ABOUT THE PROJECT  [ CONTINUE ]

Murders continue along the border during Thompson's journey, but there is much more to the story than just the violence. Five centuries of cultural history (indigenous, French, Spanish, Mexican, African American, colonist, and US), wars and legislation, fluidly unfold, while meeting incredible people on both sides:

"Stories are the opposite of walls: they demand release, retelling, showing, connecting; each image chipping away at boundaries. Walls are full stops, but stories are like commas, always making possible the next clause.
"

Among the varying terrain traversed: walls and more walls, unexpected road blocks and patrol officers; also a golf course (you could drive a ball across the border, though this is prohibited); a Civil War battlefield (you could camp there); the Southern-most plantation in the US; the scenic: a hand-drawn ferry, road-runner tracked desert, and breathtaking national park; then, barbed wire, bridges, and a trucking-trade thoroughfare; ghosts with guns; obscured unmarked unpaved roads; a Catholic priest and his dogs, his artwork, icons, and political cartoons; a sheriff, a chain-smoking mayor; a Tex-Mex eatery empty of customers and a B&B shuttering its doors; murderous newspaper headlines at breakfast; the kindness of the border-crossing underground.

All of which perhaps explains where Border Odyssey begins, with too many elderly, impoverished, ex-US farmworkers, Braceros, lined up to have Thompson take their photograph:



< Back
All text and media content on this site © Charles D. Thompson, Jr. All rights reserved.