Norma

By Désirée Zamorano

Norma Vasquez stepped out to her back yard, which stretched out into the hillside of Mount Washington. In the far corner was her tiny chicken coop where Rosie and Sarita occasionally graced her with fresh eggs. Next to the coop was the crate holding her new pet, an impossibly soft rabbit she had dubbed Missy. When she’d adopted Missy at the shelter she had been about to have her neutered, when the clerk told her the rabbit was pregnant. Now Missy had a litter of six; she nursed them twice a day and afterwards, in bunny fashion, fled to a corner away from them.  Norma had painstakingly lined the crate with scraps of fabric and yarn, for her charges’ warmth and comfort. She peered in at the new lives as they slept, and looked forward to introducing the brood to her son tonight, after dinner.

Norma swept through her house picking up the detritus of her days and evenings during what had been a rather placid summer. Certainly compared to the spring sabbatical semester spent in Chiapas, revisiting her research on the consequences, political and social, of peasant movements.   She would spend the summer writing, revising, editing.

She blasted Donizetti’s “Lucia de Lammermoor” through the house speakers, Lucia’s plight trailing her throughout as she sorted and stacked magazines, washed and put away dishes, threw abandoned articles of clothing in the hamper. By the beginning of the mad scene the house was organized and tidy and ready for her son Rafael’s visit.

In previous summers she had traveled with her son. Mexico City, Barcelona, Dublin, Paris. What a pleasure it was, what pride she took in being able to introduce him to the world, its museums, its music, its food!

But now, that Rafael had moved out two years ago, and begun his life on his own the rhythms of her summers were different. Perhaps that explained Missy.

An hour before her son was due to arrive she turned off the music and listened to the news as she sautéed the chicken thighs, peeled the potatoes to roast, readied the broccoli for steaming. Tarragon chicken was one of her son’s favorite dishes.

When would he sort things out? It weighed on her, preyed on her. What had she done wrong? Anita’s daughter, for example, had just been accepted to a doctorate program. Tina’s son had been cherry picked for a position in Silicon Valley. And her son?

A college drop out.

But still, her son.

She showered, changed, readied herself.  She stretched her lashes with mascara, and attempted to disguise the gray at her hairline with strokes of the mascara wand. It clumped artlessly. She looked precisely like a woman who had attempted to paint her roots with a mascara wand. She shook her head, then slipped into the huipil she had bought in Tepoztlan del Valle, a light and soothing fabric delicately embroidered, perfect for her own shifting shape.

She sat reading the news on her tablet when she heard the rustle of Rafael unlocking her door.

“Hi, Mom,” he said, that twinkle behind his eyes as he leaned down to kiss her on the cheek, hugging her in that tender but awkward way her son’s affection had evolved into.

“Look what you brought me!” she said, impressed by the chilled bottle of white wine he handed her. It bore the label of the store where he bagged groceries. How many young people with his opportunities placed cans and vegetables and milk into reusable bags? She shook the thought out of her head. It was dignified, paid labor.

“Help yourself to a beer,” she said, then set the broccoli to steam, added butter and cream to the chicken.

The two of them sat at the wooden table in the kitchen. Out of vanity she had set it with candles, as she was now at an age which demanded softer lighting. She sipped a little wine and watched her son as he ate. Across how many years had this scene unfolded? A small boy, a wiry kid, a quiet teenager. The dark hair, the expressive eyes, the sheen of brown, all stretching, growing, deepening over the years. Across from her tonight sat a young man, her son.

Education had always been important to her, she herself had worked so hard and for so long to get where she was now; how had she gone so wrong with Rafa?  He’d briefly attended then dropped out of UC Riverside. He took classes with sporadic success at LA City College, more to appease her than to work towards any goal. What would become of him?

As they ate she told him stories of the women she had reconnected with in Chiapas, their ferocity in working so hard to build their lives, and that of their children. If she had known being a mother meant worrying about her child until the day she died, if she had really understood that, would she have done it anyway?

She could not stop being his mother; he made his own decisions. That was how it should be. What she needed to do was sip and enjoy the wine, his presence, their shared meal. She did not need the addition of the locura in her mind. Calmate, she told herself. To be a parent was to have expectations. To be an adult was to release them.

Across from her Rafa ate. Norma smiled. Seeing him made her almost too happy to eat; she pushed stalks of broccoli around the cream sauce on her plate.

“How’s your dad?” She could never help herself from asking this question.

“Him and me are thinking of going camping one weekend.”

She felt a stab of jealousy but said nothing. If his father was organizing this, the camping trip would forever remain in the planning stage. She ate a perfectly roasted potato cube.

“Mom, I’ve got some good news.”

Norma sat attentive and expectantly.

“I’m been doing some thinking. I know how you’re worried about me, you don’t say it, but I know. I’ve got things figured out. This is gonna maybe come as a surprise, but I want you to think about it, and not get upset.” He looked at her pointedly. That was enough to get her upset, but she struggled against the reaction, and smoothed her interior into cool crisp planes.

“Are you ready?”

“All right already!” Please God, let him tell her he was re-enrolling at UCR—please God, no babies, no marriage—too young, he was too young.

Rafael put his cutlery on his plate and pushed it aside. He folded his hands in front of him, then began, “This is hard ,but I know what I want to do with my life.”

Norma nodded, to encourage him to continue. She held her breath.

He said, “I don’t do this lightly. I looked at it from all sides. I know what I want to do. I want to protect the world around me, to use my privilege as a US citizen for something bigger than myself.”

Norma searched her mind and found no matching items there.

“And?” she asked.

“I’m enlisting. In the Army.”

He waited for a response, then continued, “With hard work, some luck, in less than two years I could be a Green Beret.”

She sat back in her seat. She felt her hands begin to tremble. There was a low rumble at the base of her spine that filled her ears. Her son across from her, her vibrant, kind, sweet, boy across from her continued to speak but she could no longer hear what he said. Her brother had died in Iraq. One of her students had a parent felled by friendly fire.

“Why?” she croaked out. The rumbling in her ears softened enough for her to hear his response.

“This is something I can do. I’m in, as you’ve often pointed out, a job with no future.”

