The Guardians of an Immense Canal

In the far away, newer, and still shifting western frontiers, there once was a watchman uniformed in olive green who looked over a border, an imaginary one some argued, since a natural delineation this border was not, but instead had been drawn by humans through migration, invasion, occupation, relocation, warfare, purchases, and treaties; now this line manifested itself as a rusty and porous chain-link fence adorned on top with tetanus inducing garland. This watchman, in a grand and big-wheeled gasoline-fueled and color-coordinated-to-his-uniform motor vehicle, would give chase at daring speeds to reach and capture people who, according to this artificial line, were not supposed to be on his side of it. Parallel to it, a massive and glorified irrigation canal that brought verdant promises to a once arid desert served as a secondary boundary this watchman conveniently patrolled from, since the people he would follow with night vision binoculars had grown immune to barbed wire but not to the dangers of deep running water. These people didn’t know it, but they were invisibly watched by another whom they feared as equally as the watchman, a ghostly woman in a dress known to appear waterside at night crying for her drowned children. One night lit with a full moon, while the torrid waters of this wide canal sparkled like stars, the watchman gave chase to a car he believed was loaded with the unwanted; chasing over a bridge across this immense canal, this ghostly woman and secret guardian of the others, made an appearance on the passenger’s seat of this watchman’s speeding grand motor vehicle; elegantly dressed in a white spectral dress, she appeared seated not uttering a word, not looking at him either, just sitting there perfectly postured looking straight ahead, not acknowledging his existence by gesture or word, but simply by being there. The scare made the watchman swerve out of control and roll over, and down the grand green and white Ford Bronco went into the All-American Canal; the words BORDER PATROL emblazoned across it slowly faded as it sank. He died trapped, drowning under the waters of this massive canal that humans use to provide and divide so much, but not before believing, if even for one instant, in the ghostly woman dressed in white.

 

Omar Bárcena

Omar Bárcena, born and raised straddling the line dividing Alta from Baja California in the border city of Mexicali, Baja California, raised between his hometown and Calexico, his childhood and adolescence were divided between two countries and two languages whose border he crossed: often daily. At 18, he left the currently delineated USA/México border to attend university in San Luis Obispo, California, where he obtained an architecture degree. Omar has lived in Mexicali, Calexico, San Luis Obispo, San Francisco, Paris, Los Angeles, Mexico City, and Borrego Springs, but the border splitting has never left him. His poetry has appeared in the Hawai’i Review issue 89 – La Trayectoria del Latinx, by the University of Hawai’i in Manoa and in The Very Edge Poems, by Flying Ketchup Press, of which he became a Pushcart Prize nominee in 2020, and his first collection of poetry, Poemas desde el otro lado, which deals `with being on the opposite side of things, was published in 2021 by Valparaíso Ediciones of Granada, Spain. He has since obtained a certificate in Creative Writing from UCLA Extension, become a finalist for the 2024 Harbor Review Chapbook Editor’s Prize, and is pursuing a bilingual MFA in creative writing from Mount Saint Mary’s University of Los Angeles.

 

Featured Author, Patrick T. Reardon

Elect

 

Toast with choice wine the elect.

 

Toast the vampires, bad boys, hyenas,

stone-cold demons and assholes

strolling the halls of heaven,

side by saintly side with hermits and virgins,

stumbled apostles, unwed social justice mothers,

preachers-to-the-animals,

preacher dragged to the fire,

girl soldier dragged to the fire,

mothers, fathers, babies unbaptized,

founders of monastic communities,

fallen archbishops, Juan Diego,

the poor and unsightly, the troubled rich

— which is to say, every one of wealth —

robbers who love their father,

lost tribes of angels,

archdeacons who don’t get along with each other,

holy men wrestling with Satan,

the innocent old, Job, the inside traders,

the cashing-in and the cashiered,

holy men wrestling with an angel

or a Deity maybe,

break the rib, dislocate the hip.

 

Collect the elect

— the hell-raisers and hell-preachers,

the abject, reject, object,

subject to pride,

subject to anxiousness, empty echoed terror.

