Showing posts with label coming of age. Show all posts
Showing posts with label coming of age. Show all posts

Sunday, July 06, 2025

Kickapoo Kamp, Kerrville, TX -- 100 years old: Turning Point at Turtle Creek

Many prayers for the victims of the tragic flooding at summer camps, including Camp Mystic, in the Texas Hill Country.  What happened over the 4th of July weekend is truly heart-rending. The piece I am sharing here was written before the tragedy. It offers memories but changes identities, as a tribute to the life-changing experience of Kickapoo Kamp near Kerrville, this year commemorating its 100-year-anniversary.  I hope this work of memory encourages others to spend a moment to reflect on their own happy and formative experiences. 

Link to recording: https://youtu.be/8HuqAn7PXfI 

Speakers near the recreation hall blared Golden Earring’s "Radar Love" for what must have been the tenth time that day. Battery-powered radios scattered around camp added to the soundtrack of the summer of '73—Grand Funk Railroad's "We're An American Band," Elton John's "Daniel," and Vicki Lawrence's "The Night the Lights Went Out in Georgia" competed with the constant refrain of "Locomotion" by Grand Funk that the younger girls couldn't seem to get enough of. From the direction of the counselors' cabin came the melodic "Eres Tu" by Mocedades, its Spanish lyrics floating across the camp grounds, while someone else had tuned into a station playing Sister Janet Mead's rock version of "The Lord's Prayer," the unexpected hit by the Australian nun that had become an international sensation. 15-year-old Genni Dyer shifted uncomfortably on the wooden bench, tugging at the hem of her shorts that seemed determined to ride up her thighs. All around her, girls chatted excitedly, their voices creating a cacophony that mirrored the chaos inside her head.

Why did I agree to this?

Five weeks at Camp Kickapoo near Kerrville, Texas. Five weeks of trying to be someone she wasn't—someone who could easily make friends, someone who didn't overthink every social interaction, someone thin.

"There you are!"

Genni looked up to see Melody Boker waving enthusiastically, her blonde ponytail swinging behind her as she navigated through the crowd. Behind her trailed her younger sister, Nancy, whose perpetual half-smile always made Genni wonder what private joke she was enjoying.

The Boker girls were the reason she was here. Ted Boker and her father, David Dyer, had been thick as thieves since their days at the University of Oklahoma, where they'd bonded over rock formations and late-night study sessions for their geology master's degrees. While her father had gone on to become district geologist for Samedan, first in Ardmore where Genni was born, and later in Oklahoma City, Ted had taken a teaching position at the University of Texas.

Source: Wikipedia

"Dad's looking for you," Caitlin said, plopping down beside Genni. "They're announcing cabin assignments in ten minutes."

"Great," Genni murmured, fighting the flutter of anxiety in her chest. New cabinmates meant new people to impress, new people to inevitably disappoint.

"Aren't you excited?" Melissa asked, her eyes wide with genuine curiosity. At thirteen, she possessed a sincerity that Genni envied. "Second session is supposed to be the best. The swimming hole will be perfect by now."

Genni forced a smile. "Can't wait." At least in the water, she felt comfortable. On the Oklahoma City swim team, she'd found a place where her body was an asset, not something to be criticized. Her mother's voice still echoed in her head: "Genni, honey, maybe just half a portion? You're getting a little chunky for summer shorts."

Last month, she'd won bronze in the 200m butterfly at the Oklahoma Junior Olympics and placed eighth in the 200m freestyle. In the water, she was graceful, powerful. On land, she was just... chunky.

"Come on," Caitlin said, tugging at her arm. "Let's go find out who we're bunking with."

 Cabin Osage housed four girls under the Choctaw tribe designation: Genni, Caitlin, a tall girl named Debbie from Houston, and a quiet, bookish girl called Laurie from Austin. The cabin itself was rustic—wooden bunk beds with thin mattresses, each camper’s foot locker, and a shared bathroom with lukewarm water at best.

Genni claimed the bottom bunk beneath Diana, unpacking the stack of books she'd brought: Future Shock by Alvin Toffler, The Peter Principle, a collection of Jorge Luis Borges' Ficciones that her English teacher had recommended, Franz Kafka's short stories, and her favorite, Richard Bradford’s Red Sky at Morning. Novels about plucky heroines who prevailed against all odds were her comfort food for the mind, while Butterfingers and butter-top bread were her comfort food for the body.

"Are you really going to read all those?" Vanessa asked, peering over her shoulder. "It's summer camp, not summer school."

Genni felt her face flush. "I just like reading."

"Leave her alone," Diana said quietly, not looking up from her own book—something with a worn spine and yellowed pages. They were older campers, experienced. This was Genni’s first year at Kickapoo, but she had spent other summers at Oklahoma camps – the Southern Baptist Camp Nunny Cha-ha in the Arbuckles, and Campfire Girls Camp Cimarron near the Cimarron River. 

"What are you reading?" Genni asked her, grateful for the intervention.

"The Bell Jar," Diana replied, showing the cover. "Sylvia Plath."

