18 pages • 36-minute read
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The poem is set in free verse. Lines are irregular in length. The language is conversational and does not insist on or abide by a predictable rhythm. Although the poem is arranged in couplets, those couplets do not rhyme. Often the thought from lines in one couplet is completed by the first line of the next couplet. That bravura act of transcendence is emphasized by the poem’s visual design; the space between the couplets is exaggerated, heightened, making the leap from one to the next that much more demanding and that much more heroic.
The poem’s irregular form underscores the importance of breaking down barriers. While it explores the tragedy of a father and son who cannot fully belong to or transcend the boundaries of their new country’s hostile culture, it also breaks through divisions with its form and meter, celebrating a freedom the speaker and his father have yet to fully experience.
Poetry is often seen as a medium for intimate, confessional expression, where poets share personal emotions and experiences. However, in a 2013 interview with BOMB—a quarterly publication that highlights emerging artists through discussions about their creative processes—Corral explained that his poetry moves away from the traditional use of first-person speakers who explore only the poet’s life. Instead, he uses the first-person perspective to create characters and explore experiences that are adjacent to, rather than directly reflective of, his own upbringing in a working-class family in suburban Arizona.
Corral acknowledges that the more autobiographical his poems seem, the more fictional they often are. For example, his third poetry collection, Guillotine, presents a series of interconnected poems addressing immigration from multiple viewpoints, including white Americans, border patrol agents, and Mexican families.
Corral imagines the speaker of “In Colorado” as the son of a father who worked in a Tex-Mex restaurant in Durango, Colorado—a scenario far from Corral’s own reality, as his father never worked in such a setting or even visited Colorado. Through this imagined speaker, Corral gives voice to the migrant experience, blending understanding and empathy with fictionalized storytelling. For Corral, the speaker becomes a tool for exploring the dilemmas, anxieties, and emotional struggles of children born to Mexican parents who immigrated to the US without authorization.
Although enthralled early on by the sounds of words, particularly being raised in a bilingual home, Corral experiments in his poetry with the power of the visual, the ability of language to create moments in which an accidental arrangement of objects opens the poem to thematic depths without the intrusive commentary of the poet.
“In Colorado” reveals Corral’s fascination with the emotional impact of the visual. Lacking a consistent structural narrative, the poem moves through the speaker’s recollections, in essence a collection of images whose meaning the speaker does not explore. Rather, the speaker recalls and then shares. The poem is constructed entirely of these images: the father cleaning dishes in a sink in a restaurant; the glob of yellow phlegm floating in the jar of water; the father’s belt with its buckle; the father hiding in the trunk of a car crossing the Mexican-US border; the father sleeping in a stable; the father singing and playing the guitar around a campfire with his friends; and ultimately the son wearing his father’s shirt as he walks through the desert at night.
At once vivid and suggestive, intimate and expansive, these visual moments create the poem’s thematic argument without the speaker intruding with explanations or narrative.



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