Ed Vega

In the stories of Mendoza's Dreams, Ed Vega writes in the genre of magical realism, which is the ability to combine the authentic with the doubtful, and create a plausible hybrid. Vega presents one with fragments of the incredible or the unknown in the everyday, and juxtaposes these shards with the extraordinary. The blend of the two forms is a mixture so realistic that one begins to mull over the unbelievable.

Vega interplays generalizations and stereotypes with the incredible in his stories. In the story of "Mercury Gomez", Vega suggests in various ways how one is quick to jump to conclusions due to preconceived notions. "Mercury Gomez" also preys upon one's ignorance of the politics in big business. For example, Mendoza, Vega's protagonist, is startled to find that Solomon Gomez, a diminutive black man, seems to be extremely rich. Mendoza automatically assumes that Gomez has become a "drug dealer," (137) a common stereotype pushed by every form of media.

However, as Mendoza reminisces about Merc as a child, he comes to the conclusion that Merc has "transformed his life to the extent of completely obliterating" Mendoza's "consciousness of him" (140). In this way, one can relate to Mendoza because he judged Merc from old information, something one tends to do. Mendoza serves as a reminder that truth as one knows it is easily eradicated. It is very realistic for one to evolve, yet expect others to remain in a sort of time warp. While this passage draws one into the tale, it also demonstrates that whatever one has gleaned about Merc's life at this point is not necessarily accurate.

Mendoza meets Merc for lunch, and Mendoza asks Merc about his success. Merc replies by telling Mendoza the reasons why he became so successful. Merc states that "after working for about a year" Merc had "realized he was pretty much anonymous. Just another black guy" (144). One is able to comprehend this statement, having seen and perhaps experienced the facelessness and dehumanization that occurs in the workforce. This passage transmits a dual message: many are just a number, and discrimination is present even in anonymous settings.

Merc continues the story by telling Mendoza that he hired "small black young men" (144), and further explains the extraordinary scheme. Merc's explanation begins plausibly, making the fantastic that closely follows it easier to accept. In doing so, the resulting blend may be doubtful, but it is ultimately possible.

Merc describes how his business evolved, and that he ended up selling it. With the profits, Merc bought "Polaroid and Xerox" (147) shares before they went big, "making his fortune in the process" (147). Merc explains that life experiences had taught him that everyone wants "everything in a hurry, and they want everybody to be kinda the same" (147). This tongue-in-cheek statement reminds one of the importance of the almighty image in society, and how conformity is encouraged. It aptly sums up white society in general.

"Collazo's Diet" focuses on the duplicity of social situations, and interplays with the belief that being thin is worth any price. Mendoza is invited to speak at a "Dieting and Literary Club" meeting. One is struck by the bizarre combination of dieting and reading, but it seems likely. As Mendoza describes the "matrons feasting on cottage cheese and lettuce," one is reminded of the ridiculous in the everyday. Mendoza begins his narrative at the "feast," believing his story to be a touching one (59).

As one learns that the women "applauded and seemed pleased" with the story, one is surprised to find out that the story "had displeased most of the women" (59) This misunderstanding seems possible due to difficulties of comprehending particular social situations. Each situation and group requires a different set of rules. For example, every group has its own sensitivities and sense of humor. An ethnic joke that is funny in the U.S. would not necessarily be funny anywhere else.

Mendoza's weaves a story about a typical young couple that wants to get married. As the story unfolds, however, one learns that Victor, the young man, joins the army and goes to Vietnam. During this time, his fiancée, Marcelina, "worried" (66) so much about Victor that she turned to food. This bingeing is a common occurrence. It's a well-known fact that many people turn to food for solace.

Victor comes back after the war, and finds that Marcelina has become "a pale hippopotamus." Victor devises "a plan that would bring" Marcelina "back to normalcy" (68). Victor decides to bring Marcelina to the park, and the couple sit on a park bench. Victor proceeds to tell her of all the atrocious things that could happen during a war, and speaks longingly of dog meat, a "Vietnamese cuisine" staple (69). As a result, Marcelina begins to vomit.

