FOREWORD

...en español

A complex idea forged from simple elements and conceived as an easy read of hard pills to swallow. That is how “Myths of Humanity: Tales from forever for today” can be described. The essays in the book attempt a rewrite in contemporary form of old myths, legends, and tales to illustrate in a familiar manner modern ideas focused on the underpinnings of liberal democracy. Thus, the book is a hybrid creature begat from political essays intertwined with political fiction. 

The book’s thematic sequential segments, its “vignettes,” are accompanied by a collection of illustrations complementing each essay’s thematic idea. Just like the art, which is presented in multiple styles and forms, the vignettes are written in diverse styles and formats. Finally, and adding complexity to the project, the book was simultaneously written in English and Spanish, including both texts in the same volume, with the intention of serving both audiences of this multiverse which I straddle daily. 

While a traditional Foreword often elaborates upon ideas in the content of the main text, in keeping with the discovery aspect of the “fiction” part of this work, such an explanatory guide is left for the end, in an Afterword. The reading can be best enjoyed without such preliminaries. 

I owe many thanks to all those who collaborated in this project, especially the artists who contributed the accompanying artwork, the institutions which generously granted permission to reproduce masterpieces from their collections, and to Dr. Carlos Di Bonifacio, for guiding me in securing the rights to use an image from the Uffizi Galleries, in Florence. Special thanks go to my sister, Magdalena Rangel, that used her unique talent not only to contribute with two vignette illustrations but designed the book’s layout, and cover, as well as for assisting me in detecting typos and other such errors to which I was blind. It would be an unforgivable dereliction not to thank Beatrice Rangel, my kin in spirit, whose constant insistence in making me part of her multiple projects and interests reinspired me to retake this one, which for various reasons I had abandoned in the past.  I also thank my artist friends who tapped their own networks to widen the net of collaborators, and my agent Maria Elena Lavaud for always asking questions. 

I must particularly acknowledge an editor I will not name from my previous publishing house who took up the project to the editorial committee but was told it was “too creative; we are academics.” I was thus sent down into the rabbit’s hole to explore its potential—and into self-publishing. 

My toughest critic is Dr. Esmeralda Garbi, my wife. When she finished reading an advanced draft of the book and told me “it’s good,” I knew that indeed it was. Her sharp eye, quick commentary, and keen editorial corrections make this book better many times over than that early draft she read. Her quiet support as I dedicated countless nights writing the text and in the project’s carpentry was priceless. Unfortunately, sometimes you have an impossible to tame urge to write, as it absorbs body and soul; she allowed me to satisfy it. Without her support, I can accomplish nothing. I know she sacrificed much in doing so, so my gratitude and love runs deep. Her love is manifest in many ways.

CJR

Illustration: Nuria Román FROM SOUTH TO NORTH (2001). In the book this illustration appears in the vignette IT COMES AROUND.