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 Corner-Store Dreams and
the 2008 Financial Crisis

A True Story about Risk, Entrepreneurship,

Immigration, and Latino-Anglo Friendship

Peter Wogan

tudies
ve S in
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Pal

y
p olog
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Litera
Pal
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Palgrave Studies in Literary Anthropology

Series Editors
Deborah Reed-Danahay
Department of Anthropology
The State University of New York at Buffalo
Buffalo, New York, USA

Helena Wulff
Department of Social Anthropology
Stockholm University
Stockholm, Sweden
This book series aims to publish explorations of new ethnographic objects
and emerging genres of writing at the intersection of literary and anthro-
pological studies. Books in this series will be grounded in ethnographic
perspectives and the broader cross-cultural lens that anthropology brings
to the study of reading and writing. The series will explore the ethnogra-
phy of fiction, ethnographic fiction, narrative ethnography, creative non-
fiction, memoir, auto ethnography, and the connections between travel
literature and ethnographic writing.

More information about this series at

http://www.springer.com/series/15120
 Peter Wogan

Corner-Store Dreams
and the 2008
Financial Crisis
A True Story about Risk, Entrepreneurship,
Immigration, and Latino-Anglo Friendship
Peter Wogan
Willamette University
Salem, Oregon, USA

Palgrave Studies in Literary Anthropology

ISBN 978-3-319-52263-0    ISBN 978-3-319-52264-7 (eBook)
DOI 10.1007/978-3-319-52264-7

Library of Congress Control Number: 2017935712

© The Editor(s) (if applicable) and The Author(s) 2017

This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher,
whether the whole or part of the material is concerned, specifically the rights of translation,
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any other physical way, and transmission or information storage and retrieval, electronic
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The use of general descriptive names, registered names, trademarks, service marks, etc. in this
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Cover illustration: © Peter Wogan

Printed on acid-free paper

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The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
For Our Parents, Who Taught Us to Dream

Peter Wogan and Ranulfo Juárez

 Editors’ Preface

Palgrave Studies in Literary Anthropology publishes explorations of new

ethnographic objects and emerging genres of writing at the intersection of
literary and anthropological studies. Books in this series are grounded in
ethnographic perspectives and the broader cross-cultural lens that anthro-
pology brings to the study of reading and writing. By introducing work
that applies an anthropological approach to literature, whether drawing
on ethnography or other materials in relation to anthropological and liter-
ary theory, this series moves the conversation forward not only in liter-
ary anthropology, but in general anthropology, literary studies, cultural
studies, sociology, ethnographic writing and creative writing. The “literary
turn” in anthropology and critical research on world literatures share a
comparable sensibility regarding global perspectives.
Fiction and autobiography have connections to ethnography that
underscore the idea of the author as ethnographer and the ethnographer as
author. Literary works are frequently included in anthropological research
and writing, as well as in studies that do not focus specifically on litera-
ture. Anthropologists take an interest in fiction and memoir set in their
field locations, and produced by “native” writers, in order to further their
insights into the cultures and contexts they research. Experimental genres
in anthropology have benefitted from the style and structure of fiction
and autoethnography, as well as by other expressive forms ranging from
film and performance art to technology, especially the internet and social
media. There are renowned fiction writers who trained as anthropologists,
but moved on to a literary career. Their anthropologically inspired work
is a common sounding board in literary anthropology. In the endeavour

vii
viii Editors’ Preface

to foster writing skills in different genres, there are now courses on ethno-
graphic writing, anthropological writing genres, experimental writing, and
even creative writing taught by anthropologists. And increasingly, literary
and reading communities are attracting anthropological attention, includ-
ing an engagement with issues of how to reach a wider audience.
Palgrave Studies in Literary Anthropology publishes scholarship on
the ethnography of fiction and other writing genres, the connections
between travel literature and ethnographic writing, and internet writing.
It also publishes creative work such as ethnographic fiction, narrative eth-
nography, creative non-fiction, memoir, and autoethnography. Books in
the series include monographs and edited collections, as well as shorter
works that appear as Palgrave Pivots. This series aims to reach a broad
audience among scholars, students and a general readership.