Genni's eyes widened. "I've been wanting to read that."

"You can borrow it when I'm done," Laurie offered with a small smile. "I've read it twice already."

"As Boethius writes in 'The Consolation of Philosophy,' it's through adversity that we discover our true selves," Genni said, then immediately regretted it. There she went again, dropping medieval philosophy into casual conversation.

But Laurie just nodded thoughtfully. "I've heard of that but never read it. Tell me more later?"

Before Genni could respond, Melody, who had been organizing her makeup collection, turned around. "If you two bookworms are done bonding over ancient dead guys, we should head to the dining hall. It's almost dinner time, and I heard it's fried chicken night."

Genni's stomach rumbled in anticipation, followed immediately by her mother's voice in her head. Chunky girls don't get asked to homecoming, Genni.

"I'm not that hungry," she lied.

Diana looked at her curiously. "You should eat something. Tomorrow's the first activity day. You'll need your energy."

Something in Diana's tone—understanding without pity—made Genni nod. "Maybe just a little."

 The first week at Camp Kickapoo fell into a rhythm. Mornings were for swimming in Turtle Creek, where Genni quickly established herself as one of the strongest swimmers. Afternoons rotated between crafts, hiking, archery, and free time. Evenings were for campfires, sing-alongs, and on Fridays, a social with the boys' camp across the lake.

Genni felt a friendship with Diana, who shared her love of books and didn't fill silences with meaningless chatter. One afternoon during free time, they sprawled under a live oak, reading.

"What would you be doing if you were home right now?" Diana asked, marking her place in The Bell Jar.

Genni considered. "Probably the same thing. Reading. Or sketching."

"You sketch?"

Genni nodded, reluctantly pulling out her battered sketchbook from her backpack. "Just designs. Nothing good."

Diana flipped through pages of clothing designs—angular business suits with unexpected details, school outfits that balanced practicality with flashes of personal expression. "These are amazing, Genni."

"They're just doodles," Genni mumbled, but pleasure warmed her chest.

"You could be a designer someday."

"That's not a real job," Genni replied automatically, echoing her mother's dismissal.

"Says who?" Diana challenged. "My aunt's a buyer for Neiman Marcus. She says fashion is serious business."

Genni's eyes widened. "Really? Do you think... I mean, could she look at my sketches sometime?"

"I'll ask her to write to me," Diana promised. "She'd love these."

In that moment, beneath the Texas oak with cicadas buzzing in the background and "Radar Love" drifting from someone's smuggled-in transistor radio, Genni felt something unfamiliar—possibility. A Spanish-language station faded in and out as someone adjusted the dial, catching fragments of "Yo Te Recuerdo" by Juan Gabriel before settling back on the American Top 40.

 During the second week, Genni gained a reputation as an impressive runner during the camp's daily morning jogs. Her swimmer's endurance served her well on the trails around camp, though she remained self-conscious about how her thighs looked in the required shorts.

"How are you not dying?" gasped Caitlin after one particularly grueling uphill section, her face flushed.

Genni shrugged. "Swimming. It's good for your lungs."

"Well, it's not fair," Vanessa complained good-naturedly. "Some of us are suffering back here."

"I'll wait with you guys," Genni offered, surprised at her own confidence.

"No way," said Melissa, who had caught up to them. "You're going to win the Choctaw points. Cherokee is killing us in archery."

The tribal competition was fierce at Camp Kickapoo, with each activity earning points toward an end-of-session trophy. Genni had never been a key player in any team before, and the feeling was intoxicating.

That evening at dinner, she surprised herself by taking a full portion of chicken strips, salad, and potato wedges, eating slowly and thoughtfully while listening to Diana talk about the latest news on the Watergate hearings.

"Nixon's going to resign," Diana predicted. "My dad says it's just a matter of time."

"My dad says he should've resigned months ago," Vanessa contributed. "The whole country's waiting for the other shoe to drop."

"It's like we can't trust anything anymore," Genni said quietly. "Like everything we thought was solid is actually... I don't know, quicksand or something. Alvin Toffler talks about this in 'Future Shock'—how rapid change creates a kind of disorientation. But really, it reminds me more of what Aquinas explores in 'Summa Theologica' about truth and authority."

The table fell silent for a moment.

"That's deep, Genni," Melody finally said, but not unkindly. She adjusted the macramé choker around her neck, a perfect complement to white t-shirt with the navy blue neck and the Choctaw logo.

"Sorry," Genni mumbled, tugging at her own white t-shirt with green Kickapoo Kamp lettering. "I've been overthinking again."

"No, you're right," Diana said. "It's like what Kafka writes about—the world suddenly not making sense anymore."

Vanessa rolled her eyes. "Can we not talk about Kafka at dinner? I'm trying to keep this down. I don’t need Grigor Samsa, the giant human cockroach crawling around in my head.  We had to read that last year for English."

They all laughed, and Genni felt a strange warmth spread through her chest. This was what it felt like to be part of a conversation, to have her thoughts considered.

