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Home , Julio Antonio Mella, Tina Modotti, Xavier Guerrero

VOICES of • 37

Wld Mexican-origin population in the Rcrolutionar, is a fascinating fig- United States. The most preferred ure of the Mexican Renaissance, the label is now Latino, which reflects period in Mexican history follow- the increasingly diverse Spanish sur- • ing the armed phase of the 1910 named community. While poverty, Revolution, when major intellectu- unemployment, low levels of educa- als and artists plunged into the effort tion and other social problems per- of creating a utopian society. It was sist, a growing Latino professional and at this time that Mexico's best known middle class points to a prosperous O muralists, , José Cle- future, at least for some. Voter regis- mente Orozco, David Alfaro Siquei- tration drives and Latino participa- ros and , were com- tion in the political parties are just missioned by José Vasconcelos to beginning to bear dividends in some portray the story of the country on areas. Tina Modotti: Photographer the walls of public buildings. The But, what does the new century and Revolutionary revolutionary fervor attracted many hold for Mexican Americans? The Margaret Hooks foreigners who wanted to partici- intensifying economic integration Harpers Collins Publishers, pate. 1 Some, like Bertram Wolfe, of the United States and Mexico has London needed to get out of the United opened lucrative opportunities for 1993, 277 pp. States because of the persecution of many businesses in both countries, so-called "Bolsheviks," who were busy but its effect on the Mexican origin Margaret Hooks has added yet another unionizing. Others, like Carleton population is not clear. Obviously, book to the literature about women Beals, carne because they wanted to the fortunes of the Mexican Ame- in Mexico in the 1920s. Hooks iden- contribute to the effort of building rican community are crucial for tified the goal of her work in the Pre- a utopian society. Mexican immigrants, since their ar- face, stating that she would try to Tina Modotti carne to Mexico for rival in the United States inevitably "demythologize Modotti the legend, the first time in 1922, to bury her brings them to a barrio. However, extricate her from the shadows of her first husband Roubaix de l'Abrie the long-term consequences of efforts loves and locate the woman and the Richey, whom everybody called at all levels of U.S. society to curb artist." She succeeds in telling Tina's "Robo." Months later she returned immigration, and eliminate social story; however Tina, the woman, is still to Mexico with , her benefits for immigrants' children an enigma, the unanswered questions lover and teacher, a photographer could cause dislocations throughout are still there. with whom she lived in that period. the Mexican American and Mexi- Hooks, a journalist based in Mexico 'Tina remained in Mexico when Weston can immigrant community. Essays City, presents a smooth story that returned to the United States and such as Griswold del Castillo's pro- embellishes on facts gathered by stayed until 1929 when she was de- vide a much needed tool in appre- copious research. The documenta- ported. The doors were closed to ciating the significante of Mexican tion from archives, interviews and Tina in the United States because of culture as inspiration for the Mexi- texts that the author consulted is her political activity with the Com- can-origin population in the United impressive. She weaves many names States. Viví and dates into a journalistic approach of describing people and places. The 1 See Henry C. Schmidt, "The American Intellec- tual Discovery of Mexico in the 1920s," in Barbara Driscoll text is well written, although some The South Adonde Quarterl 77, Summer 1978, Researcher at CISAN of her statements are not factual. pp. 335-51.

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munist Party. She could have gone her time, involved as an artist and At least five books have already to Italy, but she would have ended up with the Communist Party in work- been published about Tina Modotti. in prison. Tina went to where ing toward a better world. She be- Mildred Constantine published A she worked briefly before going on lieved it could be done and dedicated Fragile Life, the first gorgeous glossy to Moscow. As a member of the Soviet the last part of her life to the cause. presentation of Tina's work in espionage group, Tina traveled in Europe The scandals in Tina's life are well 1975.3 Art historian Sylvia Pandolfi and participated in the Spanish Civil documented. The earliest press cov- produced an excellent catalogue in War. When members of the Soviet erage reports the success of a young 1983 for an exhibit featuring Communist Party were no longer Italian immigrant as an actress. The Kahlo and Tina Modotti that trav- welcome in Spain, Tina returned to press had a field day when eled to London.4 Mexico, where she died. one of Tina's lovers, Julio Antonio turned all the mysterious data sur- Tinás work as a photograper is out- Mella,2 was gunned down on a street rounding Tinás scandal-ridden life standing, and Hook's book includes in Mexico City while walking home into a very successful novel. 5 An- first rate reproductions on good paper. with her. Tina's death provoked yet tonio Saborit published her letters, Unfortunately, the author does not another series of articles inquiring without editorializing, allowing Tina reveal her sources of the images or whether she was murdered or died to speak for herself. 6 Pino Cacucci where anyone interested might find of a heart attack. wrote about her in Italian after them. She handles quotes and infor- The women of the 1920s in Me- "falling in love with her." The book mation in the same way. xico broke with many of the pat- was translated into Spanish in 1992 Other people's words are used out terns of their mothers and grand- and published in Mexico a year of their original context to support mothers. Tina was one of four women later.7 Hooks' point. Elaborate descriptions who were photographed or depicted Books about Tina's art, political of situations, people and places who in murals in the nude. The others life and lovers are on the way to join- were part of Tina's world are often were , Lupe Marín ing the ranks of the writings about presented without providing the source and Nahuí Olin. Their lives were in- , who holds the record of her information. This is unfortunate teresting because they were active with 26 books published about every because it limits the book to the gen- in creative fields and produced qual- aspect of her life, including her eral public. Scholars cannot follow ity material. Tina's images of Mexi- recipes. \M up her work to confirm, refute or cor- co have been justifiably described rect her statements. as sensual and poetic. One of them Susannah Glusker Hooks' book is interesting because brought a record price of $165,000 Mexican free-lance writer Tina was an interesting woman. at a Sotheby's art auction. Also because it identifies published Tinás love life is said to contribute sources and adds the autor's inter- to the enigma. She was widowed in views with people like Yolanda Mo- her first marriage to Robo and never 3 Mildred Constantine, Tina Modotti; A dotti, Tinás sister, among many others. remarried. She lived with Edward Fragile Life, Paddington Press, New York, 1975. However, the information is not new, Weston, , Julio An- 4 Museo Nacional de Arte, Frida Kahlo-Tina nor is any effort made to interpret tonio Mella and Víctor Vidalli. Modotti, INBA, Mexico City, 1983. it or draw conclusions. The words 5 Elena Poniatowska, Tinísima, Ediciones Era, Mexico City, 1992. "possibly," "apparently" and "it seems 6 Antonio Saborit, Una mujer sin país. Las car- that" are also used extensively, 2 was a young Communist tas de Tina Modotti a Edward Weston, 1921- revolutionary who, because of his fight against 1931, Cal y Arena, Mexico City, 1992. countering Hooks' goal of demysti- the Machado dictatorship in (1925- 7 Pino Cacucci, Los fuegos, las sombras, el silen- fication. Modotti was a woman of 1933), was forced to seek refuge in Mexico. cio... Joaquín Mortiz, Mexico City, 1992.

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