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I read the poem “La Migra ” by Pat Mora. This poem is about two kids playing a game involving crossing the American border from Mexico. The poem started out playful as it was presented as a game and with childish language, but quickly turned into something more serious with the tone taken. One person played “La Migra” or the Border Patrol and the other played a Mexican maid/woman. The poem was split into two major parts and gave two totally different perspectives. When looking deeper into the message, the writer was trying to convey we can see that the border patrol was the United States and the Mexican woman was Mexico. 2. There are two speakers in the poem. The first stanza is from the Border Patrol’s point of view and the second stanza is from a Mexican woman. What I can tell about each speaker is that they are both confident that they possess the upper hand. “La Migra” has the badge, sunglasses, a jeep, and handcuffs and uses materialistic items as his strength. I can tell that he underestimated …show more content…
and felt a sense of superiority over the woman by the way he spoke to her. “You can hide and run, / but you can’t get away” (5-6) and “don’t complain / too much because I’ve got / boots and kick - if I have to,” (Mora , 70013-15). The first speaker used fear and danger to discourage the woman, and also referred to her as a maid. The second stanza shifts from the hunter to the hunted and is from the Mexican woman’s point of view. She has the approach that no matter what you have, I can outthink you, outwork you, and outsmart you, and you will not beat me. I felt the woman’s confidence from the get go in lines 21 and 22. “I’ll be the Mexican woman. Your jeep has a flat…” (Mora, 700 21-22). Instead of intimidating the Border Patrolman with power and manipulation, she instead uses her words to paint a picture. He is stranded out in the hot sun, so all of his tools of coercion become seemingly worthless. He does not speak even the most basic Spanish in order to understand something that could be used to save his life or survive in the desert. The last line in the second stanza, “Get ready, …” (Mora, 70018), shows that she was not backing down and that he is the one that should be prepared for what is coming. 3. The poem is organized into two stanzas that present both characters’ drastically different points of view. The poem is presented in dialogue format between the two speakers. In the first stanza, we see the expression of words for what Border Patrol has to keep the Mexican woman in check and in the second stanza we see confidence in how she can beat him at his own game. Each line was written in short sentences, which give an expression of dialogue between the two. The poem was written in a simplistic way that allows the reader to understand the true meaning of the poem and engage in the text. To me, the organization of the text made me think of the game, cops and robbers. The first stanza was from the cop’s perspective and the second stanza from the robbers. I believe that having the poem organized this way was effective because it was easy to follow and understand the message that the writer was trying to convey. 4. There are many instances of figurative language used in the poem. In the first stanza the Border patrol tells the girl “you You can hide and run, / but you can’t get away” (Mora, 700 5-6). This language relates the text to hide-and-seek or a childhood game and is used at various times throughout the poem in an attempt to remind the reader about the children playing a game within the poem. Although the poem is written in a way that makes it seem juvenile, it is also symbolic of immigration and the controversy of illegal immigration of Mexican citizens into the United States. There is irony in the poem in that the Border patrolman was rubbing it in the Mexican woman’s face that he didn’t speak Spanish and to not bother him with questions. In the second stanza when the border patrolman was alone and stuck in the hot desert, the Mexican woman tells him where to find water in order to survive. Since the man doesn’t speak Spanish, he does not understand. 5.
I feel that this poem was fairly straightforward and easy to understand. One part that I didn’t fully understand was lines 33 and 34, which were in Spanish. “Agua dulce brota aqui, / aqui, aqui” (Mora, 700 33-34). From the Spanish that I do know, I was able to understand the message as sweet water, here, here, here. I am not familiar with the word “brota,” but was still able to understand the meaning of the message. It was used as a way to stick it to the Border patrolman. In the first stanza he told her not to ask questions because “I don’t speak Spanish” (Mora, 700 11). It almost felt like he was rubbing it in her face and that he was above her native tongue. In the second stanza, she basically painted the picture that his tire was slashed, he was alone in the desert with heavy equipment, and uneducated in her native tongue. She tells him where water is, but since he does not understand the language, he is stuck without it alone in the
desert.
