The wind then, through seams of bluestem,
or switchgrass swayed by a coyote’s passing.
Where the fabric gapes, Barthes said,
lies the sensual. A prairie cut
by winding seeps, or winds or shearing wings.
Mare’s tails, mackerels, cirrus,
distance dispersed as light. Under a buzzard’s bank
and spiral the prairie folds and unfolds.
Here between the stands of bluestem, I am interruption.
I rake my fingers over culms and panicles.
Here seeds burr into my sleeves, spur each hem.
In a prairie, I am chance. I am rupture. The wind—
thief, ruffian, quick-fingered sky, snatches a kink
of my hair. The broken nap falls, wound round
like a prairie snake, a coil of barbed wire, a snare
for the unwary. In the fall, volunteer naturalists
will wrench invading roots and scour grassy densities
with fire. Wick, knot, gnarl, my kindled hair
will flare, burn, soften into ash, ash that will settle,
sieve through soil, compost for roots to suck
and worms to cast out, out into the loess that raises
redtop, turkeyfoot, sideoats grama,
and all the darkened progenies of grass
that reach and strive and shape dissent from light.
 A sketch from JM Design Studio's proposal in Phase One, depicting a strand of trees connected by hammocks running along the border.
The Wall
by Anita Endrezze (Yaqui)
Build a wall of saguaros,
butterflies, and bones
of those who perished
in the desert. A wall of worn shoes,
dry water bottles, poinsettias.
Construct it of gilded or crazy house
mirrors so some can see their true faces.
Build a wall of revolving doors
or revolutionary abuelas.
Make it as high as the sun, strong as tequila.
Boulders of sugar skulls. Adobe or ghosts.
A Lego wall or bubble wrap. A wall of hands
holding hands, hair braided from one woman
to another, one country to another.
A wall made of Berlin. A wall made for tunneling.
A beautiful wall of taco trucks.
A wall of silent stars and migratory songs.
This wall of solar panels and holy light,
panels of compressed cheetos,
topped not by barbed wire but sprouting
avocado seeds, those Aztec testicles.
A wall to keep Us in and Them out.
It will have faces and heartbeats.
Dreams will be terrorists. The Wall will divide
towns, homes, mountains,
the sky that airplanes fly through
with their potential illegals.
Our wallets will be on life support
to pay for it. Let it be built
of guacamole so we can have a bigly block party.
Mortar it with xocoatl, chocolate. Build it from coyote howls
and wild horses drumming across the plains of Texas,
from the memories
of hummingbird warriors and healers.
Stack it thick as blood, which has mingled
for centuries, la vida. Dig the foundation deep.
Create a 2,000 mile altar, lit with votive candles
for those who have crossed over
defending freedom under spangled stars
and drape it with rebozos,
and sweet grass.
Make it from two way windows:
the wind will interrogate us,
the rivers will judge us, for they know how to separate
and divide to become whole.
Pink Floyd will inaugurate it.
Ex-Presidente Fox will give it the middle finger salute.
Wiley Coyote will run headlong into it,
and survive long after history forgets us.
Bees will find sand-scoured holes and fill it
with honey. Heroin will cover it in blood.
But it will be a beautiful wall. A huge wall.
Remember to put a rose-strewn doorway in Nogales
where my grandmother crossed over,
pistols on her hips. Make it a gallery of graffiti art,
a refuge for tumbleweeds,
a border of stories we already know by heart.
from: Ursula K. Le Guin’s BlogCopyright © 2017 by Anita Endrezze
see also: otherborderwall
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Now that he is safely dead,
Let us Praise him.
Now that he is safely dead,
Let us Praise him.
Build monuments to his glory.
Sing Hosannas to his name.
Dead men make such convenient Heroes.
They cannot rise to challenge the images
We would fashion from their Lives.
(Hines 1987, 468).image; Banksy
Mere forgetfulness cannot remove it
Damiel;
It's great to live by the spirit, to testify day by day for eternity, only what's spiritual in people's minds. But sometimes I'm fed up with my spiritual existence. Instead of forever hovering above I'd like to feel a weight grow in me to end the infinity and to tie me to earth. I'd like, at each step, each gust of wind, to be able to say "Now." Now and now" and no longer "forever" and "for eternity." To sit at an empty place at a card table and be greeted, even by a nod. Every time we participated, it was a pretense. Wrestling with one, allowing a hip to be put out in pretense, catching a fish in pretense, in pretense sitting at tables, drinking and eating in pretense. Having lambs roasted and wine served in the tents out there in the desert, only in pretense. No, I don't have to beget a child or plant a tree but it would be rather nice coming home after a long day to feed the cat, like Philip Marlowe, to have a fever and blackended fingers from the newspaper, to be excited not only by the mind but, at last, by a meal, by the line of a neck by an ear. To lie! Through one's teeth. As you're walking, to feel your bones moving along. At last to guess, instead of always knowing. To be able to say "ah" and "oh" and "hey" instead of "yea" and "amen."
Catherine Hessling, La fille de l’eau, Jean Renoir, 1924.
