The most direct deployment of the rhyme appears in Lost Children Archive (2019), where a family—two parents and two children—drives from New York to the Arizona-Mexico border. The children, a boy and a girl (the step-siblings), explicitly reenact “Jack and Jill” as a game. They carry a bucket of water across hotel rooms and desert lots, pretending the floor is lava or the hill is a mountain of lost shoes.
Luiselli subverts the rhyme’s moralistic ending (the fall as punishment). For her, the fall is simply existence . The children’s spills are not failures but the very texture of lived time. In this, she aligns with Samuel Beckett, but with a crucial difference: where Beckett’s falls are existential voids, Luiselli’s are relational . Jack and Jill fall together, and their shared descent is the only proof of their connection.
Since no single famous work is titled Jackandjill Valeria , I will assume you are referring to in her novels Faces in the Crowd (2011) or Lost Children Archive (2019). In both, Luiselli uses children’s rhymes and paired characters to explore memory, displacement, and the collapse of narrative. jackandjill valeria
Here, Luiselli weaponizes the rhyme. The bucket of water becomes a vessel for the disappeared: the 40,000+ migrant children lost in the US immigration system. Every time the children spill their water, the narrator writes, “another child’s name evaporates.” The innocent act of fetching water becomes a ritual of mourning. Jack and Jill are no longer white, English, pastoral figures. They become Apache children, Central American twins, the unnamed dead of the Sonoran Desert.
Luiselli forces the reader to ask: What happens when the well at the top of the hill is dry? The answer is that Jack and Jill keep climbing anyway, because the alternative—staying at the bottom—is a slower death. The rhyme’s circular structure (fall, run home, climb again) becomes a grotesque allegory for asylum seekers trapped in legal loops. The most direct deployment of the rhyme appears
The deep truth of “Jack and Jill” in Valeria Luiselli’s universe is this: the hill is endless, the bucket is broken, and the only redemption is to fall in the same direction.
By fracturing the rhyme, Luiselli asks: Whose fall matters? In the canonical rhyme, we never know if Jill feels pain; she is merely Jack’s appendage. Luiselli gives Jill a voice—and that voice is often the migrant mother, the indigenous girl, the disappeared child. The deep essay here is that Luiselli reveals the nursery rhyme as a : it teaches children that some falls are funny, others invisible. To rewrite it is to reclaim the right to stumble in public. Luiselli subverts the rhyme’s moralistic ending (the fall
A signature Luiselli move is to fragment the “I” into multiple voices. In Lost Children Archive , the mother’s narrative is typographically separate from the father’s, and the children’s audio recordings run in the margins. The Jack and Jill rhyme, typically a single, communal voice, is blown apart. The boy records himself reciting it; the girl sings a distorted version where “Jack” becomes “Jaque” (a Spanish pun on “check” as in chess, and “jack” as in a car jack). The father hums it off-key.
