cancer screening," says Bruce Lin, M.D., a gastrointestinal oncologist at Virginia Mason Medical Center in the city. "And that's the number one way to prevent colon cancer." Worried about the colonoscopy prep? A 2012 study in Clinical and Translational Gastroenterology found that a combo of Gatorade and the laxative polyethylene glycol (found in Miralax) was just as effective as a traditional colon cleanser and easier to tolerate. The net effect: Study participants were more likely to comply. Talk with your doctor about switching.

The Full List


1 Boise, ID
2 San Jose, CA
3 San Francisco, CA
4 Plano, TX
5 Seattle, WA
6 Burlington, VT
7 Austin, TX
8 Salt Lake City, UT
9 Madison, WI
10 Portland, OR

11 Minneapolis, MN
12 St. Paul, MN
13 Aurora, CO
14 Raleigh, NC
15 Anaheim, CA
16 San Diego, CA
17 Virginia Beach, VA
18 Colorado Springs, CO
19 Oakland, CA
20 Lincoln, NE

21 Manchester, NH
22 Portland, ME
23 Boston, MA
24 Honolulu, HI
25 Washington, DC
26 Fargo, ND
27 Sioux Falls, SD
28 Denver, CO
29 Omaha, NE
30 Dallas, TX

31 Billings, MT
32 Jersey City, NJ
33 Charlotte, NC
34 New York, NY
35 Atlanta, GA
36 Durham, NC
37 Phoenix, AZ
38 Fort Worth, TX
39 Chesapeake, VA
40 Bridgeport, CT

41 Miami, FL
42 Fort Wayne, IN
43 San Antonio, TX
44 Sacramento, CA
45 Tucson, AZ
46 Albuquerque, NM
47 Los Angeles, CA
48 Houston, TX
49 Anchorage, AK
50 Reno, NV

51 Fresno, CA
52 Orlando, FL
53 Cheyenne, WY
54 Lexington, KY
55 El Paso, TX
56 Des Moines, IA
57 Laredo, TX
58 Riverside, CA
59 Nashville, TN

60 Newark, NJ
61 Bakersfield, CA
62 Greensboro, NC
63 Columbus, OH
64 Stockton, CA
65 Corpus Christi, TX
66 Providence, RI
67 Pittsburgh, PA
68 Lubbock, TX
69 Winston-Salem, NC

70 Chicago, IL
71 San Bernardino, CA
72 Cincinnati, OH
73 Wilmington, DE
74 Wichita, KS
75 Milwaukee, WI
76 Las Vegas, NV
77 Norfolk, VA
78 Baton Rouge, LA
79 Little Rock, AR

80 Tampa, FL
81 St. Petersburg, FL
82 Buffalo, NY
83 New Orleans, LA
84 Baltimore, MD
85 Jacksonville, FL
86 Kansas City, MO
87 Oklahoma City, OK
88 Louisville, KY
89 Indianapolis, IN

90 Jackson, MS
91 Tulsa, OK
92 Detroit, MI
93 Columbia, SC
94 Cleveland, OH
95 Memphis, TN
96 St. Louis, MO
97 Toledo, OH
98 Charleston, WV
99 Philadelphia, PA
100 Birmingham, AL

Wednesday, May 23, 2012

Jack Kerouac's "On the Road" Hits the Big Screen at Cannes

Director Salles and cast members pose during a photocall at the 65th Cannes Film Festival


Finally, more than 30 years after Francis Ford Coppola bought the rights to the book, and more than five decades since Jack Kerouac spent three benzedrine-fueled weeks furiously typing the manscript, On the Road - "a frenetic tale of liberation, masculinity and post-War America" - has been made into a film. 

The film debuts at Cannes, and it seems that so far, the reviews have been quite negative. That's too bad, it has the material to be a great film if were done honestly and faithfully to the book, with no pretense and no overly pretty faces (aside from the Dean Moriarty character, who I always pictured a young Marlon Brando or James Dean).

Kerouac's "On the Road" hits screen in Cannes debut







CANNES (Reuters) - The Bible of the Beat Generation, "On the Road" premiered at Cannes on Wednesday, taking more than five decades for the frenetic tale of liberation, masculinity and post-War America to play out its journey from novel to the big screen.