She watched that expressive, young man’s face, the light in his eyes as he looked at her, his excitement as he spoke.

“The military is a literal dead-end job,” she said. She could feel the pounding in her chest, in her head, in her ears.

“I know you’re thinking of Uncle Oscar,” he said, “I was worried that that would be all you think about. You know the survival statistics are—”

“You realize there are careers that you don’t have to cite ‘survival statistics’?” Her fingers tingled, her feet tingled. Her arms felt weak, and they dropped in her lap.

Rafael looked down at the table in front of him and shook his head. “Yes Mom, of course I know that.”

“Good,” she said, then, changing the subject. “I bought that pet you kept nagging me about. Do you mind moving her crate in here for me?”

“No problem,” he said.

“Now?” she prodded. “It’s by the chicken coop.” 

She watched as her son placed his napkin on the table, stood, switched on the patio lighting, and moved swiftly out the back door. Her arms returned to her control. She picked up her glass of wine, finished it, and poured herself some more. She thought of the families in Chiapas, the mothers. She stood and cleared the table of their plates. The rumbling continued at the base of her spine, threatening to spread. Her dead brother. That fallen parent.

The crate was oversized, heavy, and had been awkward for her to handle. Rafael hoisted it easily and maneuvered it through the back door.

“Where to you want it?” he asked, and set it gently down, without scraping or knocking the doorjamb, the walls, or the flooring, in the corner of the kitchen where she pointed.

“They’re pretty cute. I didn’t realize you were gonna adopt a whole family,” he said.

“Neither did I,” she replied, her mouth a tight line.

“I didn’t tell you my plans to upset you,” he said. “I told you this so you would know.”

“Mhhmm.” She looked across the table at him.  What had she done that it had come to this? “I don’t know you,” she said.

“Yes, you do, Mom” he said, smiling.

There went the disorienting floating sensation in her arms again. She didn’t trust herself to pick up her wine glass.

“I’m not asking for your permission,” he said gently, that ever-present flicker of warmth and love for her in his eyes. “I mean, I would like your blessing, but I’m going ahead, with or without it.”

She made a sound of assent. Was it those idiotic commercials? She had caught them yesterday, one in Spanish, and when she switched the channel, the same in English. Did he think this was his only option?

She took a deep breath. “My son the killer,” she said. “My son the assassin. My son the murderer. They call them ‘snipers’ as if it’s something admirable.”

“Yeah,” he sat back down, less comfortable, it seemed to her. “Yeah, you realize a sniper can help prevent other deaths?”

“You want my blessing?” It came out as a challenge, she hadn’t intended it that way, but there is where she let it lay. “Fine. Kill Missy there.”

“What?”

She continued, “Then skin her, cook her. I’m sure you can find a how-to on Youtube. You don’t have to eat her if you don’t want.”

“What are you talking about?”

“You kill her, gut her and skin her. There, in the crate.”

“That’s ridiculous. I’m not gonna do that.”

In a cold, low voice, she said, “You want my blessing? Kill that damned animal.”   She scratched at her face. Her arms were working again. She poured herself more wine.

“I don’t think that makes any sense.”

She raised her voice. “Sense? Sense? You come in here telling me you’re ready to gamble your life in dedication to killing others?” She wanted to shriek: the life I gave you. The hours I dedicated to you. Everything that I did for you. “Don’t talk to me about sense.”

He stood and walked behind her to where the crate sat. She listened to his movements.

“What about her kids?”

She didn’t turn around. To the empty place across from her she said, “If you’re gonna kill people for a living what the fuck do you care about their kids?”

“It’s not the same.”

“Fine. Tell me when you’re done.” On a small farm in Lompoc she had watched as her grandmother caned rabbits. A swift movement, followed by the draining of its blood; she remembered the meals cooked afterwards.

She turned to watch. He was still peering in the crate. He hadn’t even picked Missy up yet.

“You can just smash her head against something hard.”

“I don’t want to do this. I don’t see the point.” The severity in his voice matched her own.

“You don’t see the point or you can’t do it. Show me you’re the cruel, ruthless killer you’re aspiring to be.”

He shook his head.

“It’s not the same.”

She turned her body to face him. “You think death is bloodless and clean, like a video game? Are you going to hide behind a drone to kill people? You’ll never have to smell the intestines, feel sticky blood or cold flesh,” she said with all the venom in her body. “You’re washing out of community college, so now you want to be some kind of bad-ass assassin? You think the army will even have you?”

“Of course, they’ll have me,” he said, but her finely tuned ear heard a note of anxiety. “You don’t know what you’re saying. You’ll regret it later.”

She felt as if she would implode. She was sick, her heart was pumping, she felt ill. She had a son. That was her illness.

She said, “I know what I’m saying. My brother is dead and you want to die as well. So be it. Now kill that goddamn animal and prove to me there’s something besides bagging groceries that you’re any good at.”

She would explode, like Oscar and the IED that killed him.

Her son hovered above the rabbit’s crate.

Rafael would leave her to kill and be killed. Damn him! Damn him! God damn him!

“Do it!” she said.

Rafael moved away from the box and her.  “What are you trying to prove?”

“You want to be a big man, like your father—”                     

She knew she shouldn’t but she couldn’t keep the sneer out of her voice, the anger at him, at both of them for failing! Failing to be men. Growing up to be some kind of flaccid adult, pushed and prodded by everything around them, unable to stand up! Stand up!

Like a gun would make either of them a man.

Rafael glowered at her.

What are little boys made of? Blood and guts and the shredded hearts of their mothers!

“That’s the way it always is, isn’t it Ma? You’ve got some little box neatly drawn for me and dad to fit into, and when we don’t fit, it’s our fault, not your craziness.”

“Don’t you dare call me that!”

“I am not my father,” he yelled at her. “I am not whatever you thought I was supposed to be! You can’t see me, you could never see me, not me, not Rafael. You could only see ‘your son’ and whatever ‘your son’ is supposed to be.

“You know Dad? He lets me be!”

She stood there, shaking, her jaw tight and clenched against any more bile coming out of her mouth; her fists tight and clenched against the rage she held.

He shook his head angrily.  “Jesus, you want to know why the hell I don’t come over? Because you’re fucking crazy.”

