Editor’s Note: A Border of Sky

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Borrando La Frontera

In 2011, artist Ana Teresa Fernández painted swathes of the Tijuana border wall pale blue. From a distance, these painted sections blended with the sky so well that the wall seemed to disappear: it ceased, for a moment, to be a barricade, a reminder that the Global North is fortifying itself against the Global South. Fernández’s work reminds me of the fairy tales of my childhood, where the edges of forests are boundaries between known and unknown worlds. In those stories, borders function as thresholds.

In Ambos Nogales, where I volunteer at el Comedor, an aid station and soup kitchen for recently deported migrants, the border wall starts outside of town. It’s a rust-colored snake that wriggles across the hill crests before descending into the city itself. It cleaves the broad avenues and beige-brick buildings of sleepy Arizona from the narrow streets and tumble of vendor carts and pharmacies of urban Sonora–cleaves city from suburb, Mexico from the US, “them” from “us.” On Sundays, families picnic along the fence, cousins with Mexican citizenship passing Coca-Cola and condiments to cousins with US citizenship, holding hands instead of embracing. The border here is porous enough for fingers, voices, shared meals; for lives to be lived across and between–but not permeable enough for whole bodies.

I’m a gring@ from north of the line; I live in a country where politicians and public intellectuals fuel fears that legions of people from Mexico and Central America are crossing north to take jobs away from US citizens and to, God forbid, speak Spanish while browsing the supermarket. In his poem “187 Reasons Why Mexicanos Can’t Cross the Border,” Juan Felipe Herrera writes, “CAN’T CROSS because ‘xenophobia’ is a politically correct term.” Secure borders! US conservatives scream, and Xenophobia! the liberals respond–a cloaked word that doesn’t sound quite as bad or honest as racist.

I also live in a country that just elected Donald Trump to the presidency–a man who once said, “When Mexico sends its people, they’re not sending their best … They’re sending people that have lots of problems, and they’re bringing those problems with them. They’re bringing drugs. They’re bringing crime.” But he’s wrong–those are not most of the people crossing north, and they’re certainly not most of the people I’ve met and talked to: undocumented millennials who grew up in the United States, were deported, and are trying to get back to Chicago, Phoenix, or California; families fleeing gang violence and economic poverty in Honduras and El Salvador; a Oaxacan university student whose visa application was rejected by the Mexican government because he looked “too indigenous,” and came from a family without wealth or social standing.

Herrera’s poem also includes the portentous line, “CAN’T CROSS because brown is the color of the future,” which hints at the dream that someday Mexicans, Central Americans, and other migrants will be able to travel north freely. Herrera and other writers and artists are making a new mythology of the border: Prefiguring what could be and should be, they transform the militarized line into a threshold. “I see a whole generation … wandering around // a continent without a name,” Guillermo Gómez-Peña writes in “Freefalling Towards a Borderless Future,”  “Standing on the map of my political desires // I toast to a borderless future // (I raise my wine glass toward the moon).” Queer, Chicana writer Gloria Anzáldua–who grew up in the borderlands of south Texas–considers the northward migrations a “return odyssey to the historical/mythological Aztlán,” the original Southwestern homeland of the Aztecs which, according to Anzaldúa, they “left … in 1168 AD,” bound for the Valley of Mexico. “This land was Mexican once, // was Indian always // and is. // And     will be again,” she writes in her poem El otro Mexico.

In October 2015, Ana Teresa Fernández and a group of volunteers painted a 50-foot section of the border wall in Nogales, Mexico the color of the sky. In April 2016, volunteers in the Mexican border cities of Ciudad Juárez, Mexicali, and Agua Prieta did the same. With each brush stroke, they enacted the project’s name, Borrando La Frontera. They offered those on the south side of the wall a vision of what they might someday see looking north–after the steel, barbed wire, and Border Patrol trucks that divide the two countries dissolve, there will be nothing but houses, schools, mountains, mesquite trees, clouds in a hot desert sky.


This Editor’s Note was written by Tiny Donkey Editor Wren Awry.