Furiously written on a typewriter over a three-week long creative binge in 1951, Jack Kerouac's On the Road is the seminal portrayal of "Beat" culture and its spiritual quest for expression.

The film version from Brazilian director Walter Salles ("Motorcycle Diaries") strives to capture the energy and drug-fuelled stream of consciousness of the original book.

Salles is helped by the casting of British actor Sam Riley as protagonist Sal Paradise, a stand-in for Kerouac himself, and U.S. actor Garrett Hedlund as Dean Moriarty, a symbol of American virility and poster child for living in the moment.

"The only people who interest me are the mad ones," Paradise writes, and Moriarty fits the bill. The charming, adventurous con man becomes Paradise's alter ego, and their closely bonded friendship plays out across a series of road trips.

"It's about the loss of innocence, it's about the search for that last frontier they'll never find," Salles told reporters in Cannes. "It's about also discovering that this is the end of the road and the end of the American dream."

Kristen Stewart of "Twilight" fame plays Moriarty's young wife Marylou, Kirsten Dunst plays second wife Camille and Viggo Mortensen takes a turn as Old Bull Lee, who is based on William Burroughs.

Salles said he and the team had "enormous respect for Kerouac" which helped drive the process from the time Francis Ford Coppola bought the film rights to the book in 1979.

The idea of making On the Road into a movie languished "until Walter raised his hand and said I think I can make this movie," said Coppola's son, Roman, who is a co-producer. "It took 30 years but it was such a natural fit with Walter."

Most early reviews were negative.

"It feels long and tedious, as if we've dropped in on someone else's party without knowing or caring who these folks are, knocking back the whisky and barbiturates as regularly as they're knocking off each other," wrote London magazine Time Out's Dave Calhoun.

British newspaper The Telegraph called the film a "tedious loop of beatnik debauchery" while the Evening Standard said it "seems to lack the mad passion of Jack Kerouac's ferocious and extraordinary writing."

ROAD MOVIE

Drugs, sex and jazz are central to On the Road, as the lead characters' quest for freedom of body and mind take them to black jazz clubs, flop houses, migrant camps and rail depots.

"A road movie I think is what made me into a film maker and I'm very loyal to it," Salles told the press.

He said he found parallels between Kerouac's search for inspiration through jazz and bebop as he wrote his novel in an improvisational style and the job of the director.

"You always have to be on the lookout for what you find along the way, it's a way of creating fantastic images."

Salles' camera captures America's vastness - and the promise of something new around the corner - from the lights of New York to the hills of San Francisco and the long expanse of flat road and endless sky in between.

But as the sun fades on the brief and bright explosion of the characters' lives, age and responsibility intrude.

"This high we're on is a mirage," character Carlo Marx tells Paradise and Moriarty.

For a look at Cannes' 2012 lineup, click here: http://link.reuters.com/vav28s

(Reporting By Alexandria Sage, editing by Paul Casciato)

Tuesday, February 7, 2012

Chrysler - Clint Eastwood - Halftime in America

This is widely considered to be the best commercial from Sunday's Super Bowl. Two years running, now, Chrysler has delivered inspiring ads that are less about their cars and more about the people of Detroit and the nation we live in (last year it was the Eminem commercial).

Clint Eastwood was the perfect spokesman for this spot - he embodies the rugged masculine strength Chrysler wanted to project, as well as the sensitivity he has become known for as a film director. 

For the most part, corporations are all about the money, but even in that pursuit, they can sometimes offer a glimpse of "our better angels." This two minute ad cost them about $14 million just for the airtime, not counting the production and the fees to the ad agency (commercials cost an average of $3.5 million for a 30-second spot this year).




Chrysler - Clint Eastwood - Super Bowl Commercial

As reported in the LA Times, two of the three writers credited with writing that ad are part of literary world, a poet and fiction writer. Interesting.
[O]f the three people credited as copywriters on the powerful Chrysler advertisement above, the one featuring Clint Eastwood that aired for the first time during Sunday's Super Bowl, one is poet Matthew Dickman.

