Skip to content
LALT-Iso-Black
  • menu
  • English
  • Español
Issue 35
Indigenous Literature

An Excerpt from Gentry: Or the Name of a Tree with No Memory

  • by Janil Uc Tun
Print Friendly, PDF & Email
  • September, 2025

To Pedro Uc,
for all the times we weren’t defeated

 

On Seven Ahmak we carried out our escape plan. It was then that we left the city
of Iximche because of the devil-man. Then the kings came forth. “He is certain
to die soon,” they said. “There is no longer war in Tōnatiuh’s heart, for he is
content with the metal he has been given.”

                             Memorial de Sololá (Annals of the Cakchiquels)

 

The Land

 I.

 

In her garden, my grandmother had a plant that she called a subin che’1
                                        it grew right beside the stone wall
                                                      where a certain type of red ant made their nest

my mother used the plant to weave hammocks
             or to soothe insect bites
                         she tied it to taller trees
                                        so it would consume the white plagues.

my father used its roots to extract snake venom
              or to make gopher traps,
                             sending them into exile from their underground holes 

in the city of factory workers
             they call the subin che’ an Acacia
                          and chop it back when it sprouts between stones

 

in San Antonio Pich
            the stone walls collapse before me
                                      and what remains is a stone quarry

that knows nothing of sobbing.

 

II.

When the well became a septic tank
           the last of the Rojas families left San Antonio Pich
                          (that’s what we heard at the textile factory)

they call the pit where they dump the corpses a well
             septic flies are tiny insects that rot whatever they touch:
                                                                                  the houses with yellow roofs
                                                                                  the sunrise by the fire
                                                                                  the pans of tender water

before they left
             they named the machines
                                                    that weren’t for making dresses
and they named them after their way of eating stones

 

some look like hammers
                           or saw-toothed shovels
                                                      or insect-crushing barrels
others sleep all day
                           then feed at night
                                                       and smoke their red lights in the belly of the earth

 

when I return to the place
                           we call home now
                                        my mother tells me:


there’s coffee in the kitchen

 

                                                                                and I watch the candle flicker out in her eyes.

 

 

III.

Before the year was over, they built a new highway
                           (with green signs
                           that our dead laughed at from their sewers)

they built on lands that had no value because they were ours
             and were ours because no one else wanted them
                           that’s how my mother explained it to me
                                        as asphalt rolled into San Antonio Pich 

the machines melt into a language of sunglasses and Bermuda shorts
                            the rancid dream of the place they christened
                                                                      (in a ceremony with red ribbons and a pastor)


Lomas de Montejo.

 

IV.

They offered my mother and me money for a piece of paper worth nothing
            and gave us a 430-square-foot lot near the textile factory
                          with nearby schools
                                       gray sewer air
                                                     eight nine-watt light bulbs
                                                                  a stove
                                                                               two outlets
                                                                                             a nine-foot hose
                                                                                                          and room
                                                                                                                            for
                                                                                                                                    a
                                                                                                                                          bicycle

here at our new house
                                                                               I no longer worry about being far away from my
father

in a land that is no longer ours

                                                                              because he still tells me
                                                                              (from his drawer in a kitchen cabinet)

 

new stories
              about giants who dissolve in the rain

 

                                           and dream of smashing the streetlights that hide our stars. 

 

Translated by Allison A. deFreese
1 Its thorns resemble a bull’s horns while its tiny leaves look like a lizard’s eyes.

 

Photo: Jose G. Ortega Castro, Unsplash.
  • Janil Uc Tun
Born and raised in Ticul, Yucatán, Janil Uc Tun grew up in a Yucatec Maya-speaking family and attended school in Spanish. Janil’s book Gentry: Or the Name of a Tree with No Memory, where this poem first appeared, remains unpublished, though it won the prestigious “LXIII Juegos Florales Nacionales de Ciudad del Carmen” Award for Poetry in 2022. In 2025, he was awarded the “Juegos Florales Hispanoamericanos Quetzaltenango” Award in Poetry. Janil is also a dramaturgist and won the 2022 Premio Nacional de Dramaturgia Joven “Gerardo Mancebo del Castillo Trejo,” a Latin American prize given annually to a young playwright. Janil’s poetic pacing and dramatic timing are impactable as he addresses gentrification, colonialism, farmworkers’ rights, and the battle to preserve indigenous ways of life in this lyric bildungsroman. 
  • Allison A. deFreese

Allison A. deFreese is president of the Oregon Society of Translators and Interpreters (OSTI) and teaches in the University of Texas Rio Grande Valley’s online MA in Spanish Translation and Interpreting program. She has published a few books and translations. Her translations of Janil Uc Tun’s work also appear or are forthcoming in The Los Angeles Review and Michigan Quarterly Review.

PrevPrevious“Pilgrimage” and other poems
NextBelo Horizonte, the end of March 2020, the end of the world?Next
RELATED POSTS

Enchanting, Irreconcilable, Golden Days: Los Tres, the Last Song

By Andrea Álvarez Mujica

Three Poems from The Coming Desert

By Santiago Acosta

The Presence of Octavio Paz

By Anthony Stanton

This year, we commemorate two anniversaries: thirty years since Octavio Paz received the Nobel Prize for Literature in 1990 and seventy years since the publication of his most-read essay,…

Footer Logo

University of Oklahoma
780 Van Vleet Oval
Kaufman Hall, Room 105
Norman, OK 73019-4037

  • Accessibility
  • Sustainability
  • HIPAA
  • OU Job Search
  • Policies
  • Legal Notices
  • Copyright
  • Resources & Offices
Updated 06/27/2024 12:00:00
Facebook-f X-twitter Instagram Envelope
Latin American Literature Today Logo big width
MAGAZINE

Current Issue

Book Reviews

Back Issues

Author Index

Translator Index

PUBLISH IN LALT

Publication Guidelines

Guidelines for Translators

LALT AND WLT

Get Involved

Student Opportunities

GET TO KNOW US

About LALT

LALT Team

Mission

Editorial Board

LALT BLOG
OUR DONORS
Subscribe
  • email

Subscriptions

Subscribe to our mailing list.