Petticoats. Stitched lines from my favorite poems. Human nature, this need, to stand in the middle of things.
Desire, like water, like fire, takes so many shapes. Here, let me show you, let me take. Circular, this way. Let me lead us through, this library. This foreign language. This text. Navigate this body—these—yes, these bodies.
Desire. & listening. & wet. Where’s the fire?
& listening is all we can do. & writing down the ear. Earrings. How dangle feel like rain, how cold owns its own wet. I feel the cold as I sit in front of a space heater, as I robe myself in blankets. Sweat into wet. So many ways to swim, to paddle, to oxygenate. I want to say, I understand the way blood pools like autumn ringlets, how wet only wants to spread.
Desire. Wanting. Lack. It’s what I know. This need to fill what you call empty, like a name. What do I want to fill with? Might as well be water. Feels like wet. Folding a river. Re-imagining wet. That slides down the other side of myself. It slides. Yes. What stays? We listen for it.
Sara confuses votive with vote, says both contain fire. But I though both contained choice. Same? Maybe. Opera night. An open. A translation. & if my voice could voice like that, I’d sing my own lyrics. My voice, my hands. Here. Hear.
Crosses & hatches. Lines & ties. How to build anything. I stitch myself into. White spined. Combat boots. Still, I sigh, when I drink too much water. When my laces drench through. These upside down arches. When we know that having these hands that cup, that hold isn’t good, isn’t enough. When so much else slips over.
Can the body be an ark? I want to believe. In an emergency escape route. In a how-to-survive guide when the body floods.
I tell her, that’s why you’re so sad, to think you should always be happy, always be finished, always be what you want. Does she believe me? Sara says it doesn’t matter either way. That to get out of drowning you have to breathe, & that’s how you drown as well. You open, you flood.
Simple, really, open or closed. Open changes, ins & outs. Cold winds, hot breezes. Dust, ice, sweat. But closed is simply an end. We look for finishes. Yet we, our bodies, are always open, decomposing. Resist your need for closure, a closed text. My mother wants to be closed, like Rossetti’s Ophelia, an empathic drowning.
The answer: A daily dying. Opening. Closing. Opening.
Sara said, your eyes are white, even as they hazel at me. When I asked what she meant, she said, you’ll see. I don’t want the white. Perhaps, the sky, an old fashioned morphine, a lava pool, autumn leaves swirling, metal folding chairs, a test tube vial.
Those blurs, stages. Those skin freckles, sweat stains. & so it goes. Sara defines, (someone is always defining) & I take notes. Maybe I’ll always be collecting definitions, trying to understand the relationship between colors, between light & what it falls on. But you see, I love the in between, like nesting baby birds, like bloodying beaks. Such a stalking quality, scarcely allowing time to breathe into your own. Not that you want to.
What does that mean? To be THE good girl, not A good girl? There is a definition somewhere I’m missing, a place I’m not privy to. I could guess my grandmother’s definition, but I don’t want to. If I do, I might agree with her, believe I’m going to hell. Maybe Sara. My dogs too, we’re all whores. I’d believe red mercury is found in sewing machines, that to break up love these days send a text message. Spin around three times. Close you eyes. Jump backwards & you won’t get pregnant. Stay still equals be safe. But, I guess, I’m not a good girl, or at least I’m trying not to be.
My grandmother told me today, don’t follow in my footsteps, I’m not a good person. When I asked what she meant, she said, it doesn’t matter. How can it not. Matter. & how can I forget? A week of confessions, yesterday, my grandfather’s birthday. Yes, she should confess, she did, after all, tell me years ago I was going to hell. Be sweet, she tells me now, be the good girl.
But as soon as we recognize anything we move away from, push against—shape & shift against. Yes, that know that splits & spits. Burns against. That knowing that knows it isn’t why build, but what tools? You see, that we build up is given, written in the clouds. That we build down is inevitable as a wishing well. The kind to get lost in, to lose something within, to drown us in. Yes, a dual dunk-soar.
I’ve always known birthdays are days of confession. Luckily, I know, thankfully, it isn’t Friday. Though, Friday implies distinction between the week & the end. The Mondays. For her, it is all the same. I wonder if she would forgive me for writing this, if she would understand that I don’t & but I’m trying to learn how to. If she knows we need forgiveness. A bad day, she says, it’s a bad day again. Cholera-like. I know, honey, I do. I wish us through this acid ring, this blue bowl of loops.
Tomorrow’s my mother’s birthday. Like mountains in the horizon still. When the clouds descend, you wonder where the mountains disappear to, what is washed away in the moist wave. & you know instinctively, that so much is. Washed away. Not cleaned, never truly cleansed but soaked through, buried & then—cycled through, forgiven or resurrected or suicided in the retelling.
If I had a daughter, I’d want to love her. Biology says I would, that even merely being around a baby heightens a woman’s maternal instincts. But I wonder. My natural instinct is to lean towards disaster (not danger) then depression. Depression, I believe, is the same as comfort. A lasting. A blessing. Would I tell my daughter this? My mother never did, it was something I watched & learned. She didn’t know how to teach anything different, & I only knew the one way to learn.
If I had a daughter, I’d teach her the small things (how to pull wings off a butterfly, how to create a glass paperweight). The larger things (learning to wear high heels, remembering to cross your legs while wearing a skirt, love) hurt more when you fall from them. I’d at least tell her that, after the first time she fell. Stand ready with pink bandaids & Neosporin, perhaps some wine. There is an hour when you know what to say, but in that hour you face alone air, your daughter outside playing. & when she returns, you love her too much to say it aloud, to tell her your truths. So you don’t, & you know, later, she won’t understand your silence. Simply can’t. & then, you know, you’ve protected her, given her all you can.