Dickman -- whose twin brother, Michael, is also a poet -- is the poetry editor of Tin House magazine. He's got one collection, "All-American Poem," and has been published by many fine magazines, including Narrative and the New Yorker. He's won a number of prestigious awards. But none of those things makes him a shoo-in for a Chrysler Super Bowl ad.

The advertising firm that created the spot is Wieden & Kennedy, the Portland, Ore., firm known for its seminal Nike ads. Dickman, too, is based in Portland.

Maybe that explains it. But it wouldn't explain one of Dickman's co-authors, Smith Henderson. I suspect he is the short story writer Smith Henderson, a recipient of the 2011 PEN American Center Emerging Writers award.

Maybe more literary writers should give advertising a try.

Thursday, May 19, 2011

Alberto Ledesma - On Being an (Ex) Undocumented Immigrant Father

When I talk with my friends about the status and plight of undocumented immigrants, I don't feel as far outside the mainstream as I do most other times. We do not call them illegal aliens - here in Tucson, some of the undocumented immigrants have family connections to this land going back centuries - those of us with white skin are the aliens here. But we are a small minority. In Arizona, there is a (fluctuating) 70% approval for SB1070, the law that was passed last year allowing police to require proof of residency from anyone they deem suspicious.

Many of us support complete amnesty and making work visas much easier to get.

But many immigrants still fear discovery - especially here in Arizona. Maybe it is living here that makes me sensitive to stories like the one below - the story of what it's like to be in a country where you are not free.

Perhaps I am also sensitive to this story because when I was first in Tucson I managed a warehouse that employed (don't ask, don't tell) undocumented workers. As long as they got through the temp agency, we didn't ask any questions. I saw young fathers working two jobs to support a family and still have enough money to send some back to Mexico. I saw them go "home" for a holiday and never be heard from again, and we assumed they got caught coming through the border.

They did all of this, risked all of this, for one reason - to provide their families with a better a life, with enough food and a safe place to live. I sympathize with that. These men risk everything to be good providers, good fathers. And the country they want so desperately to be a part of hates them because they do not have the correct piece of paper.
As kids, we always think that our parents have more power than they actually do. Mamá and papá were as desperate as I was to understand how to make sense of being undocumented.
By Alberto Ledesma, Alternet
Sofia and I had been making that turn since we had moved to Castro Valley. In those five years, the protesters at the corner of Castro Valley Boulevard and Redwood Road had become an constant example of the way politics worked in the United States. Each time, after I picked her up fromabuelita’s house, we waited for the light to turn while she stared at the protesters.

“What does ‘Impeach Bush’ mean, papá?” Sofia had asked when she was in the third grade. Dozens of car horns had beeped in agreement. “You beep too, papá!” She had implored when our turn came to cross.

A few years later, at the start of Sofia’s fifth grade and more than 12 months after Barack Obama had been elected, she wondered, “Why do they still want to ‘End the War’? Didn’t President Obama say it was over?” That night in December of 2009, as we were again surrounded by the screeching of car brakes and the roaring of engines revving forward, I tried again to explain what I understood about the way American politics works, that foreign policies shift slowly between administrations.

This time, however, she seemed tired, dazed from spending too many hours cooped up in abuelita’s one-bedroom cottage.

It had been another hectic day at Berkeley, I had told her a few hours earlier.

“The 580 was packed. A red Tahoe overturned,” I had told her when she had opened the passenger door. “You’re lucky I picked you up when I did.”

As usual, she had remained quiet those few blocks before we reached the intersection. Instead, she had looked, as she usually did, out the window towards the Safeway parking lot, to the protesters all dressed in black jackets and blue jeans. They were now holding a “Beep for Peace!” banner.

Cars began arriving behind us while we waited for the red light to turn. Then she looked at me and asked, “Papá, what does it mean that you were once illegal?”