Her entire body vibrated with anger.  His father called her crazy every goddamned day of their lives together. She wanted to fling the saucepan of leftover chicken and sauce flat at his face. She wanted to pick up the knives in the butcher’s block and thrust them in soft flesh of his belly.

‘Cometelo, es tuyo’ her mother had told her. “Eat him, he’s yours.”

He shook his head, picked up his keys, looked back at her.

“Coward!” she yelled at him.

There was no light in his eyes. She turned away.

She listened to the door slam. Fear, disgust and contempt was all she could register.

With hands shaking with anger she pawed through her kitchen drawers and found a rolling pin. She peered into the crate. The babies were asleep on the felt. She picked Missy up by her sleek black hind legs; she dangled her with her left hand until the rabbit’s back was straight. She waited for Missy to relax, her ears hanging forward, clearly marking a V.  With the rolling pin Norma struck Missy in the precise spot behind her ears. The rabbit’s neck was broken. She lay the body on the kitchen floor.

From under the sink she picked up a hand broom and dustpan, and used them to sweep up the litter. She stepped outside to set Missy and the tiny bodies on the patio. Come morning, they would be gone, scavenged by coyotes.


Désirée Zamorano is an award-winning short story writer and the author of the critically acclaimed novel The Amado Women. A frequent contributor to the LA Review of Books, her essays and short stories can be found at Cultural Weekly, Terrain, Huizache, and The Kenyon Review.  

Candling

By Ananda Lima


Ananda Lima’s work has appeared or is upcoming in The American Poetry Review, Poets.org, Kenyon Review Online, Gulf Coast, Colorado Review, Passages North, The Acentos Review, The Common and elsewhere. She has an MA in Linguistics from UCLA and an MFA in Creative Writing in fiction from Rutgers University, Newark. She was a mentor at the NYFA Immigrant Artist Program. Her poetry chapbook, Translation (Paper Nautilus, 2019), won the 2018 Vella Chapbook prize.

After I Take My Shahada

By Antonio López

November 20, 2015

Rashid pops his Chevy ’08, & offers me
a cloth. Its silk thirsts in the imported oil
of fingers. I unfurl the Moroccan cloth,
& I’m a flower boy again. My salted petals
ensnare the mariachi, guide trumpets
to cry inside my chest. The brass
sings my torso into a trompo
that slips from Papá’s strings,
& skids onto plaza. My legless body
steels a tip, y zapatea los nervios
away. The brothers shout Allahu
Akbar, & I am anointed to dervish.
& I too hear the whirs when forehead
meets sajjada, & chants God’s name.


Photo by Attiya Latif

Antonio López has received scholarships from the Community of Writers in Squaw Valley, Tin House Summer Workshop, the Vermont Studio Center, and Bread Loaf. A CantoMundo Fellow, his work has appeared or is forthcoming PEN/America, Insider Higher Education, Palette Poetry, The New Republic, Tin House and elsewhere. His debut collection, Gentefication, won the 2019 Four Way Books Levis Prize in Poetry, judged by Gregory Pardlo. He is a PhD in Modern Thought and Literature at Stanford University.

Butterfly Tattoo

By Jasmine Ledesma

I’m in the backseat of my stepdad’s bullet grey truck. My hair is a nest for wasps and toothpicks, curling away from me. I’m holding a vanilla ice cream cone in one hand, mindlessly scratching at the seat with the other. The interior of the truck smells of crushed salt and that sickly tang new cars come with. When we first bought the truck from the dealership, I spent the ride swallowing gags. The drippy ice cream wanes with every lick I take. I’m sat below the right window, the night sky outside a wound stapled shut. The electric trees of our purgatorial suburbia flash by with cartoonish energy.

To my right are my little brothers, thirteen and twelve, who are devouring their ice cream at a much more rapid rate than me. My mother is sitting in the passenger seat, her golden hoop earrings dancing as we drive. Next to her, his fingers snaked around the steering wheel, is my stepdad. A lowly pop song breathes through the air like vapor. Or sickness. There is a weak, plastic shiny conversation happening between our parents, but I can’t make anything out. My ears strain for any foreshadow of violence, a slow twang of the air or a dip in cadence.

I am seventeen. I always forget to paint my nails and sometimes I make collages in my pajamas. My room is plastered with various, sticky polaroid photos and poems. I’m still not sure who Keanu Reeves is, just that everybody loves him. I only really like collecting candy wrappers and watching hours of cooking shows. The chef’s obvious sweat gleam above monstrous blue fires that burn hulking chunks of meat like a crescent moon. It calms me down well enough.

As I take another lick of my ice cream, the vanilla greased across my tongue like blood, I briefly meet eyes with my stepdad. His eyes look like beloved dog toys, fat and yellowed. They would probably squeak if I squeezed them. He looks away, focusing his gaze back on the road.

Four months ago, he beat our mom in front of us.

It was a couple of weeks into the start of September. I was worried about math homework and popping a pimple that had formed solely to sabotage me. That afternoon, I stayed home to thrash around my bedroom to gurgled rock music while my family went to visit my aunt. This was our typical Sunday routine, splicing ourselves into various rooms and lawns until the night came to bring us together. Then, we had separate dreams. It wasn’t a beautiful life to begin with. But it was painless.

However, this Sunday did not play by the rules of the Sundays before it. An hour after my family left, I was already deep into a chorus of some Nirvana song when they came back. Usually, I had at least four hours to myself. I stood by the head of the stairs as they trickled in through the front door as if there was lead on their feet. There was a sense of urgency to my parents, a kind of heated aura surrounding them. My brothers quietly walked behind them.

We had been dealing with their explosive, frightening fights for at least five years but in the last year, the tension grew large like a whip in the air. I often had daydreams of running out into the dark, cold street during the next fight. I used to try to predict them. There was a night my stepdad had someone else’s blood on his shirt, and a night where my mother came home bruised telling us she wanted to kill herself over and over like prayer. There was always the inference of violence threaded between them.

That night, violence came from around the corner, hands sprawled out like fireworks. My dog, a small yip yap yorkie, barked while my little brother begged. My hands tried to shake imaginary fire off them. Their bedroom door was wide open, an open exhibition. My stepdad’s shadow elongated over and over. He was a horrible mountain.

