In Aztec mythology, Coatlicue (”she with serpent skirts”) is the mother of the 400 stars in the sky, and one daughter, Coyolxauhqui (”she with bells on her cheeks”). When Coatlicue becomes pregnant illegitimately (by touching a tuft of hummingbird feathers - this sort of stuff happens a lot in Mesoamercan mythos), her children become both embarrassed and enraged. But none more so than her daughter, Coyolxauhqui. Together with her 400 brothers, she launches an attack on her mother, but it is foiled when her mother’s unborn son Huitzilopochtli (”the hummingbird on the left”) springs forth from her womb, armed for battle.

Huitzilopochtli dismembers Coyolxauhqui, and flings her head into the sky where it becomes the moon, so that her mother might look upon her always.

Indigenous gods for each sign
  • Aries: Tonacatecuhtli - Mexica god of creation and fertility.
  • Taurus: Huitzilopochtli - God of the Sun and the War It represents the free consciousness in the human being, symbol of virtues, faculties, powers. It should eliminate the Coyolxauqui (Animal passions) and the Surians 400 (The psychological defects). When referring to war is speaking to the war against defects.
  • Gemini: xochiquetzal - In Mexica mythology is the goddess of beauty, flowers, love, love, pleasure and the arts.
  • Cancer: Huehuecóyotl - Is the god of the arts, lord of music and ceremonial dance, guide of adulthood and adolescence.
  • Leo: ixtlilton - Is the god of medicine, dances, festivals and games.
  • Virgo: Ixcuina - She was goddess of passion and lust.
  • Libra: Patécatl - Is the god of medicines and discoverer of the peyote, as well as the "lord of the pulque root".
  • Scorpio: Coyolxauqui -The Moon Goddess. It represents the feminine aspect and on the other hand the multiple defects that we must eradicate, Huitzilopochtli (representation of the positive values of the human being) dismantles it.
  • Sagittarius: Coatlicue - The Sun God Live representation of the divinity among the Aztecs.
  • Capricorn: Xólotl - Is the god of the twilight, the spirits, the twins and the Venus Venus, who helped the dead on their journey to Mictlán, lord of the evening star (Venus) and the underworld.
  • Aquarius: Mictlantecuhtli - In the Mexica, Zapotec and Mixtec mythology is the god of the underworld and of the dead.
  • Pisces: Yacatecuhtli - Is the god of commerce, patron of merchants and exchange, mainly in commercial travel.

“The Spirit is greater than all differences between languages, peoples, races, places, times. Even greater than the difference between life and death.” 
—Luis Valdez, Founder of Teatro Chicano.

“Coatlicue,” (Primordial Earth Mother, Mexika) by Rodrigo R. Pimentel of MexicoCoatlicue: Nahuatl: “She of the Serpent Skirt.“ Representation of the earth as both creator and of transmutation through death (plants, animals, humans, elements). Her face is of two fanged serpents and her skirt is of interwoven snakes that are a symbol of wisdom, cycles, transformation and the fertility of Mother Earth. Her breasts are those of a woman who has breastfed many children and her necklace is made up of hands, hearts, and a skull signifying her role as both lifegiver and transmuter of life and energy. She has many aspects, including that of Tlazolteotl and Tonantzin, who after the invasion of Mexico by Spain was called Our Lady of Guadalupe by the Catholic Church and whose appearance on the hill of Tepeyac from December 9-12, 1531, is celebrated today on those days with ceremonies and danza throughout Mexico and many places in the United States and most especially on December 12. Tonantzin Tlalli Ipalnemoani.

Compilation of sound files of Mesoamerica


Quetzalcoatl. [keht-sahl-koh-aht)

Coatlicue. [koh-ah-tlee-kewh]

Xipe Totec. [shee-peh-toh-tehk]

Huehueteotl. [weh-weh-teh-oht]

Tlaloc. [tlah-lohk]

Tezcatlipoca. [tehs-cah-tlee-poh-kah]

Cihuateteo. [si-wah-teh-teh-oh]

Tlaltecuhtli. [tlah-teh-kwah-tlee]

Chaac. [chahk]

Cocijo. [koh-see-oh]


Tenochititlan. [teh-no-chit-eet-lahn]

Xochicalco. [sho-chee-kahl-koh]

By Hrana Janto

This painting depicts the Aztec mother goddess Coatlicue mourning her daughter Coyolxauhqui after her brother Huitzilopochtli decapitated her. Huitzilopochtli did this because Coyolxauhqui and her 400 star brothers the Centzon Huitznahuas attempted to kill their mother Coatlicue after she became pregnant with Huitzilopochtli. Some sources say that Coyolxauhqui realized that her mother was not unfaithful and her pregnancy was of miraculous origin, but was too late and was dismembered before she could say otherwise. Her head was then thrown into the sky and became the moon.