If you’re interested in supporting direct humanitarian aid to end migrant deaths and people of color-led pro-immigrant groups in southern Arizona, please consider volunteering with or donating to the following organizations:

No More Deaths/No Mas Muertes (Arizona)
Aguilas Del Desierto Inc. (S. Cali & Arizona)
South Texas Human Rights Center (South Texas)
Derechos Humanos
Protection Network Action Fund/ Fondo de Acción de las Redes de Protección
Mariposas Sin Fronteras
Southside Worker Center

Editor’s Note: Golden

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The Dodge Ram scrambles over rocks and rain-hewn ditches; water gallons and bean cans jostle  in the truck bed. I gaze out the window, stretch my pointer fingers and thumbs then hold my hands catty-corner to pretend I’m making postcards. Snap!—everything gold, gilded.

The sinking-sun landscape looks like one of those photo essays from Arizona Highways I leaf through in the library. The Altar Valley is amber with cholla and prickly pear, acacia and mesquite trees. The dusk casts miniature, scattered mountain ranges in vermilions and mauves. Baboquivari’s cuspate peak stands sentinel above it all, so backlit that it looks like its cut out of black construction paper.

Golden hour is seductive enough to lure me towards forgetting. I pull myself back, remind myself that the recent history of this desert is a catalogue of predacious desire for aurum, Au, the metal that shines like the sun:

1540: Coronado (arrogant, silver-plated) searches the Southwest for Cíbola, the legendary city of gold. He finds no such city but still plunders towns and villages, leaving death and destruction in his Spanish wake.

Pima County, 1774: Manuel Lopez, a Spanish holy man, forces a group of Tohono O’odham to extract gold from the Quijotoa Mountains. Thus begins gold mining in Arizona.

1877: White settlers open the Montana Mine in Ruby, Arizona. Until 1940, when it’s abandoned, residents extract gold, silver, lead, zinc, and copper from the mine.

(Ruby is now one of the two best-preserved mining ghost towns in Arizona according to Wikipedia, twenty-five-odd buildings scattered on a hillside below the gaping mine mouth. The mine is home to thousands of Mexican free-tailed bats that swirl into the darkening summer sky, going north-south-east-west in search of bugs, disregarding the nearby cattle fence that splits two countries like a wound.)

Then there’s my own white, middle-class childhood. 1994: I’m five, in a pink-painted bedroom just north of New York City, thousands of miles from this dusty border. My father reads to me from My First Book of Fairy Tales. The illustrations are full of golden objects–the giant’s eggs in “Jack and the Beanstalk,” Cinderella’s pumpkin coach. After he finishes a story, my father asks, “What’s the golden rule?” and I respond, well taught, “He who has the gold makes the rules.” It’s his favorite punchline. We laugh, oblivious to how it implicates us.

The princesses in the volume have locks so burnished they seem incendiary–like they might, at any moment, burst into flame.


This Editor’s Note was written by Tiny Donkey Founding Editor Wren Awry. Photograph by Margaret KIlljoy.

Interview: Michael Mejia

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I  first encountered Michael Mejia’s short story “Coyote Takes Us Home” last year, while reading Kate Bernheimer and Carmen Giménez Smith’s anthology My Mother She Killed Me, My Father He Ate Me. As a story based on Mexican folktales that addresses the U.S.-Mexico border, it stands out in an anthology that–while excellent–mostly draws upon European lore. Mejia carved out time in his busy schedule (he teaches creative writing at the University of Utah, is the Editor-in-chief of Western Humanities Review, the co-founding editor of Ninebark Press, and the author of the novel Forgetfulness) to talk to me about “Coyote Takes Us Home,” the fraught landscape of the U.S.-Mexico borderlands, and the trips he took south of the border in an effort to learn about his Mexican heritage.

I live near the U.S.-Mexican border–in Tucson, Arizona–and I encountered your story, “Coyote Takes Us Home,” while writing about borderland fairy tales and folklore for the Fairy Tale Review blog. Why did you decide to write a newfangled fairy tale about crossing the border?

As with any good fairy tale, there are three knocks required to open this question.

The first reveals an answer you may already know. In my note following “Coyote Takes Us Home,” I mention having half-heard, some years ago, a news report about unaccompanied minors stowed in cars crossing the border, in a way we might expect with shipments of drugs. It’s fantastic, of course, and dangerous, and absurd, and real. Parents leave their children with relatives, come to the U.S., work to pay for the kids’ care, eventually putting aside enough to have them sent north, through a network of strangers, and smuggled across the border. Sometimes the parents will be forced to pay thousands of dollars more, a ransom, to have the kids delivered as much as 2000 miles away, to North Carolina or Pennsylvania, Washington or Chicago. Or the kids might get caught along the way and repatriated to a shelter on the Mexican side of the border. A phone call or a fax from their parents, a promise to send them home, to not to try again, can be enough to get them released, and that night they’ll be back in the Arizona desert.