 By the third week, Genni had fallen into an unlikely friendship with her cabinmates. Even Debbie, initially intimidating with her Highland Park confidence, had revealed herself to be funny and fiercely loyal. Melody remained chatty but had taken to asking Genni's advice about books worth reading.

Melody dressed one evening in her new low-rise hip-hugger jeans with the wide cuffs that had become all the rage that summer. Her polyester shirt with its butterfly collar perfectly matched her platform sandals. "My mom just sent these," she announced, twirling to show off the ensemble. "What do you think?"

"Totally fabulous," Debbie declared, looking up from her own outfit—denim hot pants paired with a crocheted vest over a halter top. "Genni, you should borrow my suede fringe vest sometime. It would look dynamite with those culottes you wore yesterday." They loved changing out of their camp-required shorts and t-shirts to explore 70s styles.

Genni glanced down. At home, her mom encouraged preppy outfits, ignoring the fact that Genni desperately wanted to wear the same fashions as everyone else—the peasant blouses, maxi dresses, and wide-legged pants that dominated teen magazines.

One hot afternoon, they escaped the Texas heat by taking refuge in their cabin. Laurie had brought a battery-powered radio, and they tuned it to a station playing the melancholy strains of Cat Stevens. From cabins nearby, Roberta Flack's "Killing Me Softly With His Song" drifted through the air, while someone else blasted Paul McCartney's "My Love" loud enough to hear across the compound.

"The first song was from Harold and Maude," Genni said, surprised. "Don’t Be Shy – oh my goodness. I love the song! You've seen it?"

Diana nodded. "Three times. My mom thinks it's inappropriate, which makes it even better. She hates the song, “If You Want to Sing Out, Sing Out."  

"What's Harold and Maude?" Melissa asked, having stopped by to borrow sunscreen.

"Only the best movie ever," Genni said with uncharacteristic enthusiasm. "It's about this young man who's obsessed with death and this old woman who teaches him how to really live."

"That sounds... weird," Caitlin said, wrinkling her nose.

"It's beautiful," Diana countered. "And the Cat Stevens soundtrack is perfect."

"If there's a sad boy and an old lady, why is it your favorite?" Vanessa asked Genni curiously.

Genni hesitated. She wasn't used to explaining her inner landscape to others. "I guess because... it's about finding your own way to be happy. Even if it's not what everyone else thinks happiness should look like." 

She ran a hand through her hair, wishing she had Melody's fashionable shag haircut instead of her ordinary shoulder-length style. "Dante explores this in 'Vita Nuova'—the idea that true happiness comes from a kind of inner transformation. And Avicenna talks about how the soul needs to recognize its own nature to find fulfillment."

Diana added, “The fake suicide attempts are really funny – and then you realize that Harold is making a statement about American and Vietnam – how death-cultish it was to have the young go to Vietnam to be traumatized, badly wounded, and killed. It’s funny because he’s trying to shock his mom – who’s just a total nightmare who cares about her social events and not her son’s well-being. And then, he meets the total free-spirit Maude.  Anyway – it’s a long story and there is just so much to it – especially when you find out that Maude is a Holocaust survivor who tells Harold to relish life.”

“And,” added Genni. “You have to do what you love, not what someone prescribes for you.”

The cabin was quiet except for Cat Stevens singing softly about trouble. Outside, someone's transistor radio blasted Marvin Gaye's "Let's Get It On," a song the counselors were constantly trying to ban from camp. From the direction of the lake came the soulful Spanish lyrics of "Eres Tu," which had become an unlikely crossover hit in Texas that summer, especially popular in the hill country with its strong Mexican-American influence.

"That actually makes sense," Nancy said finally, adjusting her mood ring. "Like how my dad wanted me to love geology like him, but I want to be a veterinarian."

Genni smiled at her. "Exactly."

"Well, my idea of happiness right now would be not melting in this heat," Vanessa announced. "Secret swimming hole? The counselors are all at their meeting."

Source: Wikipedia

Diana raised an eyebrow. "The one past the restricted trail?"

"That's the one," Vanessa confirmed with a mischievous grin.

"We could get in trouble," Caitlin pointed out, but she was already reaching for her swimsuit.

Genni felt a flutter of anxiety. "I don't know..."

"Come on, Genni," Diana urged quietly. "Live a little dangerously."

The phrase, so reminiscent of Maude's philosophy, made Genni smile despite herself. "Okay, but if we get caught, I'm blaming all of you."

 The secret swimming hole was a revelation—a deep, clear pool formed by a natural dam of limestone, shaded by bald cypress trees with their feathery foliage and knobby knees protruding from the water. The limestone walls of the swimming hole were striated with bands of darker material, telling a geological story that Genni wished her father was there to read.

"It's like Keats wrote," Genni said, gazing up at the dappled light filtering through the cypress branches. "'A thing of beauty is a joy forever: its loveliness increases; it will never pass into nothingness.'"

"You really do have poetry for everything," Debbie said, but she was smiling as she dipped her toes in the cool water.

