Rodney Gomez
Spine
For Emmy Perez
We cannot tattoo
roses on the border
wall. We cannot strip
the river and expect it
to squawk. We cannot build
a pinwheel of butterflies
to overrun the dry
banks, launch a trebuchet
of squirming children
into Relampago hoping
they will find the way back.
Strip the mud to reveal
axolotl skin. Strip
the skin to reveal the truth
about walls. Homily
to feet made horned
by the scantest coat
of dust. Pin a summer
dress on the slats,
invite it to the waltz.
We cannot aerosol
Tonantzin on the border
wall. We cannot plow
the boneyard and ship
it back. Forget architect
names and engineer
plans. Red tooth,
clawless. Pillion
to a thousand mile
rosary. In the summer,
under a scrimshaw sun,
we cannot fathom
the shadow on a boy's
brown face. He twists
and squirms but ends
up trapped in the space
between tines.
We cannot sand off names
tagged on the bridge
near Gem Estates,
where they filigree
their teeth and proudly
repeat their chimes.
Humps of charred
wetbacks, cairn upon
cairn of their hands
shaped into pistols,
hands into fists, hands
into pestles. Pesos
strewn like bird seed
to summon the grackles.
You cannot dismantle
the border wall. Take it
apart, a dodecahedron
in the hands of a boy
who prefers a mallet.
Reassembled, a lung.
A girl drapes a skirt
over the spine: she says,
someday this will be known
as a whip.
Rodney Gomez
Rodney Gomez works as an urban planner in Weslaco, Texas. His chapbook Mouth Filled With Night is forthcoming from Northwestern University Press. His work has appeared or is forthcoming in Denver Quarterly, Blackbird, Devil’s Lake, Salt Hill, Barrow Street, RHINO, and other journals. He has received residencies from the Atlantic Center for the Arts and the Santa Fe Art Institute. He holds an MFA from UT-Pan American and was a board member of Migrant Health Promotion, a nonprofit organization dedicated to improving the health and well-being of migrants, immigrants, and related populations.