By Robert Stone
A searing, indelible love tale of 2 ravaged spirits—a screenwriter and an actress—played out less than the cruel, magnifying prism of Hollywood.
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Extra resources for Children of Light (Vintage Contemporaries)
I have used these sources and developed ideas presented here more fully in my recent book Saints and Citizens: Indigenous Histories of Colonial and Mexican California (Berkeley: University of California Press, 2014). 2. See Rose Marie Beebe and Robert Senkewictz, Testimonios: Early California Through the Eyes of Women, 1815–1848 (Berkeley: Heyday Press and the Banroft Library, 2006). 3. To see Pablo Tac’s entire manuscript published in its original and in translation, please see Lisbeth Haas, Pablo Tac: Indigenous Scholar Writing on Luiseño Literature and Colonial History (Berkeley: University of California Press, 2011).
Even the well-known indigenous painters of the Cusco school in the Andes did not sign their paintings when patrons commissioned the pieces. At Mission Santa Inés, a Chumash artisan painted a canvas picture that provided a particular interpretation of the story of the Archangel Raphael as both Catholic saint and Chumash leader. Indeed, the word for saint was translated in one California Indian language as Achachemem, referring to any great person of any lineage. In Santa Inés, artisans painted, carved, and produced cloths for the altar, and indigenous musicians and singers contributed to the mass.
They generally corresponded to guild restrictions that favored the Spanish and creole masters. The majority of native people either painted their stories under the supervision of shop masters or produced anonymous work. Even the well-known indigenous painters of the Cusco school in the Andes did not sign their paintings when patrons commissioned the pieces. At Mission Santa Inés, a Chumash artisan painted a canvas picture that provided a particular interpretation of the story of the Archangel Raphael as both Catholic saint and Chumash leader.
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