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Quote by Sarah-Kate Lynch

“Perched up on salvaged bricks, the half-pipes made perfect planters with an industrial edge that oddly complemented Sugar's pretty favorites: pansies, lantana, verbena and heliotrope. She laid two of them by the long wall of the taller building next door and planted a clematis vine at one end and a moonflower vine at the other: the clematis because the variety she picked had the prettiest purple bloom and the moonflower because it opened in the early evening and emanated a heavenly scent just when a person most felt like smelling one.”

Quote by Sarah-Kate Lynch

Work

The Wedding Bees

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Sarah-Kate Lynch

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“I looked up at the moon and stars through the glass roof above and gasped at the stunning sight, like a mural painted by a great artist. No wonder Lady Anna had loved this place. I walked to the orchids and plucked a weed from a small terra-cotta pot that held a speckled pink and white flower. "There you are, beautiful," I whispered, releasing a patch of clover roots from the bark near the orchid's stem. "Is that better?" In the quiet of the night, I could almost hear the flower sigh. I walked to the water spigot and filled a green watering can to the brim, then sprinkled the flower and her comrades. I marveled at how the droplets sparkled in the moonlight.”

“He supposed there were worse things than marriage, although right now he couldn't seem to think of any. 'Cade looks happy enough,' Jack reasoned, as his attention returned to the ceremony. 'Why wouldn't he though, when he is marrying an angel?' His brother's bride, Meg, certainly looked the part, dressed all in white, with her blond hair swept upward in soft waves beneath her lace veil, her lake blue eyes aglow with unconcealed joy. Her love for Cade was clear, as was her gentle sweetness and caring ways. 'Cade is a fortunate man,' he thought. 'I should be half so lucky.”

“We walked around the other side of the whitewashed barn structure, where the massive antique doors had been opened and adorned with large wreaths made entirely of baby's breath. Inside, every wooden beam in the ceiling was wrapped in lush greenery and dripping in white wisteria blooms. The floor of the barn was covered in faux moss, and benches carved to look like bent tree branches served as seating for the guests. The benches flanked an aisle covered in white rose petals, and at the end of the aisle was an arch made entirely of white dogwood blooms. It was breathtaking and looked exactly like the wedding scene from the Twilight series.”

“But it’s not just those early years without my parents that branded me. It’s the life I’ve led in America as a migrant, watching my parents pursue their dream in this country and then having to deal with its carcass, witnessing the crimes against migrants carried out by the U.S. government with my hands bound. As an undocumented person, I felt like a hologram. Nothing felt secure. I never felt safe. I didn’t allow myself to feel joy because I was scared to attach myself to anything I’d have to let go of. Being deportable means you have to be ready to go at any moment, ready to go with nothing but the clothes on your body. I've learned to develop no relationship to anything, not to photos, not to people, not to jewelry or clothing or ticket stubs or stuffed animals from childhood.”

“Getting bodies,” in Border Patrol lingo, didn’t necessarily mean collecting corpses. Bodies were living people. “Bodies” was one of the many names for them. Illegal aliens, dying of thirst more often than not, are called “wets” by agents. “Five wets” might have slipped out. “Wets” are also called “tonks,” but the Border Patrol tries hard to keep that bon mot from civilians. It’s a nasty habit in the ranks. Only a fellow border cop could appreciate the humor of calling people a name based on the stark sound of a flashlight breaking over a human head.”