I ran to the bathroom and looked for something to defend myself with in case he could somehow break the lock off the door. I felt choked by the air. I laid on the grimy carpet, listening out. My house was an orchestration of what we knew was going to happen all along, every window we could have possibly escaped from slammed shut at once. It felt prehistoric.

Then, the front door slammed. There was a fat pause. I came out from the bathroom to see my brothers holding my mom, crying. Her eye like a bloated clamshell, her lip busted. My stepdad had run out of the house when he decided he was finished. We stayed still for a few moments, the weight of everything we tried to keep in the air falling around us. It was one of the only moments we really saw each other.

When you experience trauma, you lose the skin you were born with. It burns right off, sheds onto the carpet. There isn’t a nerve that can’t be touched, a germ nobody can’t see. Then, another skin grows. But this one is different. It’s sleek, and sometimes, it even shines, gloats.

Some call it bravado or resilience. Really, it’s comradery between yourselves. The girl you were before the trauma and the bitch you became as a result.

After the assassination of John F. Kennedy, his napkin creased grasshopper wife Jackie Kennedy wore and bore the blood-stained pink Chanel suit for the world to see. Her legs, splattered with America’s tragedy, held her up. That moment was hers. Nobody else in the entire world could do that. Even the cameras stuttered.

The truck jerks.

I nearly crush my ice cream cone as we settle. A car nearly came into our lane at the last second. My stepdad clucks his tongue and waves his hand at the car in frustration. Aside from that, his body has been monolithic. I try to meet his eyes again as the light turns green and we begin to move again. He doesn’t notice so I go back to looking out of the window at the parched sidewalks. My fantasies surge.

Across the span of the last few months, the pain has grown into a hairless tumor and I into its terrific mother. I don’t worry about math class or looking pathetic anymore. Once, I sat in my school’s hallway for an hour with blood stained into the bottom of my shirt.

The world feels like a blizzard. I know every flinch by name. I live in the blood museum.

Every night, I pray for my stepdad to hit me like I know he wants to, like I know we both deserve. I imagine him knocking a tooth out from my needy gums and wearing it around my neck. Or he could give me a geographical styled bruise so everybody can ask what happened and I can tell them.

I dream in soundless fragments where there used to be floral movies. He dies on good nights and is there in the morning on bad ones. Sometimes, I cut myself, so I have somewhere to go. I imagine screaming at him for days and days. Tears like gel in my eyes, begging him to crush my face like garbage.

Just toss me out of the ring so I can leave!

Most of the time, I don’t even want revenge. I just want to walk around like that. Undeniable.

There were many, many miniature acts of violence before the big one. He hit me with a belt because I drank orange juice in the afternoon last year. He almost drove us into a ditch. He threw a beer bottle at my mom’s car. He ripped my keyboard and mouse from my computer. He called me stupid and crazy and ugly. He told me he’d rip my legs off. He made me sit at the table for two hours while he insisted I was lying until I thought maybe I was. He ushered my illness. He grounded me for a year. He smashed my mom into a mirror. He made me into an alien on my own planet. He went to the car while I was in the restroom. He taught me how to ride a bike.

I could have been a person if it wasn’t for him, one of those that doesn’t think about anything else but what is in front of them, who isn’t bothered by much. But my amygdala has forgotten how to sit still. My life has yet another slit. I’m a dog bone go fetch palm bleed mouth sore teenager when I could have been nice.

Often, I think of Sylvia Plath as a teenager, plucking strawberries into a bread brown basket. Hunched over like a gargoyle. Her sweat running down her back like a braid. How simple she must have felt, then. Before the concentric circles and possessed men. Before the broken playground of New York ruined her. Before her sap began to blacken. Before the baby’s milk curdled. Before the tricyclic antidepressant slept on her tongue, the thought appeared in her head quite calmly: perhaps I will write a poem tonight.

For all of my loss, I can recognize what there is to gain. As I sit in the truck, the radio leaking, I can feel my second skin nearly glowing. There is no way I am going to survive and proceed to slack off. I’ve grown a sense of vigilance, even if it’s hyper. I know what is waiting in the corners, why the dark smells. I’m alive at every moment. My freckles feel everything.

We park in the driveway and as I pour out of the backseat, I hear the usual train pumping through the starved, tar black night.

I recognize the grease heave. It sounds like me.


Jasmine Ledesma lives in New York but comes from Texas. Her work has appeared in places such as Glitter Mob, The Southampton Review and Crab Fat Magazine among others. You can find more about her work here.

My heart is

By Leticia Urieta

My heart is

the long black hair

of a horse’s tail 

flowing out the back of a padlocked trailer

flirting with the wind on the highway

beckoning anyone to see it waving


Leticia Urieta is Tejana writer from Austin, TX. She works as a teaching artist in the Austin community. She is a graduate of Agnes Scott College and holds an MFA in Fiction writing from Texas State University. Her work appears or is forthcoming in Chicon Street Poets, Lumina, The Offing, Kweli Journal, Electric Lit, and others. Her chapbook, The Monster is out now from LibroMobile Press and her hybrid collection, Las Criaturas is forthcoming from FlowerSong Press.

The Binding of the Moon

By Amanda Rodriguez

I’m going to tell you a story that not many know or have heard before. I warn you, you may wish later that I hadn’t. Go your own way now if you wish to keep your illusions untarnished by truth.

At the beginning of time, Sun and Moon, both beautiful goddesses, were in love. There was no full day or night, but only dawn and twilight because they roamed the skies together always.

The Earth was a jealous man and wanted Moon for himself. No words or gifts could lure her away from the heat of Sun, though. There was one thing he had that they didn’t: flowers, so Earth planted a field of pale-petalled lilies so vast that it was sure to draw the attention of Moon. Then he waited for the flowers to grow. While he waited, Earth threaded a chain made from comet tails and star dreams, and he forged it in his own molten core.

As the sweet-smelling lilies blossomed, they turned their hundreds upon hundreds of snowy faces to the sky. Moon could not resist coming down to visit the field, to see and touch the white flowers that so resembled her. As she bent to drink in the scent of the dew dappled petals, Earth snared her with his unbreakable chord.