A flash of movement caught Genni's eye—a six-lined racerunner lizard darting across a sun-warmed rock, its bright blue stripes vibrant against the limestone. Further up on the bank, amid a tangle of mustang grape vines, the distinctive black and yellow pattern of a Texas patch-nosed snake was visible as it slithered away from their voices.

They slipped into the cool water with sighs of relief from the July heat. The creek bottom was a mosaic of smooth limestone and river pebbles, with occasional patches of soft sand collected in the deeper parts.

Genni floated on her back, gazing up at the dappled sunlight through the leaves. For once, she wasn't thinking about how her body looked in her swimsuit or what her mother would say about her sneaking off. She was simply present in her body, feeling the water support her weight, hearing her friends' laughter echo off the limestone walls.

"Race you to the other side," Vanessa challenged, and without thinking, Genni flipped over and took off with powerful strokes.

After easily winning, she treaded water, waiting for the others. Diana arrived second, her technique less polished but effective.

"Show-off," Vanessa called out when she reached them, splashing Genni playfully.

"Can't help it if I'm part fish," Genni retorted, splashing back.

"You really are amazing," Diana said. "You could probably swim in college."

The thought hadn't occurred to Genni before. Swimming had always been something she did, not something she could build a future around. "You think?"

"Absolutely," Diana nodded. "My cousin got a scholarship to swim at Rice."

A scholarship. A way out. A path forward that had nothing to do with being chunky or pretty or normal. Just being strong.

"I might look into that," Genni said thoughtfully.

 That night at the campfire, Genni sat between Diana and Melissa, toasting marshmallows for s'mores without her usual guilt about calories. The past three weeks had changed something fundamental in her relationship with food. She wasn't cured—she still heard her mother's critical voice—but she had begun to see food as fuel for swimming, for running, for living.

One weekend, Ted Boker stopped by camp at lunchtime on his way back to home. "Having fun, girls?"

"The best, Dad," Caitlin assured him.

"Glad to hear it." He turned to Genni. "Got a letter from your father today. He says to tell you he's proud of you for trying something new this summer."

Genni felt a lump in her throat. Her father, unlike her mother, had always accepted her as she was—bookish, analytical, and yes, a little chunky. "Thanks, Mr. Boker."

"You remind me of him at your age," Ted continued. "Always with your nose in a book, always asking the big questions."

"I do?" The comparison startled her. She'd never thought of herself as being like her father.

"Absolutely. He was the only other undergraduate who wanted to debate medieval philosophy while we were supposed to be studying rock formations." Ted smiled. "You've got his mind. It's a gift, even if it makes life complicated sometimes."

After he moved on to check on other campers, Diana nudged her. "Medieval philosophy, huh? You've been holding out on us."

Genni blushed. "It's just something I read about once."

"Don't do that," Diana said firmly. "Don't make yourself smaller."

"What do you mean?"

"You do this thing where you know something interesting or have a unique thought, and then you apologize for it." Diana's gaze was steady. "Stop apologizing for being smart."

Across the fire, someone had started playing "Radar Love" on a guitar, and the familiar notes floated up with the sparks from the fire.

"I've been driving all night, my hands wet on the wheel," a counselor sang, and others joined in.

Genni looked around the circle—at Diana with her quiet intensity, at Caitlin braiding Melissa's hair, at Vanessa teaching younger campers a complicated hand-clapping game. For the first time in longer than she could remember, she felt a sense of belonging.

The fourth week brought the camp Olympics, a day of intense competition between the tribes. The Choctaws were trailing the Cherokees by a narrow margin, and the final event was the lake swim—four laps of the marked course, with each tribe fielding their strongest swimmer.

"It has to be you, Genni," Melissa insisted during the strategy session. "You're our best shot."

Genni felt the weight of responsibility pressing on her chest. "What if I mess up?"

"You won't," Diana said with certainty.

"But what if I do?" The anxiety that had been her constant companion for years bubbled up. "What if I let everyone down?"

Vanessa put her hands on Genni's shoulders. "Then we'll still be your friends, stupid."

The simple declaration stunned Genni into silence.

"It's just a game," Caitlin added. "A fun one that we really want to win, but still just a game."

Genni took a deep breath. "Okay. I'll do it."

At the lake's edge, Genni adjusted her swim cap, trying to ignore the crowd of campers cheering. The Cherokee swimmer was Kimberly, a tall girl from Dallas who had been eyeing Genni with respect mingled with competitive fire all week.

"Swimmers ready," called the head counselor.

Genni closed her eyes briefly, centering herself. In her mind, she was back at the Junior Olympics, feeling the water welcome her.

The whistle blew, and she dove.

The world narrowed to the rhythm of her strokes, the burn in her muscles, the steady pattern of her breathing. She was vaguely aware of Kimberly beside her, matching her pace. At the first turn, they were neck and neck.

By the second lap, Genni had settled into the meditative state that always came during long swims. Her mind, usually buzzing with anxious thoughts, quieted. There was only the water, the movement, the steady beat of her heart.