***

The only thing I can think of is of that Saturday afternoon in April of 1977 when papá drove us to Hayward in his Ford station wagon. We are heading back home in the green 1969 Country Squire wagon that his buddy, Cheto, had sold him the day before. My sisters Silvia, MarĂ­a, and I are sitting in the back seat, enjoying the smooth ride back to Oakland, happy about the Spirograph drawing toy and Mother Goose potato chips papá had bought us at the K-Mart. We are trying to find any Mexican grocery store along Hayward’s Mission Boulevard. Mamá, who is sitting in the front seat holding my two-year-old brother, Julian, wants to cook us something special.

Alli!,” papá says as he points towards the Hayward hills. At first I can’t tell what he’s found; but, he quickly turns the corner at Carlos Bee Boulevard and the wagon begins to climb the steep road. He parks in front of a lot that’s been over-run by ivies and dandelions.

Esperen aqui,” he says with a smile, and then runs into the thick brush.

This is the first time we have travelled to this part of Hayward. Outside the station wagon, we are surrounded by recently built apartments, three- and four-story complexes made of beige-colored stucco and white-trimmed balconies decorated with ferns. Now and then, cars pass near us on their way up the hill. Mostly, they seem to be newer-model sedans, all piloted by blondes wearing sunglasses.

Maybe because she is sensing our restlessness or because she is feeling restless herself, mamá asks us if we want to step outside and wait for papá under the shade of the oak tree closest to the curb. Julian loves it. He runs from one patch of grass to the other while mamá hovers behind him.

Close to an hour passes and mamá can’t wait any longer. Julian is crying. The sun is making us thirsty even under the shade. Mamá has no choice. “¡Viejo! ¡Ya es tiempo!” From somewhere behind the bushes, papá’s voice screams, “ya mero!” Another 20 minutes crawl by.

It is Silvia who finally spots the “No Trespassing” sign nailed high on the light post. It is a barely legible cardboard placard that’s been faded by countless days of direct exposure to the Hayward sun.

“¿Que quiere decir TRES-PASSIN?” Mamá asks.

Silvia is 14, almost in high school. As always, it is she who is expected to translate for mamá.

“Dice que no debemos estar aqui.” Whatever Silvia means, mamá knows that we need to go.

“¡Viejo! ¡Ya vamonos!”

Finally, papá emerges from the bushes holding a mountain of prickly cactus leaves on a piece of cardboard. He loads them in the back of the wagon and we are off.

On our way home, I keep searching for papá’s eyes in the rearview mirror. I want to ask him why he stopped and disappeared into some strange person’s lot without telling us; but mamá is too busy talking about the chile con nopalitos she will be cooking when we get home.

I can’t tell what Silvia or MarĂ­a are thinking because they, too, are slumped in the back seat of papá’s new wagon. So we travel down Mission Boulevard and onto East 14th Avenue never talking about what papá did. And that’s how it remains for years.

* * *

If I were a more responsible parent, Sofia wouldn’t be sitting in the front seat of my sedan. She would be in the back, with me taking only opportunistic glances through my rear-view mirror to make sure she is okay. During the past year, however, I’ve become dependent on these little conversations we have when she is sitting by my side. There is no Nickelodeon, YouTube, DS, iPod, or her guinea pig, Tubby Tux, to distract us.

Except, this time I’m the one who’s quiet. I don’t know how to answer her question.

I glance towards her and notice that she still seems upset about me picking her up late, that her brown eyes seem as tired as mine. I didn’t think that it would be at 10 years old that she would ask me that question. The red van in the next lane honks when I start drifting. I hope that whatever I say turns out well.

“You know Sofia,” I stutter while staring at the road ahead, “I was about your age when my dad asked my mom to bring us across the border.”

Her eyes are focused on my lips.

“Things are complicated,” I tell her. “At first we thought that we were just coming for the summer. Then it became a year. Then I graduated from high school and met your mom.”

Now, it occurs to me, we are living in the same hills where my dad once stole cactus to celebrate buying his new car.

She is listening carefully, as if weighing the sincerity of each of my words. But I am lost.

“So, where did you learn the word 'illegal'?” I ask her.

“I dunno. Somewhere, I guess.” She answers abruptly, the same way she does whenever she has done something wrong and knows that she will get reprimanded.