In an aside, Mendoza begins to describe how three-quarters of the audience brought paper napkins to their mouths, and at "least a dozen of the ladies left the room" (69). Although Mendoza has suggested that the club may have been offended by the sexuality in the story, one can readily determine that the comment of "anorexia ponderosa" may have upset the ladies' sensibilities.

Victor and Marcelina continue their excursions together, and Marcelina reduces in "record time" (59). Once Marcelina achieves her normal weight, she suggests that perhaps other obese people could benefit from the same experience for a fee. The suggestion is not surprising, because it seems that it is human nature to put others through horrible experiences one has undergone. To many, the end justifies the means.

"The Angel Juan Moncho" revolves around the unknown in religion, and pokes fun at people that would rather live a wonderful lie rather than an unpredictable reality. Mendoza describes how he interprets dreams, and that others thought that it was Mendoza's "responsibility to produce humor from dreams" (74). The passage reminds one of politicians. The general public tells the politicians what they want, and politicians merely parrot what the public wants to hear.

The people wished for Mendoza to "recount a miracle" " that would not frighten them" (74), also explaining "Camacho's good fortune." Mendoza began the miracle story with an angel. People interrupted to say that "as long as the angel wasn't frightening, and they could at least smile a few times"(75), Mendoza could tell the tale however he wanted. This passage ironically implies that there are direct and indirect guidelines that commonly occur in beliefs and conversations. This passage also reminds one of "Collazo's Diet" and the unfamiliarity Mendoza experienced with the guidelines at the Dieting and Literary Club function.

Mendoza commences the tale by describing that "Camacho enjoyed drinking" a standard stereotype of the Puerto Rican male. Mendoza further states that Camacho neglected to buy Christmas presents for his family (76) due to drinking. Considering that alcoholism is a reality, this statement is easily believable.

Camacho leaves the bar, passing out in the cold. Juan Burgos, Camacho's guardian angel, is the only one that notices Camacho has passed out. Juan has the ability to modify peoples' behaviors by pushing buttons. This depiction seems to make a curious kind of sense due to the vagueness surrounding the supernatural. Humans act in irrational ways, which makes supernatural interaction with humanity credible.

Juan the angel complains that his "work is boring and thanklessäDay and night, rescuing idiots from their stupid mistakes" (80). Mendoza portrays departments of guardian angels segregating humans by ethnicity, and some departments being understaffed due to the race that the angels protect. As one reads this unlikely account, the description ironically parallels reality. Work is unrewarding for many people, certain ethnicities are viewed as more important, and understaffing occurs everywhere. It's possible that certain problems are truly universal.

Juan descends from heaven to save Camacho, and the men take the subway in order to get Camacho home without any fuss. On the subway, the Juan and Camacho meet Mendlestein, another guardian angel. Mendoza describes Mendlestein as a homosexual "dressed in gold lame from head to toe, cape and all; bleached blond hair to his shoulders, and" (84) make up. One finds it difficult how the order of belief should occur due to this unusual depiction. Having already accepted guardian angels as plausible, and homosexuals and bizarre getups as a given, how does one combine the two?

By blending stereotypes in between the fantastic, Mendoza makes the whole more credible. For example, a vigilante group called the Guardian Angels harass Mendlestein, and Juan races to defend him, hitting one of the vigilantes in the process. Mendlestein promptly turns the vigilante group into "teeny boppers," and disapprovingly turns to Juan, stating, "Latins are so impulsive" (85). This statement is satirical considering that Mendlestein spontaneously acted in a supernatural manner.

Another example of stereotyping occurs when Mendlestein proceeds to call Camacho different names such as "Pancho", "Pancho Villa", and "Cisco", and refers to Camacho's wife as "Conchita" and "Lolita" (87-88). Instead of inquiring about Camacho's name, Mendlestein dehumanizes and stereotypes Camacho, much in the same manner that Merc experienced in "Mercury Gomez". By including these poignant bits of reality interspaced with the extraordinary, Mendoza makes Mendlestein more conceivable.