On the third lap, Kimberly began to flag slightly. Genni maintained her pace, letting her endurance carry her.

The final lap was pure joy—the knowledge that her body was strong, capable, carrying her toward the finish while the voices of her tribemates urged her on.

When her hand touched the dock, seconds before Kimberly’s, the explosion of cheers barely registered. What she would remember later was the feeling of being lifted from the water by many hands, of Diana's fierce hug regardless of how wet she was, of Vanessa's uncharacteristic whoop of victory, of Caitlin jumping up and down while Melissa chanted "Choc-taw! Choc-taw!"

That night, celebrating their overall victory with an extra hour of campfire time, Genni found herself writing in her journal—not self-recriminating thoughts or angsty poetry, but a letter to her future self. Remember this feeling, she wrote. Remember that you are more than what people see or say. Remember that you can be strong and smart and weird and still find your people.

She paused, chewing on her pen, then added: As Boethius would say, fortune's wheel turns for everyone. Today it turned in my favor. The Peter Principle suggests that people rise to their level of incompetence, but maybe sometimes we also rise to our level of unexpected excellence. Maybe Aquinas was right about how virtue is cultivated through practice—swimming laps, making friends, being brave enough to be myself.

Across the campfire, Melody was showing off her new Indian print gauze blouse and elephant bell-bottoms that her mother had sent in a care package. Her cork-soled platform shoes made her tower over everyone else. Next to her, Debbie had paired some spectacular striped pants with a peasant blouse, adding puka shell beads that gleamed in the firelight.

 The final week of camp arrived with the bittersweet knowledge that their time together was coming to an end. Genni had exchanged addresses with Diana, Vanessa, and of course the Boker girls, with promises to write.

On their last free afternoon, Genni and Diana returned to their spot under the live oak, now a place of comfortable silences and deep conversations.

"Are you scared to go home?" Diana asked suddenly.

Genni considered the question. "A little. I'm different now, but home will be the same."

"Maybe that's good," Diana suggested. "Maybe home needs you to be different."

"Maybe." Genni plucked at the grass beside her. "I'm going to miss this. Miss you."

"We'll write," Diana promised. "And maybe next summer..."

"Maybe."

They sat in silence for a moment, listening to the distant sounds of the camp—shouts from the ball field, someone playing piano in the rec hall, the ever-present "Radar Love" from someone's radio.

"Hey," Diana said suddenly. "I never asked why you came to camp this summer. You don't seem like the typical camp person."

Genni hesitated, then decided on honesty. "I was... not in a good place this past year. My parents were worried. My dad thought being with the Boker girls might help."

Diana nodded, understanding without requiring details. "Did it? Help?"

Genni looked out over the camp—the dusty paths between buildings, the shimmer of heat rising from the tin roofs, the lake glittering in the distance. She thought about her body, carrying her through water and over trails. She thought about her mind, finally finding people who didn't flinch when she mentioned Kafka or medieval philosophy.

"Yeah," she said softly. "It did."

Five weeks at Camp Kickapoo near Kerrville, Texas, in the summer of Watergate and "Radar Love." Five weeks that had somehow managed to be a lifetime.

Somewhere inside her, the girl who'd arrived—lonely, self-conscious, hiding behind books and comfort food—was still there. But alongside her now was someone new, someone who could win races and make friends, someone who could remain analytical and bookish without using it as armor.

"What are you thinking about?" Laurie asked, her own outfit a perfectly on-trend combination of a smock top and wide-legged jeans. Her center-parted hair fell straight and long, the quintessential early seventies look that Genni had always admired.

Genni tugged at the hem of her simple shorts, but for once didn't feel self-conscious about her lack of fashion sense or her athletic build. Here at camp, her strength had become a source of pride rather than shame.

From somewhere in the distance, some of the Hispanic campers were playing "Tú y Yo" by Roberto Carlos, its romantic Spanish lyrics a reminder of the rich cultural blend of Texas.

"I was thinking about Avicenna's concept of the flying man," Genni said, surprised at her own candor. "The idea that even if you were created suspended in the air, unable to see or touch anything, you would still be aware of your own existence. That your sense of self is independent of your body or surroundings." She smiled. "And I was thinking about the future. And how maybe it doesn't have to be a shock after all."

This is an excerpt from Shells and Shadows, available at Amazon in paperback, e-book, and audio. 



Sunday, January 12, 2020

Self-Knowledge and the Enchanted Road Trip in Y Tu Mamá También (Alfonso Cuarón, 2001)

When Y Tu Mamá También (Alfonso Cuarón, 2001) was first released, there were a few problems due the number of scenes featuring sex and smoking marijuana, both of which obscured the fact that this is, at its heart, a road trip movie. The road trip is, for two teen-age friends, a coming of age experience, while it is, for the older woman who befriends them, a kind of dying wish. In both cases, it’s an end of innocence for all involved, and as such, the movie plunges the viewer into the heart of a kind of innocence of experience that triggers deep emotions.


