Legal Alien

Fiction | Poem | Adult | Published in 1985

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Background

Poem Analysis

Themes

Symbols & Motifs

Literary Devices

Further Reading & Resources

Related Poems

"Sonrisas" by Pat Mora (1986)

The narrator of “Sonrisas” (“Smiles”) describes herself as living “in a doorway / between two rooms.” Like the speaker of “Legal Alien,” she is caught between the two different worlds of America and Mexico. In one room, she describes the sterile environment of an office and the fake smiles (reminiscent of the fake smile in “Legal Alien”) of the quiet professional American women. In the other room, she sees Mexican women laughing and eating, speaking Spanish and authentically living. The narrator of “Sonrisas” is an outsider to the women in either room, being only an observer and never an active participant on either side.

"To Live in the Borderlands" by Gloria Anzaldúa (1987)

In this poem, fellow Chicana poet Gloria Anzaldúa writes about navigating a multifaceted border identity that speaks to the same themes found in “Legal Alien.” She compares living with this complexity to being at a crossroads—a battleground where a Mexican American is both “at home” and a “stranger.” The poem stresses that a person with this heritage must acknowledge both their indigenous ancestry and “the Anglo inside” in order to understand their whole identity, which is also a central message of “Legal Alien.”

"Borders" by Abel Salas (2017)

In “Borders,” journalist and poet Abel Salas explores the “ancestral sadness” that exists within a borderland. Like the speaker of “Legal Alien,” the speaker of “Borders” describes “worlds imposed” upon them but rejects them, stating, “I know I belong / to none of them.” This more recently published poem shows that the themes of “Legal Alien” live on in the present, as people in border communities continue to navigate a dual identity.

"Mexican American Disambiguation" by José Olivarez (2017)

José Olivarez, a son of Mexican immigrants, writes about the complications of a Mexican American identity in “Mexican American Disambiguation.” He describes the nuanced differences between Mexican, Mexican American, Chicano, Mexicanos, and other labels that shift in meaning depending on context. For instance, he explains that to Mexicans living in Mexico, his family might be considered “gringos” (generally used as a derogatory term for non-Latinos), which is the word his family would use to refer to “white folks.” Like the speaker of “Legal Alien,” Olivarez wrestles with living on the American side of the border and the challenges he faces in defining himself.

Further Literary Resources

"Conserving natural and cultural diversity: the prose and poetry of Pat Mora" by Patrick D. Murphy (1996)

Published by Oxford University Press, Murphy provides an in-depth analysis of how Pat Mora’s poetry and essays demonstrate an unwavering belief in the importance of multiculturalism (a theme of “Legal Alien”) and the conservation of culture. He asserts that Mora’s message is that physical borders are arbitrary and must be crossed to understand Mexican American culture, which takes influence from both sides of the border. Though this essay does not directly mention “Legal Alien,” readers of the poem would benefit from understanding the wider context of Mora’s belief in multiculturalism.

"'The Middle Woman' from Nepantla: Sameness and Difference in the Poetry of Pat Mora" by Ozlem Gorey (2013)

This essay explores the idea of Nepantla (or “in-between-ness”) that runs through “Legal Alien” and Pat Mora’s other writing, in addition to looking at her poetry through a feminist lens. Gorey explains that Mora’s work provides resistance to homogenization while also highlighting bonds between women across cultures. In Gorey’s interpretation, borders can thereby be seen as having the potential to heal rifts and unite people.

Interview with Pat Mora by Elisabeth Mermann-Jozwiak and Nancy Sullivan (2003)

In this interview, Mora reflects on her journey to becoming a writer, her writing style and methods, and the use of the Spanish language in her poetry. She also responds to questions about her central themes of borderland existence and identity and offers suggestions about how educators can expand their curriculum to include works by diverse writers. In particular, Mora responds to a pertinent question that affects the speaker of “Legal Alien”: “Where do I belong? I don’t belong in either place.” To this, she says: “Or the flip, ‘I belong in both,’” which is the warring pain and privilege of a bicultural person.