January 16, 2023

Tijuana

By Victoria Ballesteros

Photo credit: Michael J. Slezak (JW) and Dylan Sauerwein.

In dreams, I glide past borders and through concrete doors to reach places I have never left. I fly over green picket fences and bougainvillea trees adorned with slivers of the past. Abuelo teaches me how to walk downhill without falling. “Don’t be afraid, Mija,” he says. “The key is to go slow, step sideways, and swing your arms like this.” I put this to use when I make my way down gravel and dirt roads with Abuela to buy corn tortillas made fresh by hand, wrapped in yellow paper. I inhale their warmth and run back up the hill so Abuelo can eat them with his favorite meal – a bowl of watery refried beans. And when my cousin and I take empty Coca-Cola bottles to Doña Rafaela, who lives four houses down, past a rugged patch of cactus where a few stubborn, unknown spirits now reside. For a nickel, she refills the bottles with syrupy sweetness that coats our tongues. Along the way, we throw rocks at packs of wild dogs that chase us. “Be good to your Mamá,” are Abuelo’s last words to me. He is lying on his stomach, face turned toward me, his green eyes cloudy with age. I learn that nothing will ever be as it once was.

Other things that flow with ease across borders and doors: smoke from burning trash entangled with the morning fog that disperses across space and time. The judgmental gaze of the Jersey Milk boy painted on the side of the hill, watching us with his blue eyes and fair skin, red hair, and freckles. Cries of despair that tumble downhill without vanity or grace. The pain of dreams abandoned, sizzling in the air like electricity running through open wires hung from wooden poles, shanked into the ground in a crude and hurried effect. The prayers of an old woman keeping herself company in the solitude of her memories.

At night, lights glow like fireflies in homes across the canyon, telling tales of unimaginable abundance. They sing their lullaby as I sleep on a floor of painted cardboard. I awaken to my cousin’s black coffee eyes within inches of my face. He is waiting to accompany me to the outhouse because I am afraid of the ghosts that linger in the open air. Together we explore the parched hillside and bypass saguaro cacti that grow so tall you could hang a man by his neck, hoist him with a rope and watch him take his last breaths. We dig for buried treasure and find fossils of seashells under the dry sandy gravel, left there as reminders that the desert land upon which we stand was once submerged beneath the sea, and that nothing can ever be as it once was.

As we make our way home, I stand at the top of the hill and study the uneven road ahead. Loose rocks and sand, a treacherous descent tinted orange by the setting sun. I let go of my cousin’s hand and run down as fast as my legs will take me, past the cactus and the ghosts and spirits. I outrun the Jersey Milk boy and mounds of burning trash, and I laugh at the wild dogs chasing me. Soon I am running so fast that I take flight and soar to an altitude where there are no borders or doors of concrete, and I fly to Abuelo, who is waiting with warm corn tortillas wrapped in yellow paper, and a plate of watery refried beans.

Issue 28 Cover

Prose

Excerpt from Marriage Marina Mariasch, translated by Ellen Jones

Torch Song of Myself Dale Peck

The House Nikki Barnhart

Excerpt from Fishflies: the Men of the Riverhouse Marream Krollos

The Chinkhoswe J.G. Jesman

Tijuana Victoria Ballesteros

Agónico Marcial, 1960 - 1994 Israel Bonilla

Excerpt from Fieldwork Vilde Fastvold, translated by Wendy H. Gabrielsen

Reflections in a Window Cástulo Aceves, translated by Michael Langdon

The Waiting Dreamer Blue Neustifter

It Being Fall Matthew Roberson

Plans for a Project Bo Huston

Poetry

As Beautiful As It Is Evan Williams

every woman is a perfect gorgeous angel and every man is just some guy Sophie Bebeau

Big Tragedies, Little Tragedies & Listen to This David Wojciechowski

A Sudden Set of Stairs & Buy the Buoy Evan Nicholls

Hyde Lake, Memphis Ellis Elliott

Cover Art

A Different Recollection Than Yours Edward Lee

About the Author

Victoria BallesterosVictoria Ballesteros is a writer from Los Angeles, CA. The daughter of immigrants, her stories reflect her bicultural upbringing and experiences. Her work has appeared in The Acentos Review, ¡Basta! Anthology, and in 2023 will appear in ¡Pa’Lante! She is enrolled in the creative writing program at UCLA extension.

Related Flash | Issue 28 | Prose
Abstract art

Plans for a Project

Bo Huston

“What follows are transcripts of interviews made sometime in the summer and autumn of 1983. I was so much younger then. I was sad, lonely, optimistic, radical (but a little too cautious to be radical). I took all the drugs that came my way, fucked with all the men who came my way … laughed a lot, but that was becoming a struggle.”
The Gargoyle of the Notre Dame Cathedral art work

The Woman in the Murder House

Darlene Eliot

“Octavia watched the onscreen car chase and shifted in her plastic chair. The chair, bolted to a desktop, was designed for wiry college students, not an eighty-two-year-old woman with abundant hips, long legs, and the impulse to gesture dramatically.”

Issue 20 Cover Art

Kiki’s Place

Keith Carver

Mehmet first saw tits at Kiki Damron’s trailer, in Gobles, deep into summer vacation, between grades five and six. They were hers to show, and nothing seemed wrong with it.

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Your Impossible Voice
Issue 28 Cover
Victoria Ballesteros
Abstract art
The Gargoyle of the Notre Dame Cathedral art work
Issue 20 Cover Art
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