 In just a few words, the plot involves the final summer before college when two best friends, Julio and Tenoch, spend time with an older woman, Luisa, who is the wife of Tenoch’s cousin, while their girlfriends are out of town. Triggered by the news that her breast cancer is in an inoperable late stage and that her husband has cheated on her, Luisa agrees to travel with Julio and Tenoch across rural Mexico to the mythical (which turns out to be real) beach town of Boca del Cielo.

 What they experience along the way transforms them in many ways: stories told about their experiences, narratives that shape their perception, the narratives built into the places they visit (sites of terrible accidents, political contexts and events, economic migrations) and in the traditions they observe and experience (the traditional Mexican food, the beautiful Mexican coast, the desert, the winding roads through the mountains). With the voice-over and a documentary hand-held camera style of filming, the people seem uniquely rich and textured, engenders both nostalgia and a sense of the sublime.    

Story:

On the surface, this is a road trip movie featuring two male teenagers and a female acquaintance, who decide, on a whim, to drive from Mexico City to the Pacific coast. Also, on the surface, it’s about the way that Mexicans live, starting with privilege and entitlement (a politician and his family, with elaborate weddings and memberships at an exclusive country club), then traveling into the twists and turns of the road as it bends through mountains, deserts, coasts, pueblos.

The stories, misunderstandings, sexual tensions, and appetites enveloped into the history of the places they travel through, and the food, drink, hotels, sand, surf, churches, albarrotes (small family-owned stores), restaurants, cantinas, which give it an indelible imprint of Mexico, not only of its appearance, but more importantly, the heart and soul of the people. The plot is relatively simple: Julio and Tenoch are trying to find the best way to make it through the summer while their girlfriends are traveling in Europe before they change their lives and start studying at the university. Julio and Tenoch are innocent creatures of pure appetite: they eat, they drink.

They happen to meet Luisa, the wife of Julio’s cousin, Jano. They banter a bit about places they’ve been.  Tenoch and Julio invent a beach place, “Boca del Cielo” and claim it’s the most beautiful beach in the world and that they’re planning to visit it. That seems to be the end of it, until the next day when Luisa calls them and asks if they’re still planning to go.  In their eagerness to say “yes,” they do not inquire why she is interested. They do not know (although the viewer does), that Luisa’s husband, Jano, called and confessed he was unfaithful to her. They also do not know that she was just informed that she has Stage 4 cancer.

We as viewers know that she is in a hyper-real state of being, intensely aware of life and every precious moment of it. Because the viewer has inside knowledge, the road trip is fascinating, and the squabbles, misunderstandings, and intemperance are all framed in a larger panorama of life, death, coming-of-age, and endings. And, even as Julio and Tenoch open-heartedly try to sample all possible carnal indulgences, we know that they do so because when this road trip is over, they will have matured and will no longer have the same adolescent mindset. We also know that when this road trip is over, Luisa will be facing the very end, and so this “last hurrah” is even more poignant.  Like most road trip movies, traveling way from the stifling, congested, corrupt city represents a move toward nature and freedom. It also means a journey another state of mind or state of being.

The road trip itself is a punctuated narrative: Julio and Tenoch share stories and then question each other about their sexual exploits; the towns they pass bring up memories and historical facts, which are narrated to us by the omniscient voice-over narrator, and finally, the mise-en-scene is stunning inasmuch as the Mexican landscape and small pueblo-scapes become a character in an of themselves.  As they drive, they share stories about themselves and discuss their sexual transgressions. Julio and Tenoch try to outdo each other, confessing that they’ve slept with each other’s girlfriends, and Julio even claims to have had sex with Tenoch’s mother, but it’s not clear if this is even true. That night, Tenoch, upset with Julio, leaves his room and passes Julia.  Julia, tearful, has just spoken with her husband, Jano, and explained why she left him. She seduces Tenoch, and they have sex. The sexual rivalries trigger heated arguments, and Luisa threatens to leave. 

The main action of the film has to do with the road trip to the Boca del Cielo (which turns out to actually exist), and the intense experiences along the way, which include camping on the beach, the ocean, and a final scene of seduction in which Luisa dances with both, then stimulates both Julio and Tenoch at the same time.  This is a turning point; and the line that Julio and Tenoch crossed with each other is something they do not want to face. Luisa stayed at the ocean to continue exploring beaches and coves, while Julio and Tenoch return, uneventfully, to Mexico City. After they return, they do not see each other for more than a year, and when they do, it is the last time. They have changed; the events of the road trip matured them, perhaps even frightened them as they faced an abyss they feared. Tenoch tells Julio that Luisa died a few months after they left her at the beach; she lived her final days to the fullest.

