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Works

Las Vegas, New Mexico, 1835-1935

Edited by Edwina Portelle Romero.

Designed by Charlie Kenesson.

 

A photographic history of the early development of Las Vegas, New Mexico. Historian Ralph Emerson Twitchell once claimed, "Without exception there was no town which harbored a more disreputable gang of desperados and outlaws than did Las Vegas." See for yourselves in this beautifully designed big book of historical essays, period photographs, and anecdotes.

 

"For the Benefit of All: Healing, Helping, and Learning"

An historical exhibit highlighting issues and events related to the health, welfare, and education of the people of Las Vegas, New Mexico. The exhibit, a team effort, includes objects, photographs, narrative and side-bar texts, and interactives. Spanning 170 years, this exhibit is part of the permanent collection, City of Las Vegas Museum and Rough Rider Memorial Collection, Las Vegas, New Mexico, December 2013. Team members: Ruaidhri Crofton, Linda Gegick, Kristen Hsueh, Edwina Romero.

"Git Fer Vegas, Cowboy!"

Museum exhibit--narrative text, objects, photographs, and extended captions. An overview of the history of the Las Vegas, New Mexico, Cowboy Reunions 1915-1968. On display from 2009-2013, City of Las Vegas Museum and Rough Rider Memorial Collection, Las Vegas, New Mexico.

Cowboy Reunions of Las Vegas New Mexico

By Edwina P. Romero writing as Pat Romero: An illustrated history of the Las Vegas, New Mexico, Cowboy Reunion annual events, 1915-1968. The 4-day Reunions attracted ranchers, cowboys, cowgirls, well-known artists, authors, and musicians as well as the local townspeople, merchants, and business community.

Footlights in the Foothills, Amateur Theatre of Las Vegas and Fort Union, New Mexico, 1871-1899

Cloggers and sopranos, contortionists, Indian Club Swingers, ticket-of-leave men and ladies of the night, shepherds, saints, and devils—these are a few of the characters portrayed in the early amateur theatrical productions of Las Vegas, New Mexico, and nearby Fort Union. Between 1871 and 1899, this area hosted no fewer than eleven amateur acting troupes, an opera company, and an oratorio society. These home grown thespians performed both secular and non-secular plays in Spanish and English as well as musicals, variety acts, passion plays, and light operas. They played in courthouses, private salas, grand opera houses, and performance halls that were occasionally stocked with hay and grain. The amateur troupers strutted their stuff before farmers, outlaws, hooligans, soldiers, and the local aristocracy.

I Thought My Father Was God

My essay, "Chris," is included in Paul Auster's anthology, I Thought My Father was God, for the National Story Project.