Now Earth keeps Moon hidden while Sun searches for her lost love. Each time Moon refuses Earth’s bed, he gives her more work. Now she waits on him, a servant, her ankles and wrists bound with a delicate, tinkling silver chain.

Each night she escapes and races light-footed across the sky, searching for her beloved Sun. Moon only circles the Earth, though, because the silken thread still binds her to him. Each morning as Sun and Moon grow close to reuniting, Earth pulls her back down to him. For him, this is great sport. He loves to play the fisherman, reeling Moon in, hand over hand, as if she were a magnificent celestial fish.

On those nights when you look up into the sky and we have no Moon, that is when she has not managed to slip the clutches of Earth. And when you see the Moon bloody with wrath, that is when Earth has stepped between her and Sun, blocking their reunion with his own body.

Sun’s search, as you may guess, is full of despair. Each day she does not find her love, Sun plunges herself into the abyss, extinguishing her own light. But, what you may not know is that Sun is a great phoenix. Each day she arises from the chaos of the abyss new and whole again, her light ever radiant and true.

But on rare occasions Sun and Moon do evade Earth’s grasp. The lovers meet for brief moments, their coupling so powerful that the sky goes dark and us mortals go blind to look upon their sacred union.

The saddest part of this tale, though, is that you and I and all we love do not want Moon to ever break the tether that binds her to Earth. We selfishly do not want Sun and Moon to reunite. If that were to happen, Earth would fly into such a grief and rage that he would smash himself into other worlds. In his spite, he may even collide with Moon, killing her for spurning him. So vast is Earth’s jealousy and meanness of spirit, that he would surely cause a cataclysm that destroys the order of our universe if he could not possess her.

He has made us all complicit in his crime, our lives ever dependent on the sorrow and separation of Sun and Moon. Each time you look up at the sky, know that, day in and day out, we choose Moon and Sun’s suffering over our own.


Amanda Rodriguez is a queer, first generation Cuban-American and the Marketing Director for environmental nonprofit Dogwood Alliance in Asheville, NC. She holds an MFA from Queens University of Charlotte, NC. She is the published author of short stories, flash fiction, creative nonfiction, lesbian erotica, and poetry. She is also the first-time filmmaker of the critically acclaimed short documentary “Stories Happen in Forests.”

De Los Dolores

By Leeanna T. Torres

When Katrina answers my phone call, I want to say dramatically – in my own Nuevo Mexicana accent – “Katrina de los Dolores, how are you chica!?”  But I don’t.  Instead, I speak calmly into the phone – an excited and yet bland-cream-of-chicken-soup “hi Katrina!” because although I know her, I don’t know her well enough to start-off a phone call with this sudden nickname.  Katrina de los Dolores.

I can’t tell Katrina about this nickname that came to me suddenly but surely – de los Dolores.  When she and I first met, despite her bubbly and friendly demeanor, I sensed an un-named sadness in her.   

Katrina’s last name is Hirt, which could be a play-on, Hurt.  Hurt like pain.  The word for pain, in the Spanish language, is dolores.

Katrina Hirt.  Katrina de los Dolores.

Yet why can’t I tell her I’ve already deemed her a nickname?

*

When Rhonda and I begin exchanging birthing stories, she reminds me that she never went through labor with either of her two children, but rather had C-sections in which they were both cut out of her while she was sedated.  “What was it like for you?” she asks.  I don’t answer right away, but instead gather together the splintered memory of what it was like, raw feeling rather than memory.  “It was a tearing and ripping open of a depth of myself I never knew existed,” I reply, and Rhonda’s eyes go wide.  Maybe she is grateful she didn’t have to endure labor.  But where do I stand in my own experience?  Was it a pain I am grateful to have experienced?  Or would I rather have gone the C-section route from the start had I been given a choice?

Giving birth to my son took seventeen hours.  I was on the 3rd floor of one of Albuquerque’s largest hospitals, the one whose eastern windows looked out onto the Manzano mountains.  Would I give up that experience so as to not have endured such pain?  What was it worth?  Wouldn’t I love my son just as much having not endured the pain of labor?

*

As we watched cancer in it’s final days, taking Tio Eppy for all he was worth, we gathered in the living room, his body withering on the flowered-couch his wife, or Tia, had picked out lifetimes ago. The room itself was crowded with primos and Tia’s and his own children, many of us still young children, and we watched his death even as it progressed, even as it took his pride and humanity. 

Tio Eppy died on that couch.

And as he gasped for his last breaths, instead of looking at Tio Eppy in his agony, I watched my little brother, who couldn’t have been older than six or seven – I watched him watching Tio Eppy, pain in both their faces.  One man one dying.  One boy was watching his uncle die.  Who held more pain in that moment? 

Tio Eppy dying in the living room, and I watched as my little brother leaned into the table/counter looking over onto Tio Eppy’s dying body.  The body took its last breath.  Tia Isabel and her three children screaming out as they held on to a corpse, shouting at death it seemed.  A crowded room, daylight but dim inside, and Tia’s and cousins cried.

And moments after Tio Eppy’s spirit was gone, more and more crying, but my little brother remained silent and all he could do was not cry.  Instead, I watched his little hands bending the metal of a spoon, pouring this experience, this moment of death, into un-abashed grit and little-boy might that was enough to bend the metal of a spoon, turn it in and over on itself, left mangled, disfigured, un-naturally horrid, laying on the counter as the rest of us cried.

*

My friend Peggy’s grandson was only four when he fell to his death while crossing a wooden bridge in Japan.  Sometimes I wonder about her color of sorrow.  Accidents happen, but how does a soul continue after such an event?  All the days, all the years.  And I think of my own son, now 4, the same age as Peggy’s grandson at his death, who would have been a teenager by now, sending his grandmother love and text messages from across the Pacific.

*

My friend Mary-Alice was strangled by her boyfriend, but a stranger really, a man she’d only known for a few months prior.  They never found her body.  The man who admitted his crime said he packed the body into a trash bag and dumped her body into a local landfill.  Then he used her debit card to take out cash. 

They combed the landfills.  They never found her body.

