November 4, 2021

Gil Arzola

SOTO

Old Mexican Soto was born with a gift for staying poor. At the end of every day he would be two hundred feet behind me in the mint fields where we worked with thirty others pulling weeds. It was 1965 and weeding was a job for Mexicans and hillbillies who arrived every morning in a discarded school bus that was too old for hauling the hopes of schoolchildren but capable enough to take us from field to endless field. Mexican women wearing straw hats gossiped—young men whose youth still covered them like the sweat on their backs—dreamt. Every morning, as if no bird could begin its singing, as if no sun would rise without us, we began together. When the clouds were still low and when the sun had just begun to melt the dew, we grabbed our hoes and picked a row as silently as sinners choosing a pew. Minding our chores and minding our own business, we dispatched the weeds and volunteers like unwelcomed guests. Always beginning together, by ten o’clock Old Mexican Soto was only a shadow behind me. When I turned, he was something brown against the green mint, and his hair was as black as the dirt between rows. Sometimes he’d stand and pull a red handkerchief from his back pocket, and with great ceremony he’d wipe his brow like he was erasing mistakes from a chalkboard. The handkerchief the only part of him colored bright. The rest was brown and shades of that. Soto was round like a barrel, his brown skin worn like old leather, his chin coming to a point at the bottom of his long face. That’s all I remember. Two hundred feet behind me Old Mexican Soto was still in the fields when I left. Born with a gift for staying poor and dreaming of payday Fridays, cold beer and quitting time, he stayed.

from The Death of a Migrant Worker
2021 Rattle Chapbook Prize Winner

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Gil Arzola: “The Death of a Migrant Worker is a gift and monument of words to my parents. It is a way of saying ‘these people passed through this way’ and here’s what they did.”

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October 7, 2021

Gil Arzola

CHILDHOOD HOMES

Where the bushes are now a house once was.
See there—where branches are twisted together like skinny
arms hugging air? You’d think it was one thing instead of two
until you look closer and follow to its roots.
Right there—where the branches
are highest there was a window and
a boy looking out.

My life is passing. The snow melts.
In another day it will become water and disappear
into the ground.
Over there—across the field you can count
one, two, maybe three trees I used to climb.
Walk there—
And you can ask each blade of grass on the way
to tell you my name.

from The Death of a Migrant Worker
2021 Rattle Chapbook Prize Winner

__________

Gil Arzola: “The Death of a Migrant Worker is a gift and monument of words to my parents. It is a way of saying ‘these people passed through this way’ and here’s what they did.”

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September 2, 2021

Gil Arzola

THE DEATH OF A MIGRANT WORKER

My father died in the bathtub, his head
banging against the stainless-steel handles.
The blood from his head—useless now—poured out,
slow as thick soup.

It was no concern of his.
His life had ended before any of that.

The blood, he didn’t need anymore, was the only thing moving; the rest of him—
arms that had worked a thousand fields,
held his babies and hauled buckets of coal for the stove.
His hands calloused, that had tried to mend unfixable things,
and one leg crooked from a break
that never healed right …
all of it motionless now.
Dead before he hit anything.

My father died in mid-air like a bird
shot out of the sky, like a hawk circling then
disappearing beyond a horizon, falling—
somewhere out of my reach.

from The Death of a Migrant Worker
2021 Rattle Chapbook Prize Winner

__________

Gil Arzola: “The Death of a Migrant Worker is a gift and monument of words to my parents. It is a way of saying ‘these people passed through this way’ and here’s what they did.”

 

Gil Arzola is the guest on Rattlecast 109. Join us live at 8pm EDT …

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