PILGRIM CODEX

The Vargas Ramírez family braves the journey north to the other side in this tale translated from Spanish.

Told from the perspective of an unnamed child, the voyage commences with a bird’s song—“Tihui, tihui, tihui: let’s go, let’s go, let’s go.” Departing from Iztapalapa, Mexico, Land of Clay Upon Water, a group of seven family members and friends—soon joined by another pair in Coyoacán—take “bus after bus after bus.” On their path to the land where a feathered man is said to fly over metallic trees, the Migrant Warriors evade the Tiras—slang for law enforcement—and squeeze into a van that moves like “an enraged jaguar.” They eventually end up wading through darkness “as dense as an obsidian forest.” Others, including a stray dog, join them on their seemingly never-ending march, led by a sly coyote. The Migrant Warriors cross the Río Bravo; then it’s time to walk once more, thirsty, exhausted, and indebted to the Virgen de Guadalupe’s protection. Mansour’s vivid portrait of a migrant family’s travails blends motifs and imagery from Mesoamerican mythology, with dazzling, affecting results. Influenced by the Boturini and Mixtec Codices, Valtierra’s artwork boasts bold lines, strong color use, and salient iconography, beautifully complementing the text’s mythical tone. Grounded in compassion, this is a richly layered tale that will linger with readers.

A gripping, thought-provoking migration saga.