The true story has to do with how the viewer gains insight into the shaping of identity and the depth and richness of the characters who, even though they may seem to be involved in rather simplistic activities, are participating in traditions and beliefs that date back to even pre-Hispanic times. Mexican independence, clashes, civil war, conflicts, along with the traditions of church, traditional dances, town patron saint festival days, weddings, funerals, and traditions of food and drink interweave. The technique is very realistic; the viewer feels the dust on the road, hears the music, almost perceives the smells and tastes. By the end, we see Julio, Tenoch, and Luisa as complex, multi-dimensional individuals. There is a deep sense of nostalgia and the week-long trip has the feeling of a dream or a life-changing memory.

Notable techniques:

Voiceover Narration:  The voice-over tells the back-story and also tells the overall significance and meaning of the actions, many of which may seem trivial, but turn out to be formative and as such, deeply moving. For example, as they pass by a village around a curve, and see two wooden crosses, the voice explains that if Julio, Tenoch, and Luisa  had passed by here several years before, they would have seen a woman weeping hysterically at the death of her two children.

Documentary-style handheld camera:
  The point of view of the camera and the movement give the film a documentary feel, and emphasize realism. The handheld camera creates a sense of authenticity.  The angles are often at eye level and shot from, for example, the back seat of a car, which generates immediacy and intimacy.

Themes:
Innocence vs. Experience: While Julio and Tenoch consider themselves experienced, inasmuch as they do everything possible to satisfy their appetites. Nevertheless, the progress of the film shows them to be very innocent in terms of the world, of who they are, and the relationship between confusing and conflicting desires and what it means to be human and alive.

Sexuality:  Julio and Tenoch are sexual beings, and in their youth, they have healthy appetites. In fact, much of their time seems to be dedicated to the quest of satisfaction. For example, Julio and Tenoch have access to the country club on Mondays, when it is closed to patrons.  In one memorable scene, they swim in the pool and then, jump out, lie on the diving boards and stimulate themselves as they discuss different girls they know. 

Coming of Age:  The road trip leads to deeper self-knowledge and encounters with darker truths about themselves that made them reflect on their own sense of identity, and also their overall place in their society.  After Boca del Cielo, it was no longer possible to live in adolescent bliss where the chief concern is the satisfaction of appetites and living completely in the moment.

Love: 
There is a tremendous difference between love and sex, and for that matter, there is a huge difference between fraternal love and carnal love; when the two intersect, confusion occurs.

Loyalty:   Julio and Tenoch are loyal friends, and are very close, tight friends, but the road trip breaks their friendship apart. They find that their bonds were rather fragile, after all. But, on a deeper level, they are loyal to what it means to be Mexican; the family values, the ties to traditions (Pre-Conquest as well as Colonial), and ties to the Mexican volcanoes, desert, mountains, and beaches.

Characters:

Julio: Friend of Tenoch whose parents were relatively wealthy, which gave him privilege but not as much as Tenoch. He lives in Mexico City during a time of tremendous political unrest, and the rural population is involved in uprisings.  Julio, however, is relatively uninterested in politics or the economy. As an adolescent male, Julio is most concerned with satisfying his appetites and joking around with his best friend.

Tenoch: Son of a prominent and very wealthy politician. His life is of privilege, to which he is largely oblivious except for being aware that he has to behave properly in public (which inspires him to rebel). He attends the weddings and other politically-motivated spectacles of his father, and he interacts with his extended family without ever understanding or becoming conscious of the fact that there is dramatic income and social inequality even in his own family.

Luisa:  Luisa is of Spanish descent, and she speaks with a Spanish / Castillian accent. This sets her apart and gives her the impression that she is of high social status. The reality is that she has a very low level of education, due to the loss of her parents at a young age, and her relatively impoverished childhood.  Thus, she has a sense of inferiority, as well as an ongoing sense of loss and grief, not only for the loss of her parents, but also her first love, who died in a motorcycle accident. She married Jano, the cousin of a high-ranking politician, but it is not a happy union, and he is constantly correcting her and elevating himself over her.  She finds out in the same day that she has incurable cancer and that her husband has been cheating on her.  The shock is enough to inspire her to go on a very impromptu road trip with two immature yet sweet and well-meaning teenagers.

Character Analysis:

Julio:
The son of middle class parents, his father disappeared when he was young, and his mother works hard to raise him.  His sister is politically active and leftist, meaning that she is part of a tradition that upheld the rights of the indigenous and rebelled against the often authoritarian rule of the elites, whose influence traces back to the Spanish conquest and privileging of those of Spanish or European descent. He is more or less oblivious to politics, but the road trip and the people, places, and political memory start to awaken him.

Curious:  At first, Julio is remarkably unaware and seemingly indifferent to the world around him. However, he is curious about Luisa, and as he starts to understand her life and her background, he starts to think about many of the political issues that his parents have talked about during his childhood, and that his sister, an activist, is involved in. 

Idealistic:  Julio  has no political leanings, but as time goes on in the movie, he awakens to the demonstrations and protests against social inequality and the dire poverty of the working classes. The omniscient narrator explains what is happening behind the scenes, and what has happened politically, so that the viewer sees just how Julio has almost no choice but to become very idealistic as he matures.