“Illegal is such a terrible word,” I tell her. “Its only purpose is to make some people angry at other people without either understanding the true reasons for their anger.”

I hear myself recounting only a few of the key events that happened when we crossed. All she hears is how MarĂ­a, Silvia, and I were smuggled in the back seat of some strange lady’s red Camaro. How we pretended to sleep so that the border guard would not ask us questions as he reviewed someone else’s birth certificate for each of us. I am not really explaining how I felt, how terrified I was about what we were doing.

I can tell that she is paying attention to my tone, to the inflection of each of my words.

“I really didn’t have a choice.” I tell her. And I am not sure if I believe it, am bothered because it almost sounds as if I am repudiating my parent’s decision-making, as if I’m critiquing two people Sofia absolutely adores.

Ahead, just past the KFC next to CVS Drugs, a blonde teenager in baggy jeans and a beige bomber jacket is waiting to jaywalk. I slow down and let him pass. And I remember my own transgressions.

* * *

I am 16 when papá and I have our first real argument about our immigration status. I want to get out of the house: to stroll down East 14th Avenue with my friends on Friday nights. To hang out with the homies at the Giant Burger on 38th Avenue watching their lowriders hop by. To catch the midnight creature feature at the Grand Lake Theatre without worrying about what time I have to be home. But eight years after our arrival and we are still hiding.

Papá doesn’t seem to be in the mood for any argument.

No seas tonto.” Don’t be a fool, he tells me for the umpteenth time. There are things that you can’t do “as long as you are ilegal,” he glares in my direction. “It doesn’t matter how good you think your English is.”

It’s not fair. The only times we seem to get out are when we go to Los Mexicanos Market for the week’s groceries. On Sundays we go to St. Louis Bertrand for the morning mass, maybe to the mall for Chinese food and strawberry Slurpees if the week’s been good. We travel as a group, always within sight of each other.Mamá’s greatest fear is that someone will abandon her in the middle of JC Penny’s just as the store is closing.

I’ve had enough of it. I am now in high school. I want to go places by myself, to explore this new world and the people in it, to be the kind of teenager that appears in a John Hughes movie.

That night, papá and I are sitting across each other at the kitchen table. He is drinking his Coors while I am toying with what is left of the chicken molĂ© Mamáserved us for dinner. There’s talk of more layoffs at the foundry. He is low man on the totem pole. Mamá wrings her hands on her apron and tells him that, con el favor de Dios, everything’s going to be okay.

If this were a different night, if it were a different event, I would think twice about what I’m about to do.

But this is supposed to be my first high school dance. I’ve been dressed for it since papá returned from the pool hall, my white shirt is still as pristine as on Sundays before we leave for church, in spite of the molĂ©. And it’s getting late. And Roberto and Sergio are already waiting for me inside the high school gym. And papá is the only one who can give me a ride.

“I thought you were going to drop me off at school,” I say. There is something about the way I’m looking at him that seems to offend him. He frowns, his eyes fixed on me as I plead.

“My friends are waiting for me. The dance has already started. I told you about it this morning.”

He turns, pretends to ignore me, his eyes now focused on the television that’s been left on in the other room.

“This is not right,” I tell him. “You are keeping us locked up as if we were in prison.”

He turns to face me and tells me that that’s enough, that no one in this house is going anywhere tonight, that I’d better shut up and show some respect.

“Well, if you won’t take me, I’ll walk to the bus stop.”

I see him getting up from his seat as if in slow motion. His brown irises are frozen on me and his jaw is tensed. Suddenly, I feel the weight of his palm across my left cheek. It doesn’t hurt. Really. There are no more words. Instead, he turns, stomps to the front room, and closes the door.

An hour later, after I’ve locked myself in the back room, it is mamá who coaxes me out and walks me to papá’s station wagon. He is waiting for me there, ready to take me to the dance, his jaw still tensed and his eyes still fixed forward. As always.

* * *

As kids, we always think that our parents have more power than they actually do. Undocumented immigrant kids are no exception. I never thought in those early years of being in the United States that mamá and papá were as desperate as I was to understand how to make sense of being undocumented.