In a story of identity and empowerment, Juan Felipe Herrera’s poem “Borderbus” revolves around two Honduran women grappling with their fate regarding a detention center in the United States after crawling up the spine of Mexico from Honduras. While one grapples with their survival, fixated on the notion that their identities are the ultimate determinant for their future, the other remains fixated on maintaining their humanity by insisting instead of coming from nothingness they are everything. Herrera’s poem consists entirely of the dialogue between the two women, utilizing diction and imagery to emphasize one’s sense of isolation and empowerment in the face of adversity and what it takes to survive in America.
This is evident through the symbolism of the ears at the end of the poem. Once he rudely tells the speaker that he will not help her people at all, the speaker tells us that “some of the ears on the floor caught this scrap of his voice. Some of the ears on the floor were pressed to the ground.” The ears are divided into two different types: the ones that hear the colonel and the ones that do not. All of the ears are said to be on the floor because they represent the people in the worst living conditions who are living below everyone else. Each of these types also represents a portion of the struggling population when a problem arises. Some of the population hears what is going on and reacts to the issue, and the rest of the population turns away and ignores the problem. Furthermore, it is evident that the speaker wants us to speak out because she is doing it herself. The poem begins with “what you have heard is true” because the speaker wants her audience to know that the rumor that brewed from her story is true. The poem then goes into detail about what happened, and the speaker wants us to be disgusted by what has happened so that we act to help her. The speaker wants us to be the ears that hear her. The poem is a call to action for all of the people in El Salvador in that time
Ruben Martinez was fascinated with the tragedy of three brothers who were killed when the truck carrying them and 23 other undocumented migrants across the Mexico – United States border turned over in a high-speed chase with the U.S. Border Patrol. “Crossing Over: A Mexican Family on the Migrant Trail” is a story about crossing and life in the United States.
In both the movie, La Misma Luna, and the newspaper series, Enrique’s Journey, migrants are faced with many issues. The most deadly and scarring issues all relate back to bandits, judicial police, and la migra or Mexican immigration officers. The problems that arise are serious to the point of rape, robbing, and beating. It is not easy crossing the border illegally and secretly, but the successful ones have an interesting or even traumatic story about how it worked for them.
Martinez, Demetria. 2002. “Solidarity”. Border Women: Writing from la Frontera.. Castillo, Debra A & María Socorro Tabuenca Córdoba. Minneapolis: University of Minnesota Press, 168- 188.
One of Pat Moras poems that imply blank verse is La Migra. Blank verse sounds pretty much like an everyday conversation, and propagate the reader for a heightened response to effects of language, and image in the poem. Blank verse is favored for reflective and narrative poems, and does not rhyme. Blank verse fits perfectly in La Migra, because Pat Mora is narrating the children game, what they are saying, what they are imagining, and if the reader has a good imagination, they can even imagine the setting and think about what is actually happening. Blank verse is also favored in the reflective way, because what Pat Mora is trying to express in La Migra is that everyone has feelings, it does not matter where people are from, or if they are legal or illegally in the United States, but what matters is that people is made all equaly, and all people has the same rights. Not because someone is a border patrol will have the right to kick or touch an illegal person, as the kid on the first stanza thinks, and says “I can take you wherever I want, but don’t ask questions because I don’t speak Spanish. I can touch you wherever I want but don’t complain because I ‘ve got boots and kick – if I have to”. Blank verse is completely necessary in this poem to make what the author is trying to realize possible, in this case, make people think about other people feelings and make a reflective impact on the
The popular revolutionary poem “I am Joaquin” by Rodolfo Corky Gonzales influenced many Chicana/os to embrace their heritage in the Chicano Movement in the 1960s. The poem created psychological work for the Chicano identity. Moreover, this poem developed and promoted social consciousness, commitment to activism, and cultural pride for many Chicanos. However, Gonzales primarily focuses on the identity and struggles of a Mexican-American male which excludes other narratives. Thus, the lack of inclusivity influenced me to recreate the popular poem, which centers on women from Central America who are rarely acknowledged in Chicano Studies. Therefore, our poem “I am Dolores” is focused on these three main themes: empowerment of women of color, resistance
In T.C. Boyle’s The Tortilla Curtain, it should be easily noted that each wall comes with a much deeper, metaphorical meaning. The literal and figurative boundaries in the story appear as symbols for what keep the characters in their own “worlds.” These boundaries symbolize the fear of outside forces which each character struggles to keep away from what they cherish the most. Although the boundaries in the story can both be real and imagined, each one of them can allude back to the main issue of the Mexican-American border.