Mendlestein offers to help Camacho and Juan by shopping for Christmas presents with them, and suggests "FAO Schwartz, Bergdorf Goodman, Bloomies, and Fred the Furrier" (86), which seems realistic. If one has the opportunity to get whatever one wanted, why settle for anything less than the best? As the men shop, Juan aims a "transporter" (87) at the gifts, and items are whisked away to Camacho's apartment. The idea of a transporter doesn't seem farfetched, considering the sci-fi exposure that most of the population has. Previous exposure to anything makes one more acceptable in later experiences.

Vega is a master of magical realism because his writing style demonstrates tremendous fluidity. By offering the reader insightful glimpses of the irony present in the everyday, Vega adroitly switches between the incredible and the credible, always teetering on the very brink of the plausible. As one shifts back and forth between the real and the magical, one becomes better suited to modify one's perception. If some components of reality are incredible, then one must presume the incredible to be real.

Ed Vega
by Eddy Sanchez

Ed Vega is quite possibly the most underrated Latino author today. I believe this is due to the fact that he is a satirist. That is not to say that ha does not make very valid and serious points. His work takes ethnicity, racism, revolutionary politics and identity head on but with an edge which only satire can provide.

In Mendoza's Dreams his first short story collection, Vega tells the stories from the point of view of his alter ego Ernesto Mendoza. Mendoza is a middle-aged writer who lives in east Harlem. Over the years Mendoza has been selected, a bit against his will, by his neighbors and friends to record their dreams and stories.

What Mendoza becomes then is not only a curator and creator of modern day myths and dreams but also a storyteller. This position that he's been elected to comes with some very intricate problems.

The first story "Back by Popular Demand" deals with a unique problem that Mendoza must deal with. This particular problem might very well explain why Ed Vega has not published anything in a number of years. Mendoza wakes up one morning to find the three stooges in his bedroom, wearing suits and ties attempting to drag him out of bed. Mendozas publisher sent them to talk about, "social responsibilities and satisfying the needs of the public." Vega uses the three stooges to represent the problems he's had with publishing companies over the years, whether its publishers accosting him for work or the same companies not printing things out of spite.

Mendoza had already "paid off" the publishing company by supplying them with what has become generic ghetto literature Mendozas first novel was Up from the Ghetto, about a drug addict acquiring a social work degree. Then came Down from the Ghetto, Return from the Ghetto, Dancing in the Ghetto, Ghetto Street Games, Gang Gusting in the Ghetto and the ambitious but uninspired trilogy Ghetto Grass, Ghetto Coke and Ghetto Smack. These titles are nothing more than a parody of the massive rush for urban literature i.e., "Down these Mean Streets" "La Vida Loca; Gang Days in L.A" "Boy Without a Flag" and countless other highly successful "ghetto books" written by Latinos and blacks. Please do not misunderstand, I do not wish nor attempt to diminish the importance of these titles. These are books which I hold very true to my heart just like any other proud city dweller does, that's not all that takes place in the Latino inner city though.

Vega uses this story as a springboard for the rest of the book. His work is not concerned with drug addicts but with friends like the one who highjacks a train in order to throw a fourth of July family party. The stories are not concerned with hookers and pimps but with such things as a myth containing a certain Garcia Marquezian "magical reality" quality to it in which a well endowed Puerto Rican nun allows herself to be seduced by a circus clown with a whistling penis in the name of good versus evil. The stories are not concerned with the sad state of affairs in the projects but with the advancement of someone from them. Such as mercury Gomez who used his smarts to hire dozens of black kids who played at basketball courts all day to deliver messages. The stories are an example of how urban legends are created, through the dreams of the residents and the individual who is chosen to record them.