As a kid, I thought mamá and papá were in full control of their decisions, that it would be just as easy for papá to stop going to the pool hall and mamá to stop her infatuation with religious discipline as it would be to flip a switch. Now, a father, I am beginning to realize they were as lost as I was.

Truth be told, I don’t know what I would have done had I been in my father’s shoes. Mine, after all, is not the perspective of someone who was driven by a need to provide for his family and consciously chose to cross the border illegally -- how I hate that word. I was brought over, a refugee created by what my parents decided was best for us, like so many other kids who have had so many other fights with their own undocumented fathers and mothers.

One thing that I am convinced of, however, is that only through active communication will we be able to come to terms with the psychological ravages that being undocumented causes within families. This, after all, is what Sofia’s question made me realize. It is better to share even those ambiguous moments of truth than keep her in the dark about a painful experience that has already profoundly shaped who I am and, by extension, who she is. My undocumented immigrant heritage is also hers, just like my father’s anxieties are now mine. What matters is what I do with them. That’s why she deserves to know. And that’s also why every other kid whose parents have also experienced being undocumented in the United States deserve to know what their parents went through.

But unlike so many now living in limbo and in fear, my family and I were lucky. We were able to legalize our status during the amnesty of 1986. We are now all citizens and vote regularly during elections.

* * *

Eight months after Sofia asked me her question, her elementary school had its last open house of the year. The parking lot was already full by the time I arrived, late from work again. I parked at the market across the street. It was a long enough walk that Leticia had to call to ask where I was, to say that the teacher was already addressing the parents.

My own elementary school -- and Leticia’s for that matter -- was never as nice as Sofia’s. Manicured lawns, flat-screen computer monitors, new books, and pristine black-boards. We moved to Castro Valley so that she could have what we never had. Then again, this is exactly what my own parents must have thought when they first visited my own elementary school. They had never gone past the third grade in Mexico, had brought their kids across a dangerous border, to East Oakland, so that we could have a better life. When they had enrolled us in our own elementary school, it must have appeared to them as luxurious as Sofia’s school now appeared to me. Maybe even more.

“It’s been a pleasure to teach your children this year,” Sofia’s teacher was finishing her comments when I walked in the door. The teacher was young, still enthusiastic about her work, in spite of what state budgets portended.

“Please have a look around. See what your kids have created. And please take all your child’s work home when you leave.”

Parents struggled to stand up from the minuscule chairs. Soon we were brushing past each other, examining the projects students had produced for this exact event. There were posters covering every inch of the walls. Sofia directed us to her desk.

“This is what I did,” she said as she picked up a stack of papers.

That’s when I saw it. It was a laminated roll of paper as wide as a strip of toilet tissue. She had recorded all the major events in her life and predicted what she hoped to experience up until 2029. She called it “Sofia’s Life Line.”

There was a cartoon of a baby swaddled in a pink blanket for the first event. Under it she had written, “I am born. San Francisco, 1999.” Above the cartoon she had also written the words, “Yay! It’s a girl!”

I don’t know why, but seeing her images moved me. There was an innocence to them. They seemed uninhibited by limits, as if she had enjoyed drawing each of them, as if she had taken her time to sketch each one and gently elbowed her friends so they could see the clever things she had thought of. I smiled, proud of what she had captured with each stroke of her pencil.

I unfurled the timeline and read each event. She had recorded the many times we had moved since she had been born, first, from San Francisco to San Lorenzo, then, from San Lorenzo to Alameda. She had drawn our move to Castro Valley, a tiny U-Haul truck with smoke coming out of its tailpipe. She had also drawn events in my own life that we had discussed in our rides from abuelita’s house; I was a smiley face stick-figure with glasses and a buck-tooth smile holding a magazine with the following caption, “After five tries, papá’s story finally gets published.”

Yet, what made my eyes tear up, what made me look at her and feel the urge to pick her up and hug her in front of all her friends -- something she passionately dislikes -- was the last item of her timeline. In 2029, Sofia wants to publish her own book. And, if my work continues to inspire her, I will keep writing forever though I may never publish another word.