Natalie Scenters-Zapico

Lima:: Limón traces machismo, womanhood, and culture across borders, raising questions to the gods while finding answers within the flesh.

Limn̤

Lima : Limón

The Verging Cities

Staggering between English and Spanish, language becomes Scenters-Zapico’s mirror, reflecting her body, her family, and the borders that confine them.
My Perfect Cognate interrogates the connections and contrasts at the sharp edges of her in-betweens: violence and softness, motherhood and isolation, the border between the United States and Mexico, where the author and her mother were often stopped, interrogated. Written from the depths of severe post-partum depression, Natalie Scenters-Zapico searches for a language that can hold both personal and communal pain. When Spanish and English seem insufficient, she leans on the connection between the two languages: the cognate. Originally a way to document lineage through the mother, the cognate provides a possible bridge of understanding. Yet, for every cognate that works as a mirror reflection, the wave of a border agent’s hand, a stamped passport, a false cognate that works as an expired visa, a rejected biometric scan, a port of entry shut down by violent legislation. Natalie Scenters-Zapico mines the depths of linguistic cognate theory to write poems that go beyond translation and mistranslation. We find hope in a translingual landscape that breaks open borders.

My Perfect Cognate

From undocumented men named Angel, to angels falling from the sky, Natalie Scenters-Zapico’s gripping debut collection, The Verging Cities, is filled with explorations of immigration and marriage, narco-violence and femicide, and angels in the domestic sphere. Deeply rooted along the US-México border in the sister cities of El Paso, Texas, and Cd. Juárez, Chihuahua, these poems give a brave new voice to the ways in which international politics affect the individual. Composed in a variety of forms, from sonnet and epithalamium to endnotes and field notes, each poem distills violent stories of narcos, undocumented immigrants, border patrol agents, and the people who fall in love with each other and their traumas. The border in Scenters-Zapico’s The Verging Cities exists in a visceral place where the real is (sur)real. In these poems mouths speak suspended from ceilings, numbered metal poles mark the border and lovers’ spines, and cities scream to each other at night through fences that “ooze only silt.” This bold new vision of border life between what has been named the safest city in the United States and the murder capital of the world is in deep conversation with other border poets—Benjamin Alire Saenz, Gloria Anzaldúa, Alberto Ríos, and Luis Alberto Urrea—while establishing itself as a new and haunting interpretation of the border as a verge, the beginning of one thing and the end of another in constant cycle.

Natalie Scenters-Zapico

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