Deborah Reed-Danahay and Helena Wulff

Co-Editors, Palgrave Studies in Literary Anthropology

Advisory Board
Ruth Behar, University of Michigan
Don Brenneis, University of California, Santa Cruz
Regina Bendix, University of Göttingen
Mary Gallagher, University College Dublin
Kirin Narayan, Australian National University
Nigel Rapport, University of St Andrews
Ato Quayson, University of Toronto
Julia Watson, Ohio State University
 A True Story

All this really happened.

ix
 Contents

1 Cutting the Cloth   1

2 Invitation   5

3 Teaming Up   9

4 Saints of the Casino  15

5 Car Crash  25

6 Trip to Mexico  31

7 Don Quixote Rides Again  39

8 Searching for The Key  49

9 A Moon Shot  65

10 Visit to Campus  75

xi
xii Contents

11 Confronting the Enemy  87

12 Mysteries of Money  99

13 Garbage Dream 109

14 Crash Warning 125

15 Stopping Time 137

16 Into the Mystic 145

17 Plan B 157

18 Mr. Success or Mr. Worthless? 165

19 Financial Crisis 171

20 Wrecking Ball 179

21 Respect for the Turtle 197

Acknowledgments207

Appendix A: Ranulfo’s Reactions to This Book211

Appendix B: Names in This Book215

Bibliography217

Index225
 CHAPTER 1

Cutting the Cloth

If the senior citizens at the Dairy Queen in Salem, Oregon, had walked
across the street, they would have found a small corner store with a hand-­
painted sign in Spanish that read El Palmar. The door below that sign
offered a portal into another world.
I didn’t want to presume that anyone at the corner store would speak
Spanish with me, a middle-aged Anglo, so when I walked through the door
one morning in September, 2005, I spoke in a combination of English and
Spanish, explaining that I was returning a film I’d rented the day before.
It was a comedy about a poor guy who sells tacos on the streets in Mexico
and gets snubbed by a high-class woman—apparently a classic, but, like a
ten-year-old who just watched his first Shakespeare play, I didn’t get most
of the jokes or why everyone kept breaking out in song.
The man behind the cash register, wearing a baseball cap, long-sleeved
shirt, and jeans, immediately responded in Spanish. “Ah, so did you like
the movie? It was great, wasn’t it?” Unlike other Latinos I’d met in town,
he spoke with informal Spanish, the tú form used among equals.
We discussed the movie for so long that I had to step aside to make
room for other customers, women buying soap for the laundromat next
door and candy for their little kids. While the man rang up his custom-
ers, I walked up and down the aisles and marveled at my surroundings.
The store was about the size of a large living room, and every inch was
crammed with merchandise: tortillas, guava and mango juice, candles

© The Author(s) 2017 1

P. Wogan, Corner-Store Dreams and the 2008 Financial Crisis,
Palgrave Studies in Literary Anthropology,
DOI 10.1007/978-3-319-52264-7_1
2 P. WOGAN

with pictures of saints, leather boots, Budweiser and Tecate beer, sew-
ing kits, rain jackets, Mexican cowboy movies, even a stone mortar and
pestle tucked in the corner. I had entered a Mexican sanctuary in suburban
America.
Back at the counter, the cashier introduced himself as Ranulfo, and,
after I told him my name was Peter, he said, “OK, I’ll call you Pete.”
“You’re one of the only Americanos who has ever rented a movie in
here,” he noted with a smile. I liked his directness. Other Latinos in town
had just tiptoed around my obvious outsider status.
Continuing in Spanish, I asked, “So are you the owner?”
“Yes, along with the man you met yesterday, my younger brother,
Pablo.1 Before this, we used to work in the fields, growing plants. Getting
this store was a giant step, the step of a dinosaur, you know what I mean?”
I chuckled in agreement, and Ranulfo continued, “This is a beautiful
country. This is a place where you can climb to the top of the mountain
and nobody tells you, ‘Hey, get down off that mountain.’”
I agreed again, resisting the urge to point out how many Americans
end up groveling in the dirt at the bottom of the mountain. It had been
so long since I’d heard someone express such pure love for the United
States that I wasn’t sure what to say, but luckily Ranulfo followed up with
a little joke.
Pointing to his belly, pressing against his untucked shirt, he said, “But
this is the worst thing that’s happened to me since I came to this country.”
Ranulfo laughed at himself, so I joined in, though hesitantly, afraid to
seem critical. He wasn’t exactly overweight, but he was one of the most
spherical people I’d ever met. An artist would have sketched his underly-
ing geometric form with a series of circles. Chubby cheeks, round face,
that little belly—all circles.
Turning the conversation back to me, he asked, “No work today?”
“Believe it or not,” I said, “this is my work.”
Pointing in the direction of downtown, about two miles away, I said,
“I’m a professor at the university, and I’m studying Mexican-American
culture.”
I couldn’t think of a simple way to explain that I used to do research
with a small indigenous group in Ecuador, but once my young sons dis-
covered baseball, I couldn’t bear to keep leaving them every summer
for the Andes.2 Baseball tapped us into something transcendental, and I
didn’t want to miss any of it. I was starting all over with a culture I hardly
knew anything about.
 CUTTING THE CLOTH 3