How did Mary-Alice’s mother endure the days that followed the murder? The months? The years? Did she go to church, or to a grief group, or just sob in the darkness of her own kitchen every night? Did she wake in the morning and routinely pass the day with errands and television shows, or did she tear at her own clothing, helpless with a sorrow so deep it should have collapsed the world? What is it like for her to have never have found her daughter’s body? I imagine her now, at lunch with friends, or at a restaurant alone, the waitress asking her what tea she would like to drink, the ordinary of days always continuing despite a sorrow that should break the world in two.  “I’ll take English-Breakfast tea,” she may reply to the waitress, and her daughter is dead and the world goes on. Always the world goes on.

*

My Nuevomexicano Christ is all blood and brokenness.  The Nuevomexicano Christ is one you can never look in the eye.  The Nuevomexicano Christ of my childhood is always un-approachable, because who would dare approach a crucified and bloodied man, hung there because of your sins, displayed high and center to never let you forget?  The Nuevomexicano Christ of my childhood for me is all blood & fear & sin & sorrow, and his mother always crying softly, Maria de los Dolores.

*

The truth is, I may never reveal to Katrina that I’ve baptized her with a nickname.

Katrina de los Dolores is a friendly and generous woman I’ve only known for a few months. She replies to emails and offers me a place to stay should I ever travel out to Portland.  The parallel of pain is joy & kindness.  The parallel of hurt is generosity.  And I see both in this woman I’ve nick-named Katrina de los Dolores.   

I may never tell Katrina about her nickname, keeping it to myself until, someday perhaps, I know her better, realize the dolores she holds, small or deep.

And while suffering and pain are universal truths, so are joy and happiness.  Pain is pain, no matter how severe or so petty. Pain is pain. Dolores son dolores.  And on days when it feels like I’m unraveling, sure that I will drink again, I call up Katrina, or send her and random email message.  She replies back with kind or funny words, and eases the splintered stars of my heart.


Leeanna T. Torres is a native daughter of the American Southwest, with deep Indo-Hispanic roots in New Mexico. Her essays have appeared in the New Mexico Review, Blue Mesa Review, Tupelo Press Quarterly, Eastern Iowa Review, Santa Fe Literary Review, and the anthology Natural Wonders (Sowing Creek Press 2018), THINK Journal, and the Journal of Latina Critical Feminism.

Sister // Ghost

By Nadia Mota

ANCESTRY.COM

While sitting in my graduate course on sonnets, I quickly type in Ancestry.com on my browser, careful to push the buttons gently, making as little noise as possible. I look up at the professor while I type—nod, even, to show I’m really engaging with the discussion. A John Donne poem is projected onto the board at the front of the room, casting the faces of my classmates in a white glow. I enter the homepage of the website and glance, almost in embarrassment, at my empty notifications on my laptop screen. If there were a new DNA match, it would be here along with the unearthed records and family tree suggestions. Here among these pieces of myself I store some small hope.

When I begin considering the possibility of finding family through DNA testing, I take to Google for my questions. I confess to my laptop, the landscape of the internet, and my search history the existence of my sister, and this feels almost like a quiet relief—a secret between me and my internet browser. The first search result is a blog post by the Ancestry Team from 2017: “5 Tips for Discovering Biological Family with AncestryDNA.”1

This post walks you through the exploration of your own personal genealogical mystery, step-by-step. To assess the relation of a possible DNA match, the blog tells me, you must first examine the amount of shared DNA, which is measured in centimorgans (abbreviated cM).

Seeing this information on such a sensitive topic laid out so clinically is jarring. It doesn’t all account for what you’d say to a sister you’ve never met; what’s the informational guide on this look like, and might I study it?

Years ago, my mom—face lit up with excitement—placed a gift in my hands. It was wrapped hastily, as all of her presents were—a last-minute concealment. I opened it slowly, carefully unsticking the tape and lifting the snowflake patterned paper. It was still in the small box that it had been mailed in. The return address gave the gift a name, but I saved my surprise until after peeling open the clear packing tape and pulling the package from its cardboard casing. It was a DNA kit, something my mom had expressed interest in since it first came to her attention in an internet ad. And it made sense that she was more excited for my experience with a DNA test than she would be for her own. My mom has always been my biggest advocate—cementing my knowledge of my identity and always, always telling me to correct people when they mispronounce my name. Among many other reasons, I love her for this.

So my mother and I sat at the kitchen table that Christmas morning as I worked to gather my saliva in a plastic tube—this clear, bubbly matter from my mouth that promised an origin. A story. We sealed it away in the return box and she dropped it into the depths of a blue mailbox on her way to work at the auto parts factory, hours before the sun rose the next morning.

It’s always people who don’t know us very well that tell us we look alike. It’s always out of politeness; out of a strange impulse to affirm our mother-daughter relationship, as if looking the same makes us closer, cements our bond. Whenever she posts photos of us together on her Facebook page, the comment section always holds no less than three observations of what we both know to be untrue. The truth is, my mother and I don’t look anything alike. She often jokes, “the only thing you inherited from me is your skin color.”

Once, she followed this up with a story: my paternal grandmother came to visit the hospital the day after I was born. When I was placed in her arms, she examined my tiny, scrunched face.

Bypassing my broad nose, wide set eyes, and tiny, pursed mouth, she later pulled my father into the hallway outside the room in which my mother rested; she looked first down at me, then at him, and asked carefully, “are you sure the baby is yours?” When an inquisitive look came over my dad’s face, she elaborated: “It’s just, she’s so… white.”

Of course, as I grew into a person, it became obvious that my dad was, in fact, my father—we have the exact same face. Once, in the cramped waiting room of a doctor’s office, a small wrinkled woman clutching a giant brown leather purse and a cane asked me “are you a Mota?” Out of the corner of my eye I had seen her glancing over at me for roughly the past ten minutes. When I confirmed her suspicions, she informed me that she once lived down the street from my grandfather and had known various members of my family for years, then said with a laugh, “you all look the same!”

POETRY INTERLUDE

I’ve been thinking a lot about a prompt I received in my poetry workshop and its requirement to write with an intimately personal document and from an autobiographical place. At first, I figured this prompt might be easier to manage than previous ones—most of my poetry is already autobiographical. The deeper I got into the prompt and my research, however, the more discomfort I began to feel.