American Gods Alphabet: Coatlicue

I really love American Gods and mythology so I made an alphabetic list of every reference made in the novel.

Read the whole encyclopedia here

Coatlicue (53)

Coatlicue (Aztec) Goddess of life and death. She is the mother of the gods, the stars, and the sky. She is a snake goddess, depicted with either the head of a snake or with a skirt of snakes. Her son Huitzilopochtli, born when she placed a bundle of feathers than had fallen from the sky in her bosom, killed her other children. She is often associated with the devouring mother, representing both childbirth and death.

All names/terms are depicted with the page in which they first appear in the American Gods Tenth Anniversary Edition of the author’s preferred text.

Read the whole encyclopedia here

You Bring Out the Mexican in Me

by Sandra Cisneros

You bring out the Mexican in me.
The hunkered thick dark spiral.
The core of a heart howl.
The bitter bile.
The tequila lágrimas on Saturday all
through next weekend Sunday.
You are the one I’d let go the other loves for,
surrender my one-woman house.
Allow you red wine in bed,
even with my vintage lace linens.
Maybe. Maybe.

For You.

You bring out the Dolores del Rio in me.
The Mexican spitfire in me.
The raw navajas, glint and passion in me.
The raise Caine and dance with the rooster-footed devil in me.
The spangled sequin in me.
The eagle and serpent in me.
The mariachi trumpets of the blood in me.
The Aztec love of war in me.
The fierce obsidian of the tongue in me.
The berrinchuda, bien-cabrona in me.
The Pandora’s curiosity in me.
The pre-Columbian death and destruction in me.
The rainforest disaster, nuclear threat in me.
The fear of fascists in me.
Yes, you do. Yes, you do.

You bring out the colonizer in me.
The holocaust of desire in me.
The Mexico City ’85 earthquake in me.
The Popocatepetl Ixtaccíhuatl in me.
The tidal wave of recession in me.
The Agustín Lara hopeless romantic in me.
The barbacoa taquitos on Sunday in me.
The cover the mirrors with cloth in me.

Sweet twin. My wicked other,
I am the memory that circles your bed nights,
that tugs you taut as moon tugs ocean.
I claim you all mine,
arrogant as Manifest Destiny.
I want to rattle and rent you in two.
I want to defile you and raise hell.
I want to pull out the kitchen knives,
dull and sharp, and whisk the air with crosses.
Me sacas lo mexicana en mi,
like it or not, honey.

You bring out the Uled-Nayl in me.
The stand-back-white-bitch in me.
The switchblade in the boot in me.
The Acapulco cliff diver in me.
The Flecha Roja mountain disaster in me.
The dengue fever in me.
The !alarma¡ murderess in me.
I could kill in the name of you and think
it worth it. Brandish a fork and terrorize rivals,
female and male, who loiter and look at you,
languid in your light. Oh,

I am evil. I am the filth goddess Tlazoltéotl.
I am the swallower of sins.
The lust goddess without guilt.
The delicious debauchery. You bring out
the primordial exquisiteness in me.
The nasty obsession in me.
The corporal and venial sin in me.
The original transgression in me.

Red ocher. Yellow ocher. Indigo. Cochineal.
Piñón. Copal. Sweetgrass. Myrhh.
All you saints, blessed and terrible,
Virgen de Guadalupe, diosa Coatlicue,
I invoke you.

Quiero ser tuya. Only yours. Only you.
Quiero amarte. Atarte. Amarrarte.
Love the way a Mexican woman loves. Let
me show you. Love the only way I know how.