 

Toast with Diet Coke the McDonald’s regulars,

the cathedral regulars,

the Mozarts, the Manets, bankrupt Vermeer,

the pulsing maters, the buttermilk cups,

open arms, open legs,

the bell ringers and the rung bells,

the sleek-bodied, the weighted,

the glide and slide and blithe,

the large and loud and meek.

 

Round up the elect for the trains.

 

Lift the incense.

Light the tall candles,

the Easter candle before the tabernacle.

 

The mystery of faith.

 

Lift the morning sun through the rose window

and the saints with green halos

and the virgin with blue halo

and the baby with the halo of red.

 

Gather in the plaza the elect

for goats-and-sheep time,

each then by a different path to the same pasture.

 

Hymn the bricks and marble,

the dark basement, the ceiling, cracks,

the space like another cosmos.

Whither shall I go?

 

Count sins.  Record errors and malignancies.

Keep track humanity.

 

Serve the chalice of soup-kitchen soup.

Break day-old bread, a leg unwell knit.

Mark each word.

 

Dog in the sanctuary.

Armor at the church door.

Turnips growing in rows under the pews.

Much barking at the altar.

 

Wake up, baby!

Open your eyes to the morning snow,

sunlight on the white city, a joyful demand,

on the streets and sidewalks,

factories and tattoo shops,

police cars and hearses.

 

Climb the column.

Sit on top and pray alone

for a novena of novenas,

eighty times eight.

 

The aroused, the aloud, the bowed

and unbowed, the cowed, the aground,

the bound and unbound.

 

Soon and very soon.

 

Let the barrio close you in awkward embrace

— smell the rot, touch the frail wood,

feel the play of texture in the ugly wood,

listen to the wind across the wood face.

 

Let us as elect wash the feet.

Let us chop up pews for firewood.

Let us recalibrate the statues

and the paintings and the hymnals.

 

Let us go out each morning as elect,

each noon, at night.

Let us go out and among

and in and with.

 

Toast with strong coffee

out and among and in and with,

sacred prepositions.

 

Holy grammar. Holy word.

Holy embrace, elect.

 

Patrick T. Reardon

Patrick T. Reardon, a three-time Pushcart Prize nominee, is the author of six poetry collections, including Salt of the Earth: Doubts and Faith and Puddin’: The Autobiography of a Baby, A Memoir in Prose Poems. His poetry has been featured in numerous journals such as America, Rhino, After Hours, Heart of Flesh, Autumn Sky, Silver Birch, Burningword Literary Journal, The Write Launch, Poetry East, The Galway Review, and Under a Warm Green Linden. In addition to his poetry, he has also written a history book titled The Loop: The ‘L’ Tracks That Shaped and Saved Chicago, which was published in 2020 by Southern Illinois University Press.

On the Fourth of July

the fireworks are cracking open the air

and I’ve had just about enough of America

after serving people hot

dogs all day and watching

people eat them on TV so I march

into the woods into the mud into

the pond into my salamander

skin. I bury myself in the clag

until everything is wet,

hushed and warm.

I did this once before

ten years ago or so

when life had gotten noisy

I staggered through California’s redwoods

crawled under a fern, became

a newt, tried to swallow a banana

slug but got in way over

my head and had to stop speaking

for a while, digesting

its girth billowing

from my mouth.

When it was finished

I grew my human legs back

then belly, arms and the rest

and walked back into my life

working at the coffee shop

and having a girlfriend,

a brother and a best friend

like a woman can do.

It was alright for all those years

but now in the mud again

I don’t know how long I’ll be here

but I suspect if I sing Amazing Grace

into the gurgling water the frogs

will chime in then the birds

and rodents and cicadas

until it all sounds

like one sound.

Maybe then it will be time

to slide from the cooing muck

my body and go home.

 

Elise Ball

Elise Ball is an artist and writer from the San Francisco Bay Area, currently living in Southern Appalachia. She holds an MFA in Creative Writing from Queens University of Charlotte, and her work has been published or is forthcoming in publications such as TulipTree Review, Flyway, and Arc Poetry.

 

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