Proud:  He knows that his friends, who are wealthy and from politically connected families, look down on him for being of middle class origins. He feels some resentment toward it, but more than anything he seeks to make his own way in the world, and is relatively free to do so, as opposed to Tenoch, whose family is pressuring him to study economics.

Tenoch: 
Tenoch is the son of a Harvard-educated economist and the Secretary of State.  Tenoch is short for “Tenochtitlán,” an Aztec city, and was inspired by his father’s sudden burst of nationalism.  Tenoch’s father is corrupt, which is a fact generally accepted by both Julio and Tenoch.  The omniscient narrator voice-over explains that Tenoch’s father will not be the “tall hog at the trough” forever; in the next election, his party will be voted out.

Rebellious:  Tenoch’s father wants him to study economics.  Tenoch wants to study literature and become a writer.   The pressure put on him by his father makes Tenoch rebellious.

Insatiable: Part of Tenoch’s frustration makes him channel his frustration into his appetite for adventure, sex, and drugs. At times he seems insatiable for those, but later we realize that his insatiability is really for living life, and for feeling the depth of intense experiences.  It is here that we see his artistic, writerly spirit.

Entitled:  Tenoch’s father’s position has resulted in a life of privilege and wealth.  Even though he rebels against his father, and is not in agreement with the lifestyle, he is the beneficiary of entitlement, and takes very much for granted the ability to have access to country clubs, travel, expensive equipment.  However, the trip starts to change him.

Luisa:  
Luisa’s parents were killed in a car accident when she was ten, and she was raised by an aunt who was an adherent of Generalissimo Franco in Spain.  She wanted to travel, have a career, and study, but she had to stay at home and take care of her aunt in her last years. When her aunt passed way, Luisa studied to become a dental technician. She married Jano, who often mocks here and cheats on her.

Insecure:  Due to her unrealized dreams and the mistreatment of her husband, Luisa is very insecure and quiet.  But, knowing her cancer is late-stage and her husband will never change, Luisa takes risks and embraces life.

Adventurous:  At the end, Luisa embraces life and everything that it symbolizes: nature, ocean, self-acceptance, and sexuality.  She wants to do everything possible to experience life, not intellectually or at a distance, but by means of physical contact.  Thus she seduces and is seduced by both Julio and Tenoch.

Romantic: The director’s hand-held camera shots, many shot from the periphery, give the viewer a voyeuristic feeling, and, combined with the narration of the omnicient voice-over we start seeing Luisa as a romantic; not only in her feelings, but also in the philosophical, Kantian sense of the term, inasmuch as she bases her beliefs and her behavior on her individual perceptions and experiences. Thus, to gain knowledge about life, one must experience it.  And, she does.

Philosophical:  When the three finally do find a place called Boca del Cielo, Luisa runs into the ocean and lets the foam and spray flow over her. Life is to be lived in the present, she says. She dances in the surf, and the cries out to Julio and Tenoch: “Life is like sea-foam -- so give yourself away to the sea!”

Review Questions:


1.    In Mexico City, Julio and Tenoch battle the daily frustrations of traffic jams, accidents, and protests. They also see dirty, poorly designed infrastructure, and examples of human misery, even as they have a chance to spend time in oases such as the country club and expensive homes (paid for through corruption).  What are some of the elements in the film that criticize Mexico’s politicians and ruling elites?

2.    Julio and Tenoch’s friendship dissolves after the road trip, but Cuaron (the director) does not explicitly say why. There are several friendship eroding moments.  What are the implications of each of the following?  Julio and Tenoch have had affairs with one another’s girlfriends; they are from antagonistic social classes; they embrace and kiss each other while Luisa is stimulating them in a sexual encounter.

3.    Why and how is this movie much more than a simple coming-of-age road trip movie? With the hand-held camera, the innovative mise-en-scene with  unusual angles and shots, and the omniscient narrator voiceover, the film is able to establish a sense of authenticity, and also to connect past and present. The repeating motifs of the beach, of water, and of the landscape give one a sense of the beauty and majesty of Mexico, with its rich culture and historical heritage.  Please describe two or three scenes that illustrate how the film is much deeper than a typical coming-of-age film.

4.     How does the director suggest that nostalgia and grief are an essential part of the Mexican identity? Describe the scenes that represent accidents or political tragedies in the past, and also various family histories, such as that of Luisa and that of Chuy’s family.

References

Acevedo-Muñoz, E. R. (2004). Sex, Class, and Mexico in Alfonso Cuarón’s Y tu mamá también. Film & History (03603695), 34(1), 39–48.

Amaya, H., & Blair, L. S. (2007). Bridges between the Divide: The Female Body in Y tu mamá también and Machuca. Studies in Hispanic Cinemas, 4(1), 47–62

Quintanilla, F. Q. (2014). La Llorona como esfinge subversiva en Y tu mamá también (2002) de Alfonso Cuarón. Chasqui: Revista de Literatura Latinoamericana, 43(1), 132–146. 

“Y Tu Mamá También” Is a Sexual Grenade from Mexico. (2002). Rolling Stone, (893), 138

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