Being so naïve about the country I came from being influenced by the way other people look at Mexico made me ashamed of who I was. Even taking it as far as dreading the color of my skin and despising the blood that ran through my veins. Not knowing of course that blood and the way I am and look is what ties me to my ancestors and my future family. Now, having the ability to block out the unnecessary opinions of outsiders and finally having the courage to love myself and my roots; I’m able to fill my own head with information. Learning from how people in Mexico treated the land like a part a part of themselves, I decided that I’m as important as the seasonal fruits, as intricate as el mole, sweet life the pineapple, and as bright and persuading as the sunflower. For the first time everything I see and am is as beautiful as it should be.
...community, equal rights and the right to follow your roots) with the central focus of the poem. As Susan Bassnett states in her essay Bilingual Poetry: A Chicano Phenomenon , there is a “Latin American tradition of the poet who occupies a prominent place in the struggle for freedom and national unity”, and as Cervantes and Gonzales demonstrated, the poet’s role in Latin America has not been diminished.
The author is using personal experience to convey a problem to his or her audience. The audience of this piece is quite broad. First and foremost, Mexican-Americans just like the author. People who can relate to what the author has to say, maybe someone who has experienced something similar. The author also seems to be seeking out an audience of white Americans who find themselves unaware of the problem at our borders. The author even offers up a warning to white America when she notes, “White people traveling with brown people, however, can expect to be stopped on suspicion they work with the sanctuary movement”(125). The purpose of this writing is to pull out a problem that is hidden within or society, and let people see it for what it is and isn’t.
The eternal endeavor of obtaining a realistic sense of selfhood is depicted for all struggling women of color in Gloria Anzaldua’s “Borderlands/La Frontera” (1987). Anzaldua illustrates the oppressing realities of her world – one that sets limitations for the minority. Albeit the obvious restraints against the white majority (the physical borderland between the U.S. and Mexico), there is a constant and overwhelming emotional battle against the psychological “borderlands” instilled in Anzaldua as she desperately seeks recognition as an openly queer Mestiza woman. With being a Mestiza comes a lot of cultural stereotypes that more than often try to define ones’ role in the world – especially if you are those whom have privilege above the “others”.
I decided to analyze the poem English con Salsa by Gina Valdes, because I can identify myself with this poem in many different aspects. Both my parents and I were born in Mexico, but decided to move to the United States on February of 2000. With us moving here, we brought along our traditions and customs. My family has a blend of American culture with Latino culture since a few of my uncles married American women and had children. I feel that Valdes poem is about finding that “in between” feelings that are brought up when two cultures are mixed together.
...r own personal identity and how others view them. They are caught between to very different cultures and consequently often don't know how to find a way to balance the two. As Latino-Americans move farther away from their roots and struggle to find some common ground between the two cultures the polar duality in their identity will continue to be an extremely common theme in Latino writing.
The struggle to find a place inside an un-welcoming America has forced the Latino to recreate one. The Latino feels out of place, torn from the womb inside of America's reality because she would rather use it than know it (Paz 226-227). In response, the Mexican women planted the seeds of home inside the corral*. These tended and potted plants became her burrow of solace and place of acceptance. In the comfort of the suns slices and underneath the orange scents, the women were free. Still the questions pounded in the rhythm of street side whispers. The outside stare thundered in pulses, you are different it said. Instead of listening she tried to instill within her children the pride of language, song, and culture. Her roots weave soul into the stubborn soil and strength grew with each blossom of the fig tree (Goldsmith).