Lisa María Madera
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​A Flor de Piel


3/2/2021 0 Comments

Selva Alegre

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She dreams.

She stands at the back of the hardware store selling bags and bags of cement. Both hands are filled with wads of bills.  

A long line of men carry the bags to a convoy of trucks.  As they heft the cement onto their shoulders, she reads the  words on the green bag.  

SELVA ALEGRE--happy jungle.

She hears someone pounding, turns and sees a group of workers pouring the concrete foundation of a house. The ground trembles beneath her.  

The earth is alive!
The man wearing a hard hat oversees the construction. He is building a house. He is building a strip mall. He is building a road.  He is building a development.  He is building a dam.  He is running for president and favored to win. He has felled trees, burned crops and begun to bulldoze the land. Already they have asphalted roads from the highest mountain peaks to the deepest parts of the jungle.  Now he and his many workers lay a huge white cement foundation across the green golden fields.  

He has chosen the very field that holds the face of the land.  The concrete slab completely covers and blocks the field.  The cement seeps into the land’s eyes, her mouth, her nose, and ears.
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The girl wants to peel back the cement to let the field breathe.  It isn’t possible.

​In the dream she turns to curse the man and his workers. She warns them of volcanic eruptions and earthquakes.  She tells them that the land will break through the concrete.  The land will open her mouth and swallow them whole.
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3/1/2021 0 Comments

Cement Sea

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​You wake with desperation. Across the valley below, the buildings stretch out across the body of the land in a white sea of concrete. As a child, the green skirts of the mountain flowed in an expanse of pastures, cornfields, Eucalyptus forests--dramatically altered landscapes, but still green. Now there is no end to the cement sea. You have watched this psoriasis spread since childhood--the slow creep of urban progress, the slow creep of disease. The earth shudders beneath you.

As a child, in the Amazon, the forest pushed up against the town. You would play at the edges of the clearing and feel the forest breathe. Now the stripped hills roll back beyond the horizon. Most of the forest, clear cut for the cheap wood required to make crates for naranjilla, delicious pesticide-soaked fruit. 
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In 2000 you take the time to ask and people tell you that loggers pay $300 USD to clear cut 10 hectares of land. In 2000, Ecuador’s deforestation rate is the highest rate in South America. The official logging rate in the Amazon recorded in deforestation journals is $1000 USD per hectare. Not here. 10 hectares cleared for a  month worth of wages. $30 per hectare. Since 2000, Ecuador has lost 1,149,000 hectares of forest. 

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Desperate to communicate the profound impact of this loss, conservationists contextualize it for the obsessive American mind. “Ecuador loses an average of 110 football fields a day,” they write. But a football pitch, roughly half the size of a hectare, has nothing to do with the magnitude of this loss.

​A 2010 study published in 
PloS One, estimates that the Yasuni rainforest harbors over 655 different species of trees per hectare, over 596 species of birds, 4,000 species of plants, and over 200 species of mammals.

We are not losing sports fields. We are losing wild and extraordinary lives.
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    About the Author

    Lisa Maria Madera is an Ecuadorian American writer and educator whose work explores how cultural narratives shape our individual and communal relation to the Earth and her creatures.

    Madera's work has appeared in Ecopsychology, Hypertext, JSRNC, Minding Nature and in Kinship: Belonging in a World of Relations forthcoming from the Center for Humans and Nature. Her short story Luz Maria has been nominated for consideration in Best American Short Stories 2021.

    ​Dedicated to fostering compassionate and resilient communities connected to Nature, Madera also designs and hosts trips to Ecuador providing opportunities for observation and reflection on how our relationship to the world is shaped by the cultural narratives that define us.


    ​Madera offers her work in a vision of hope and blessing that these reflections might empower all of us to realign our relationship in kinship to the Earth, to her many creatures, and to each other, ultimately realigning ourselves in right relation to the world around us so that we might live sustainably and in community.

    Madera is currently working on a memoir entitled The Covid Chronicles: Lessons from Pacha Mama in the Face of Despair.     

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