My truncated explanation still made perfect sense to Ranulfo, who

quickly assumed the role of cultural interpreter. He taught me the main
Mexican film genres and invited me to come back the next day, to check
out his movie database.
He also left me with a tantalizing proverb: Hay mucha tela de donde
cortar. “There are many places to cut the cloth.”
I took that proverb to mean Ranulfo had more stories to tell, but I
didn’t realize the best one was about to unfold over the next few years.
He was about to embark on a quest to add a small bakery to the back of
his store, using his recently paid-off house as collateral, risking his toehold
in America after gaining citizenship and scratching his way out of poverty.
He wanted to bake bread and pastries. He wanted to create something
with his hands and heart, and he wanted his wife to join him, so she
wouldn’t have to keep working at the cannery, pushing vegetables down
the production line all day. But Ranulfo didn’t simply want the bakery to
provide for his family, just as Captain Ahab didn’t want to kill Moby Dick
for mere lamp oil. Like Captain Ahab, Ranulfo wanted to “strike through
the mask,” to find out what lay on the other side of observable reality, to
know whether the universe loved him.3 He was going to study his dreams
every morning for clues to the future, the inner workings of the universe,
and his place in it.
I would eventually need Ranulfo at a deep, subterranean level, but dur-
ing our first meeting I didn’t know any of this. I had no inkling Ranulfo
might end up an innocent victim of a housing bubble about to burst and
drown the whole country. I didn’t even know if we could overcome our
differences.4

Introductory Note
To prevent this endnotes section from ballooning out of control, I only
include essential sources directly related to the main text. Also, sometimes
I break with narrative chronology, citing sources that I had not read at the
time of the events described in the main text.
4 P. WOGAN

Notes
1. Pablo is legally the owner of the store.
2. Wogan (2004a).
3. Melville (1851), Chapter 36, “The Quarter-Deck.” To encourage
more reading of Moby-Dick, all my citations of it come from the
annotated first American edition, available in its entirety at http://
www.powermobydick.com/, a website with excellent margin anno-
tations by Margaret Guroff. To make it easier for readers who want
to use other editions, I cite by chapter number and title, rather than
page number. As noted in Chap. 4, “Saints of the Casino,” and
Appendix A, “Ranulfo’s Reactions to this Book,” Ranulfo agreed
with my comparison between him and Captain Ahab. In fact, he
read, commented on, and approved multiple drafts of every chapter
in this book. Throughout the text, I try to make it clear where his
voice leaves off and mine begins, and Appendix A adds further clari-
fication about the writing process and his reactions to this book.
4. If by this point you’re craving the type of introductory chapter
found in most non-narrative, social-science books, please know that
the theoretical justifications for this book emerge in the endnotes
for later chapters. My hope, though, is that eventually the analysis,
theoretical framework, ethnography, and narrative will become so
thoroughly intertwined in the text that it will be hard to separate
them.
 CHAPTER 2

Invitation

September, 2005

The next morning back at the store, Ranulfo told me to come behind the
counter, so I could look at his movie database in the computer sitting a
few feet away from the main register. With those simple steps, my perspec-
tive changed completely. Suddenly I wasn’t just a passing customer or
gringo interloper. I was standing in the Inner Sanctum. Everything felt
better behind the counter, standing side by side with the owner and taking
in the entire store, from the tamarind snacks in front of the register to the
juice and beer coolers at the far end of the packed aisles.
Ranulfo’s spirits were also riding high. When I asked how business
was, he stretched out his arms and said, “Ah, it’s so good I feel like the
Incredible Hulk. Yesterday I said to my wife, ‘Look at me, I’m busting the
buttons right off my shirt.’”
“Really?” I asked, playing along. “And what did your wife say?”
“Oh,” he said with a sheepish smile, “she just said, ‘Sí, sí. You’re a
monster. A little monster.’”
We both laughed at the rapid rise and fall of his fantasy, but as the day
wore on and I observed Ranulfo more closely, I realized that the com-
parison made sense. Ranulfo had both the mild-mannered reserve of Dr.
Banner and the burning intensity of his alter ego, the Incredible Hulk.
Outwardly, Ranulfo was perfectly calm. He rested his hands lightly on the

© The Author(s) 2017 5

P. Wogan, Corner-Store Dreams and the 2008 Financial Crisis,
Palgrave Studies in Literary Anthropology,
DOI 10.1007/978-3-319-52264-7_2
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