Last semester, I looked out into the small crowd of my documentary poetry class and explained my family history, projecting baby photos and old family portraits onto the screen without a second thought. My grandfather, Santos, cradling me with his calloused hands and darkened skin, souvenirs from working scorching summer days out in the fields. My grandmother, Elsie, her coarse black hair curling over her collarbones. Her fingers laced together, holding her shaven knees close. I stand at the front of the classroom presenting these pictures of my family, gesturing to their grainy faces lit by the bulb of the projector. So why is this work I’m doing invoking this strange feeling of intrusiveness, of shame?

I think I’ve been having a difficult time seeing this project as one that’s centered around myself. The more I write, the more I realize that fact. I’m trying to write about my sister, yes—but what’s on paper is only what I imagine of her; the rest is my own experience in relation to the idea of her existence. Fundamentally, I’m writing about myself. I think I’m beginning to feel selfish for this. I think maybe that’s what can happen when you’re speaking to a voice that can’t speak back. I’ve been feeling like I’m living inside an echo chamber in my work.

The first time I wrote about her was so brief, you could have missed it. Just two lines, but still, that word that I’d been avoiding forever: sister.

“i wonder if i would’ve showed my little sister how to zip up her coat. how to tie her shoes. i wonder who taught her the things i would’ve.”

The poem was titled “i wonder” and moved through a series of loosely connected contemplations. I wrote it as a response to a prompt I received in a poetry workshop that I was in during the fall of my sophomore year of college. My professor was unlike any other I’d had so far—she wore pastel pink Adidas sneakers to class most days, along with a nose ring and a lipstick so fuchsia it toed the border of red. I didn’t visit T’s office hours until two months into the term, entirely out of anxiety. What would we even talk about? Should I schedule an appointment? Would I just be wasting her time? Once I did venture out to talk with her, however, I found myself in the small, white-walled space of her office almost every Wednesday afternoon.

When I wrote those two lines confessing what I’d been keeping in for over ten years, I felt so immensely exposed. My class was composed of only seven people including T and myself, but my voice still wavered as I stuttered my way through each line; my hands still trembled with the sheet of paper in my hands as I read the poem out loud to my peers.

T broached the subject of my poem as I sat cross-legged in a chair next to her office desk the next day. She began the conversation with asking if I’d scheduled my first therapy appointment yet. I had been tentatively updating her on my steadily declining mental health, and she’d gently pushed me in the direction of counselling; first, she’d hosted a one-on-one Q&A on the entire process of finding a therapist, scheduling an appointment, and even dealing with health insurance.

When she pulled my poem out of a folder full of papers, I caught a glance at the edits and comments written in purple sparkle gel pen. Instead of referencing those comments in her feedback, she surprised me by setting the poem aside. She then asked me in her wonderfully blunt way the meaning behind that line. I knew, of course, that the line would prompt questions as a result of its vagueness. So I tentatively began the story, starting with my father and ending with an absence.

When I left the office over an hour later, far past the end of her office hours, I rubbed at my face to flake off any residual tear salt as I walked to the elevator. After winding my way through my knowledge of the existence of my sister, T explained the story of her own sister who had passed away when they both were young. Together we grieved for ourselves, each other, and for the people our sisters could be.

MARIO’S MEXICAN RESTAURANT

After not hearing from him for around two weeks, I texted my dad and told him that I’d be coming into town for a visit. He replied almost immediately: “Hi mjia. Lunch?” We planned to meet at our favorite Mexican restaurant in Adrian, a tiny white and green cinderblock building nestled between thickets of trees and foliage, tucked back from the broken pavement of East Beecher.

I pulled into the parking lot behind the restaurant and noticed my dad’s car already parked in the very back. I parked a couple spots away and exited my car to the warm scent of fried corn tortillas and roasted chilies mingling with the light rain and wet soil smell. I knocked on his window though I knew he had already seen me approaching in his rearview mirror. He got out and wrapped me in a quick hug. We walked into the restaurant and, abiding by the “please seat yourself” sign, chose a small table close to the kitchen.

We made small talk for a while, asking how each other had been. He’d just come from the YMCA where he jogged on a treadmill three days a week. He’d been drinking a lot more water lately. He told me that he’d lost nearly forty pounds since moving back to Michigan from Texas. I’d been enjoying my classes lately and the creative freedom they allowed me. I’d been decorating my apartment more and making meals in my new slow cooker. I’d gained about fifteen pounds over the past few months.

We discussed our ranking of the best Mexican restaurant salsa in Adrian, with Mario’s topping the list and Fiesta Ranchera taking the bottom spot. We discussed how much Adrian had changed while we’d both been gone; how, despite these changes, it still felt exactly the same as we’d left it. He, sixteen years ago when his girlfriend was stationed at Fort Hood. Me, four and a half years ago when I left for Ann Arbor to attend college.

When she came to our table to take our order, the waitress called me mija and conversed with my dad in Spanish without a second thought. I relished this vague warmth, this distant familiarity.

My daughter. How often older Mexican women, someone else’s mother, could so easily claim me, a stranger, as her own. When the waitress brought us our food (cheese enchilada lunch special, no onions please, side of rice and beans, and for my dad, carne asada tacos, always), my dad—with his already soft voice—said to me gently, “her birthday is next week.” Without saying her name, he placed it into the air between us, let it float out and mingle with the steam rising from our plates. This thing we shared, this almost-secret: his daughter, my sister.

THERAPY

The summer before I entered my first semester of grad school, I figured it was time to again seek out a therapist. I had seen a couple therapists before, most through my university’s counseling and psychological services. Most of my contact with these counselors didn’t move past the initial consultation. After being prompted to speak of my story, my background, and my family, I would always leave the office feeling as if I were overflowing. I felt as if my stomach was cut open and my guts were all spilling out as I desperately tried to stuff them back inside my hollowed stomach. My relationship with therapy was weird at best, tormenting at worst. Following my prescription of Lexapro, however, my doctor repeatedly encouraged me to try out talk therapy again as a supplement to my medication.