Coatlicue “La de la falda de serpientes” (Náhuatl)

Madre Universal azteca y Diosa de la tierra y la luna, de ella nace todo vegetal y detrás de ella desaparecen los cuerpos celestes.

Su representación mas conocida (el dibujo de arriba) es una figura antropomorfa con cabeza formada por dos serpientes enfrentadas, que simbolizan la dualidad (concepto básico de la cosmovisión de las civilizaciones precolombinas); falda de serpientes y un collar de manos y corazones arrancados de sus victimas.

Ella era una Diosa sedienta de sacrificios humanos, sus garras son como las del jaguar, y serpientes sustituyen partes de su anatomía, significando ferocidad y humanidad respectivamente.

También fue madre de Huitzilopochtli, Dios del sol y la guerra, de quien quedó embarazada por una bola de plumas brillantes que cayo del cielo y ella se puso en el pecho. Al enterarse sus cuatrocientos hijos le cortaron la cabeza, pero en ese momento nació el Dios. Huitzilopoxtli mató a muchos de sus hermanos convirtiéndolos en estrellas y desmembró a Coyolxauhqui (quien había alentado la matanza de su madre) y arrojó su cabeza al cielo, donde paso a ocupar el lugar de la luna.

:) … Mitología Azteca

Jai Kali Ma

We find Kali in Mexico as an ancient Aztec Goddess of enormous stature. Her name is Coatlicue, and her resemblance to the Hindu Kali is striking. The colossal Aztec statue of Coatlicue fuses in one image the dual functions of the earth, which both creates and destroys. In different aspects she represents Coatlicue, “Lady Of the Skirt of Serpents” or “Goddess of the Serpent Petticoat”; Cihuacoatl, “the Serpent Woman”; Tlazolteotl, “Goddess of Filth”; and Tonantzin, “Our Mother”, who was later sanctified by the Catholic Church as the Virgin of Guadalupe, the dark-faced Madonna, La Virgen Morena, la Virgen Guadalupana, the patroness and protectress of New Spain; and who is still the patroness of all Indian Mexico. In the statue her head is severed from her body, and from the neck flow two streams of blood in the shape of two serpents. She wears a skirt of serpents girdled by another serpent as a belt. On her breast hangs a necklace of human hearts and hands bearing a human skull as a pendant. Her hands and feet are shaped like claws. From the bicephalous mass which takes the place of the head and which represents Omeyocan, the topmost heaven, to the world of the Dead extending below the feet, the statue embraces both life and death. Squat and massive, the monumental twelve-ton sculpture embodies pyramidal, cruciform, and human forms. As the art critic Justino Fernandez writes in his often-quoted description, it represents not a being but an idea, “the embodiment of the cosmic-dynamic power which bestows life and which thrives on death in the struggle of opposites”.

We find Kali in ancient Crete as Rhea, the Aegean Universal Mother or Great Goddess, who was worshipped in a vast area by many peoples. Rhea was not restricted to the Aegean area. Among ancient tribes of southern Russia she was Rha, the Red One, another version of Kali as Mother Time clothed in her garment of blood when she devoured all the gods, her offspring. The same Mother Time became the Celtic Goddess Rhiannon, who also devoured her own children one by one. This image of the cannibal mother was typical everywhere of the Goddess of Time, who consumes what she brings forth; or as Earth, who does the same. When Rhea was given a consort in Hellenic myth, he was called Kronus or Chronos, “Father Time”, who devoured his own children in imitation of Rhea’s earlier activity. He also castrated and killed his own father, the Heaven-God Uranus; and he in turn was threatened by his own son, Zeus. These myths reflect the primitive succession of sacred kings castrated and killed by their supplanters. It was originally Rhea Kronia, Mother Time, who wielded the castrating moon-sickle or scythe, a Scythian weapon, the instrument with which the Heavenly Father was “reaped”. Rhea herself was the Grim Reaper.

We find Kali in historic Europe. In Ireland, Kali appeared as Caillech or Cailleach, an old Celtic name for the Great Goddess in her Destroyer aspect. Like Kali, the Caillech was a black Mother who founded many races of people and outlived many husbands. She was also a Creatress. She made the world, building mountain ranges of stones that dropped from her apron.

