Regular Lunch & Dinner
Buffet served everyday.
004025
li>ia*ul Neut 'Ueyeia'UaH. Menu. Jbailtf,
Lots of tofu & vegetable dishes, veggie egg rolls, pot stickers & more.
906 W 7th, Eugene * 344-9523 * Closed Mondays
004090 ■■
The L o c
Reservations accepted
465-4754
291 E. 5th Ave.
(across from 5th St. Public Market)
o M o t i v e
Serving outstanding
vegetarian cuisine,
tantalizing desserts,
select wines <§•
the best beers of the
Pacific Jforthwest
Tuesday-Saturday
Open tor Dinner at 5:00pm
. -X
* Winner-Best Vegetarian
Restaurant In Eugene
**NWBest Places
\-___-1\
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FRID/n% THIS FALL
PBS documentary examines
U.S.-Mexican War of 1840s
The series will focus on
the human element of
the little-known conflict
By Robert G. Wieland
The Associated Press
DALLAS — It’s described as a
conflict that Americans can hard
ly remember and Mexicans can
hardly forget.
Most U.S. history books refer to
it as ‘‘The Mexican War,” while
Mexicans prefer “The U.S. Inva
sion.” This year marks the 150th
anniversary of the war’s end,
which changed boundaries and
relations between two neighbors
on either side of the Rio Grande.
A two-part PBS documentary
series about the conflict, “The
U.S.- Mexican War (1846-1848),”
explores the struggle for land,
power and national identity. Pro
duced by Dallas-Fort Worth pub
lic television station KERA13, the
four-hour program is the center
piece of an education project pro
duced in English and Spanish.
PBS will broadcast the docu
mentary on Sept. 13 and 14 at 9
p.m. EDT. The Mexican network
XEIPN Once TV will show it in
November.
Neil Foley, a history professor at
the University of Texas in Austin,
calls the conflict “a naked land
grab of a powerful nation against a
weak nation.” It’s about time the
United States talks about what
happened, he said.
r
“We won the war with Mexico,
so why aren’t we celebrating it?
The obvious answer is that we’re
embarrassed by it,” he says. “We
don’t want to celebrate the por
tions of history that make us blush
and feel uncomfortable.”
U.S. Army Gen. John S.D. Eisen
hower, son of the former president,
contends that President James Polk
resorted to “trumping up a war”
when Mexico refused to sell land
that the United States wanted.
In February 1846, Gen. Zachary
Taylor was ordered to move
troops into the disputed area
south of the Nueces River to the
mouth of the Rio Grande. Mexican
officials protested, claiming the
status of the territory was under
negotiation.
After Taylor refused to leave,
Mexican President Mariano Paredes
declared war. Most of the battles
were fought in Mexican territory.
“A clash was inevitable,” Eisen
hower said, “and when it occurred,
the American Congress, previously
reluctant to start a war, voted over
whelmingly to support it.”
At one point, there was a call in
Congress to annex Mexico, but op
ponents prevailed. Sen. John C.
Calhoun of South Carolina argued
that the United States “never
dreamt of incorporating into our
Union any but the Caucasian race
—the free, white race.”
Gen. Winfield Scott ended the
war in March 1847 with the cap
ture of Mexico City. The Treaty of
Guadalupe Hidalgo was signed on
Feb. 2, 1848, making the Rio
Grande an international boundary.
The production focuses on the
human element of the conflict, us
ing stories from letters and diaries
written by people caught in the
conflict between two cultures.
“Dear Father, what could have
possessed you to send me way off
here?” a U.S. soldier wrote from
Monterrey, Mexico, in November
1846. "Your notions of military glo
ry are all too exalted. There is no fun
in cutting throats; I’ve tried it. I am
obliged to Mother for her advice. But
it’s no use to read the Bible in the
midst of swords and bayonets. Ei
ther I am, or that book is, wrong. ”
Executive producer Sylvia Ko
matsu said it was vital for the pro
duction to be accurate and bal
anced.
“We planted our feet on both sides
of the border and invited a panel of
distinguished scholars—historians
from the United States and Mexico
—to beour guides,’’shesaid.
Because few visual images of
the period exist in Mexico, pro
ducers used re-enactment footage
shot in Colorado, New Mexico and
South Texas.
Narrators include Shelley Du
vall, Frederic Forrest, Ed Begley
Jr., Esai Morales, Ricardo Montal
ban, Eric Stoltz and Dwight
Yoakam. Ms. Komatsu’s team in
cluded director Ginny Martin, se
nior producer Paul Espinosa and
writer Rob Tranchin.
l
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