THE LANGUAGE CAGE

by Alejandro Escudé

Available from Nielsen Magic

     “Sir, we don’t use cages for children,” the DHS secretary said. “Yes. I’m being as clear as I can, sir. Respectfully, I’m trying to answer your question.”
     “Just yes or no. Are we still putting children in cages?” [House Homeland Security Chairman Bennie] Thompson asked again.
     “To my knowledge, [Customs and Border Patrol] never purposely put a child in a cage,” [Kirstjen] Nielsen stated.

—Salon, March 6, 2019

When the child first enters the cage,
The spaces in the chain-link are made of words.
The words are in Spanish, they read, jaula, carcel,
A series of synonyms meaning the same thing.
A child is also the child entering; one could
Make a cage out of anything. Even sunbeams.
The doorway, a  gleaming nexus of rays,
the benches made of aurora borealis green,
and the child would be a child sitting on it, waiting
for the wound in her to heal with a parent’s touch.
There are many words, and also, there aren’t any others.
The immigrant is an outsider, an illegal, an alien.
Words on their own never show compassion.


Alejandro Escudé published his first full-length collection of poems My Earthbound Eye in September 2013. He holds a master’s degree in creative writing from UC Davis and teaches high school English. Originally from Argentina, Alejandro lives in Los Angeles with his wife and two children.

M-MOMENTS

by Lind Grant-Oyeye

Around 1,600 refugees from Myanmar and Bangladesh were rescued off the coast of Indonesia on Sunday and detained in Malaysia on Monday. Malaysian officials said Monday that 1,081 Bangladeshi and Rohingya refugees landed on the country’s Langkawi Island. On Sunday, 600 “sad, tired and distressed” migrants were stranded off the coast of the Indonesian province of Aceh. On Monday, another 400 were found aboard a ship, the BBC reports. Hundreds of those people are believed to be Rohingya, the ethnic Muslim minority in Myanmar who for decades have faced discrimination and persecution in the majority-Buddhist country. The government of Myanmar considers the country’s approximately 1.33 million Rohingya illegal settlers, and the United Nations classifies them as one of the most persecuted refugee groups in the world. —Newsweek, May 11, 2015

With silvery hair, bones thinned in-out, of life the silver screen speaks.
The letter M, embossed in audacious colors. It had begun long before her time,

time when clay pots were sanded out to shimmer. She had seen it and felt it.
It starts by falling- falling in love. Minute carts tenderly packed,
full of moments, full of memories delicately put together.

It moves with fantasies of prized certificates, a desire for a stamp-the majestic seal of approval.
It flows to the stage of self- journey through dark subways, tunnels to the unfamiliar,
untested promise lands. She heard some had swam bellied-up in wavy pools,
Chillin’ to the historic tempest.

Others swim to “bien venue”  cat-calls, to honeymoons filled with French kisses,
flowers and fresh caresses, beauty and beautiful feet planted on cozy carpets,
romance lasting into wintery and the hurricane hugging days.

On strange lands were some feet planted. They kissed strangers
and slept with enemies -red juices pressed against their lips,
with the firm force of a heavy weight boxer’s strength, kissing Judas’ doppelgänger
to the sweet sound of the language from Babel, spoken with a lover’s passion.

Faint memories show M in the alphabet song, is for Migration, for marriage.


Lind Grant-Oyeye is an Irish-Nigerian poet and has work published in several countries. Her work discusses issues related to culture, social justice and equality.