Scotland was once called Caledonia: the land give by Kali, or Cale, or the Cailleach. “Scotland” came from Scotia, the same goddess, known to Romans as a “dark Aphrodite”; to Celts as Scatha or Scyth; and to Scandinavians as Skadi. Like the Hindus’ destroying Kalika, the Caillech was known as a spirit of disease. One manifestation of her was a famous idol of carved and painted wood, kept by an old family in Country Cork, and described as the Goddess of Smallpox. As diseased persons in India sacrificed to the appropriate incarnation of the Kalika, so in Ireland those afflicted by smallpox sacrificed sheep to this image. It can hardly be doubted that Kalika and Caillech were the same word. According to various interpretations, “caillech” meant either an old woman, or a hag, or a nun, or a “veiled one”. This last apparently referred to the Goddess’s most mysterious manifestation as the future, Fate, and Death–ever veiled from the sight of men, since no man could know the manner of his own death. In medieval legend the Caillech became the Black Queen who ruled a western paradise in the Indies, where men were used in Amazonian fashion for breeding purposes only, then slain.

Spaniards called her Califia, whose territory was rich in gold, silver, and gems. Spanish explorers later gave her name to the newly discovered paradise on the Pacific shore of North America, which is how the state of California came to be named after Kali. In the present century, Irish and Scottish descendants of the Celtic “creatress” still use the word “caillech” as a synonym for “old woman”.

The Black Goddess was known in Finland as Kalma (Kali Ma), a haunter of tombs and an eater of the dead. The Black Goddess worshipped by the gypsies was named Sara-Kali, “Queen Kali”, and to this present day, Sara is worshipped in the South of France at Ste-Marie-de-la-Mer during a yearly festival.

Some gypsies appeared in 10th-century Persia as tribes of itinerant dervishes calling themselves Kalenderees, “People of the Goddess Kali”. A common gypsy clan name is still Kaldera or Calderash, descended from past Kali-worshippers, like the Kele-De of Ireland. European gypsies relocated their Goddess in the ancient “Druid Grotto” underneath Chartres Cathedral, once the interior of a sacred mount known as the Womb of Gaul, when the area was occupied by the Carnutes, “Children of the Goddess Car”. Carnac, Kermario, Kerlescan, Kercado, Carmona in Spain, and Chartres itself were named after this Goddess, probably a Celtic version of Kore or Q’re traceable through eastern nations to Kauri, another name for Kali. The Druid Grotto used to be occupied by the image of a black Goddess giving birth, similar to certain images of Kali. Christians adopted this ancient idol and called her Virgo Paritura, “Virgin Giving Birth”. Gypsies called her Sara-Kali, “the mother, the woman, the sister, the queen, the Phuri Dai, the source of all Romany blood”. They said the black Virgin wore the dress of a gypsy dancer, and every gypsy should make a pilgrimage to her grotto at least once in his life. The grotto was described as “your mother’s womb”. A gypsy pilgrim was told: “Shut your eyes in front of Sara the Kali, and you will know the source of the spring of life which flows over the gypsy race.” We find variations of Kali’s name throughout the ancient world.

The Greeks had a word Kalli, meaning “beautiful”, but applied to things that were not particularly beautiful such as the demonic centaurs called “kallikantzari”, relatives of Kali’s Asvins. Their city of Kallipolis, the modern Gallipoli, was lefted in Amazon country formerly ruled by Artemis Kalliste. The annual birth festival at Eleusis was Kalligeneia, translatable as “coming forth from the Beautiful One”, or “coming forth from Kali”.

Lunar priests of Sinai, formerly priestesses of the Moon-Goddess, called themselves “kalu”. Similar priestesses of prehistoric Ireland were “kelles”, origin of the name Kelly, which meant a hierophantic clan devoted to “the Goddess Kele”. This was cognate with the Saxon Kale, or Cale, whose lunar calendar or kalends included the spring month of Sproutkale, when Mother Earth (Kale) put forth new shoots. In antiquity the Phoenicians referred to the strait of Gibraltar as Calpe, because it was considered the passage to the western paradise of the Mother.

The Black Goddess was even carried into Christianity as a mother figure, and one can find all over the world images of Mother Mary, the mother of Jesus Christ, depicted as a black Madonna.