The story got even more desperate in 2014, when more than 40,000 kids from Honduras, El Salvador, and Guatemala (far more than from Mexico) were fleeing gang violence and recruitment as well as poverty. They came walking, riding buses, and riding the tops of trains across multiple borders on their way north, with no family at all in the US.  Aside from finding these stories terrifying and sad—though if…when…the kids do make it across, I think we know there’s a real chance at something like a happy ending—I wanted to consider the issues of abandoning your home place, the socio-economic pressures that would make that place unlivable, the unexpected uprooting that occurs on that morning word comes that you’re to get in the car, on the bus, and the loss of cultural knowledge this journey represents. Which brings me to the second knock.

Continue reading Interview: Michael Mejia

Kid Cages

by Wren Awry

In Reserve, New Mexico, kids wait for the school bus inside of wood and wire mesh cages. They were built after Mexican grey wolves were re-introduced to the area in 1998 because, some say, the wolves were following children home from school. [1] Mexican wolves seldom attack humans, and there are no recorded deaths at their paws. [2] So, where does the fear come from? Environmentalists blame rancher propaganda and ranchers blame the wolves. I also blame wolves. Not the real, flesh-and fur-kind. I blame “stranger danger” wolves made of celluloid and sentences.

I imagine parents have stopped reading “Little Red Riding Hood” to children; they skip the scene where Belle is surrounded by snarling, yellow-eyed monsters in Disney’s Beauty and the Beast. They tell their children to look out for upright canines with deep tenors, who will urge them to “pick a few flowers for granny.” Wolves, we all know, blow houses down, so when the wind comes, kid, please assume wolf-hiding position. Lycanthropy is not funny here.

But there are other kinds of wolves, and other kinds of fears, in the European fairy-tale canon.

“What should happen to a mother who throws her sons to the wolves?” a prince asks his wife in “The Wolves,” a Bavarian tale. The princess mentions red-hot iron shoes, and is duly punished.

Before death, did the princess recall the two wolves that shaped her fate? The one snarling back at her, in the mirror, during a fit of jealousy; and the one she sent her seven newborn sons to, in hopes that the canis lupus would eat them (“Multiple births,” she had, unfortunately, just told her husband, “Is a sure sign of adultery”).

She does not know—will never know, though she might guess—that the prince ran in to the midwife bringing the infants to the wolf. That the prince intercepted, saved his sons, had them raised by a loyal subject. Perhaps he re-routed. But in my mind, he followed the same path. The wolf the princess hoped would eat her sons raised them instead. When they returned to the court eighteen years later, the boys were long-haired and lupine. [3]

In the kid cages of Reserve, do students peer through the wire mesh to look for wolves in the piñion and juniper? And, if yes: out of fright, or desire? Some must spin daydreams out of their mothers’ worst fears; must long to join up with the wolves out there in the wild world.


Wren Awry studies Creative Writing at the University of Arizona. Their creative nonfiction has been published in Loom Art Zine, and they occasionally write criticism for the Anarcho-Geek Review.


[1] “Miller, Joshua Rhett. “Are ‘kid Cages’ Protecting N.M. Children, or a Case of Ranchers Crying Wolf?” Fox News. FOX News Network, 29 Oct. 2013. Web. 20 Mar. 2015. <http://www.foxnews.com/us/2013/10/29/are-kid-cages-protecting-nm-children-or-case-ranchers-crying-wolf/?intcmp=trending>.

[2] “Mexican Gray Wolf.” Arizona Game and Fish Department. AZGFD, n.d. Web. 20 Mar. 2015. <http://www.azgfd.gov/pdfs/w_c/wolf/WEB_Mexican_Wolf_details.pdf>.

[3] Eichenseer, Erika, Engelbert Suss, and Maria Tatar. “The Wolves.” The Turnip Princess & Other Newly Discovered Fairy Tales. By Francis Xavier Von Schonwerth. New York: Penguin Classics, 2015. N. pag. Print. Penguin Classics.