Pulled Apart
By Avi Stotz-Ghosh
In the poem "(Citizen) (Illegal)," Jose Olivarez explores how the labels "citizen" and "illegal" have affected him. Olivarez writes "(Citizen) (Illegal)" to illustrate how these labels confine his ambitions, create divisions in his relationships, fuel his frustration with contrasting expectations, and highlight the absurdity of the labels. Through this powerful and complex investigation, Olivarez also aims to establish connections with others who share similar experiences.
Throughout the poem, Olivarez utilizes the labels of “(citizen)" and "(illegal)" to create repetition and exemplify the way those labels box in his ambitions. Olivarez's mother and father entered the United States as illegal immigrants from Mexico, but Olivarez was born in Chicago, making him a citizen. Eventually, Olivarez's parents became United States citizens. Throughout the poem, the label "citizen" refers to American expectations, citizenship, and assimilation while "illegal" refers to his Mexican heritage. From his language to his nicknames, the labels surround and invade his life from every angle. Whenever Olivarez takes a step forward: "if the boy (illegal) (citizen) writes ... poems," the labels always follow: " ... (illegal)" (Olivarez 23). In this example, even Olivarez's desire to write poetry is confined by the surrounding labels. They act as walls set up around Olivarez's ambitions that box him from extending out to be his true self. An inescapable reality of repetition representing the restrictions of his heritage, the labels become a defining factor in Olivarez's life.
Within the repetition of "citizen" and "illegal" is Olivarez's use of irony and humor. which reveal the absurdity of these conflicting labels. While discussing traits about himself in terms of the two labels, Olivarez speaks of romantic interest: "if ... the [boy] looks white enough to pass (citizen) / ... if the boy only dates women (illegal) I of color (illegal)" (Olivarez 20-21). Here, he places labels next to "women" and "color" to show how, in the American eye, Olivarez is judged no matter what he does. Then, in the next sentence, Olivarez pokes fun at himself: "if the boy (illegal) / uses phrases like "women of color" (citizen)" (Olivarez 21-22). In this moment, Olivarez cleverly uses a "citizen" label for the first time in the stanza to create irony. If Olivarez uses phrases like "women of color," he is a "citizen" because "women of color" is an acceptable American phrase. On the other hand, all his personality traits and family technicalities are "illegal." The ironic contrast between the trivial use of "women of color" and the basics of Olivarez's life shows the absurdity of the labels. They build walls around him that leave Olivarez cramped and locked from extending past the labels to his ambitions.
These labels not only separate Olivarez from his ambitions but also from his relationships with others. In the cases of his mother and his classmates, Olivarez shows how the labels of “(citizen)" and "(illegal)" plague his connections with his family and peers. For his mother, Olivarez exemplifies his trouble in the form of a question: "if the mother holds the baby (citizen) I too long, does the baby become illegal" (Olivarez 5-6)? This powerful question epitomizes the illusion, the facade of the labels cast on the meaningful relationship of mother and son. The fact that his mother is labeled "illegal" threatens to dilute the love shared between them because of Olivarez's citizenship. This heart-wrenching moment shows the deep split the labels cause, even with the closest person to Olivarez. In relationships with his peers, Olivarez finds himself an outcast amongst those who fit in: "his classmates are American (citizen) he is outcast (illegal)" (Olivarez 8). Here, Olivarez states that he was directly removed from friendship and comradery because of the label attached to him. The inability of his classmates to accept what is "opposite" to them causes frustration in Olivarez that we see exemplified in this poem. Examples of separated relationships such as his classmates and his mother are likely just the beginning of a lifetime of definition by labels in connections with others.
In the book Citizen Illegal, Olivarez shows his frustration with the contrasting expectations of American assimilation and loyalty to bis Mexican heritage. These frustrations are expressed in "(Citizen) (Illegal)" through the last stanza of the poem in which he reveals the effects of these cultural expectations on writing his book. Pressure from his Mexican heart provides him with insecurity about writing the book in English instead of Spanish, while the American force feels pride at this assimilation. While these pressures remained a force in his everyday life, Olivarez never meant for them to affect his writing. Olivarez wrote the book Citizen Illegal " ... to make a book of poems that the people I love will be proud of" (Powell 3). This excerpt shows that Olivarez expressed his thoughts not speaking to America but to his brother and mother. Olivarez created these bold and frustrated poems uncensored and raw.
Despite the small intended audience for his book, the greater pressures and expectations are set into a microcosm in Olivarez's writing experience. He asks an omniscient figure, "if the boy (citizen) (illegal) grows up (illegal) and can only write (illegal) I this story in English (citizen), does that make him more/ American (citizen) or Mexican (illegal)" (Olivarez 24-26)? This encapsulating and powerful question feels so unanswerable that it almost comes off as a statement of fact. To begin, Olivarez slams "illegal" labels on growing up and writing to continue to promote the already heart-wrenching image of walls placed around Olivarez, keeping him from becoming who he wants. Then, feeling the opposite pulls of American assimilation and Mexican identity, Olivarez asks his question and finds himself stranded. neither a "citizen" nor someone "illegal." He is lost somewhere in-between the expectations and labels.
Olivarez also writes "(Citizen) (Illegal)" to connect with others who share these experiences. Moments of in-between-ness are extremely common, and something everybody can relate to; however, those experiencing this kind of dissonance in terms of culture can relate to Olivarez's work in a deeper and more meaningful way while unlocking a new level of understanding. As a person of mixed race, I feel drawn to this work. I understand the labels Olivarez experiences, for him "citizen" and "illegal," for me "Indian" and "White." Despite the seemingly lamentful tone of this poem, I take inspiration from it. The world, the omniscient labeling figure, constantly attempts to raise walls around Olivarez, but by the end of the book Citizen Illegal, he resists and finds himself in a position he never expected out of himself: sitting at a desk at Harvard. I would like to have this same bold defiance of the labels others place on me and write my own rebellious quiver of labels: "intelligence," "confidence," "love," and many more. Olivarez inspires those with similar experiences as him to gain this kind of self-respect and unlock a new sense of confidence through bis poetry.
Altogether, Jose Olivarez's "(Citizen) (Illegal)" vividly explores the impact of labels on identity and relationships. Through powerful questions, Olivarez reveals how the labels "citizen" and "illegal" confine his ambitions. The poem shows strained relationships with his mother and his classmates, highlighting the defining power of these labels. Olivarez also deals with the conflicting expectations of American assimilation and Mexican loyalty. Despite these challenges, "(Citizen) (Illegal)" serves as a place of connection for those with similar experiences to resonate with and learn from Olivarez. The poem stands as a testament to the power of poetry to inspire and teach.
Works Cited
Olivarez, Jose. Citizen Illegal. Haymarket Books, 2019.
Powell, Andy. "There Are No White People in Heaven: An Interview With Jose Olivarez." The Paris Review. 24 Aug, 2018. https://www.theparisreview.org/blog/2018/08/24/there-are- no-white-people-in-heaven-an-interview-with-Jose-olivarez/.