First checking that I wasn’t overzealous with the exclamation points and didn’t type “thank you” more than twice, I copied and pasted the same short sentences into a couple inquiry boxes on Psychology Today’s “Find a Therapist” feature. It wasn’t until the fifth inquiry I sent out that I realized I’d typed “consolation” instead of “consultation.” Despite this, a few days later I received an email response from a counselor. Her name was K, and in addition to her master’s degree in social work, she held the exact degree in the program that I’d soon be going into.

During our initial phone consultation, she reassured me multiple times that I deserved to be going into this graduate program, that the admissions committee made no mistake in letting me in. She spoke in a deep voice, smoothing out my insecurities. If I’d done yoga like one of my previous therapists suggested, I could imagine K standing at the front of a class, gently coaxing my brain into a mental lotus position. I was stuck in a delicate balance between telling myself that she only gave me these kind assurances because it was her job and becoming as comfortable as I could be. We scheduled my first appointment for the following week.

Every therapist I see circles back to our non-relationship. They halt me after my brief acknowledgement of you—my quick mention and even quicker migration to a different topic—and immediately prompt me to elaborate, to exude emotions, to be, I guess, more visibly affected by your absence—by the could-have-been, the maybe-never-will-be.

BATHROOM STALL

After the class in which I’m writing our story, I walk across campus in slow motion, letting streams of people bustle and chatter around me. Everyone is on their way to somewhere else, and quickly. I let myself breathe; remind myself that I’m in no rush. Let my steps fall slowly on the pavement. Let my eyes float slowly around the fields of snow, the specks of color moving against it—a red hat topped with a blur of tan colored fluff. A puffed pink coat, almost iridescent. Black boots shining like oil-slicked tar.

My wandering carries me into a building I’ve never been into before, the large archway beckoning me, a welcome. Inside, the lights are almost alarmingly dim. Paired with the long hallways and empty quiet, it could be horror movie-esque if I let my imagination run too far. I slip into the bathroom, hoping not to pass by anyone. I feel painfully out of place here—is this how you might feel thrown across a white background? Did your mother fumble her fingers through your hair, not quite knowing what to do with the abundance of it? Have you stood in the makeup aisle at Walmart trying to find a shade to match you in a sea of pink undertones? Do you have his nose too, his eyes, like mine?

This bathroom is different from all of the others I’ve found solace in on this campus. It’s not the kind of bathroom I’d unravel inside—but perhaps find myself wandering into, both body and mind. The stall walls are speckled, yellow ochre and forest green over a landscape of seafoam—painter’s apron camouflage. Sections are blurred like trees in the peripheral, branches flying by in brushstrokes across car windows.

Reaching up to run my fingers through, I expect some sort of texture; some indent to leave in my skin, a reminder of what once lived flush against it. But there’s nothing but smooth surface—no grit, no rise and fall, no indication of life. Just this encasement, an indifferent panel of protection. Here, speckled. What does it look like where you are?


Nadia Mota is a Chicana writer from southeast Michigan. She is an MFA
candidate at the Helen Zell Writers’ Program and the recipient of an
Academy of American Poets Prize. Nadia is an editor at Viscerama, a digital
zine devoted to publishing and supporting Lenawee County youth.

In Here Somewhere

By Rosalie Morales Kearns

I hear the story secondhand, but I picture it clearly.

         My parents, visiting England in the late 1990s, must look like typical tourists: a cheerful couple in their sixties, hand in hand, attending evensong at Winchester Cathedral.

         A British friend who’s been showing them around asks Mom whether she enjoyed the service.

         “Yes, but it doesn’t count.”

         She clarifies that the cathedral isn’t a consecrated space. “Not since your people took it.”

         She’s referring to buildings and land owned by the Roman Catholic Church but later confiscated.

         By Henry VIII. In the sixteenth century.

         This gets added to the trove of anecdotes my siblings and I collect. If you’re ever in a fight, we joke, you want Daisy Morales on your side: centuries will pass, and she won’t give up.

         And she does it with flare. Sure enough, even though she’s just repudiated the legitimacy of his entire religion, the friend is charmed by her dazzling smile and forgets to be offended.

~~~

Fast-forward to 2013, a beautiful May afternoon in central Pennsylvania.

         Mom and Dad are now living in the house that used to belong to Dad’s parents, and I’ve driven three hundred miles to sit by my mother’s side and hold her hand.

         The bedroom, the one she and Dad always used on our visits here when I was little, is large enough to accommodate her hospital bed, set at right angles to their own double bed.

         She’s been suffering from a neurological disorder for at least ten years now. At the beginning, she would lapse into silence, staring vacantly, and then snap out of it. Over the years the outgoing, talkative woman, cheerfully bossy to husband and children, dwindled down, surfacing from that fugue state less and less often.

         She won’t see another Christmas, the neurologist told us. That was five years ago.

         She has a few more days, the hospice folks said. That was three months ago.

         The latest prognosis came yesterday: she has twelve to twenty-four hours.

         This one, it turns out, will be off by eight days.

~~~

I hear the front door opening downstairs, and someone greeting the new arrival, Pastor Lang from the evangelical church just outside town.

         There’s a joke in here somewhere. A minister walks into a . . . okay, admittedly, “deathbed scene” doesn’t sound very comical.

         Try again. Three people walk into a bar: an ardent Catholic, a fundamentalist Protestant—

         And then there’s me.

         I have a shorthand way of describing my religious affiliation: my parents tried to raise me Catholic but it didn’t take. I like to quip that when I hear someone mention “God” I want to run screaming from the room. People assume I’m joking.

         Here in my parents’ bedroom, rosaries are everywhere: on the nightstand, on bureaus and shelves, draped on top of a Spanish-language Bible and daily missal that Mom can no longer read. Rosaries of all sizes, with beads of faceted clear quartz, freshwater pearls, intricately carved silver roses.

         On the wall next to the bed are pinned saints’ medals: images of Bernadette of Lourdes, Mother Elizabeth Seton, Archangel Michael. There’s also a cross, two inches high; where the body of Jesus should be there are instead tiny yellow flowers against a background of luminous blue enamel, with an image of Mary at the center, her hand raised in blessing.

         Once, when Mom had mentioned a new priest at her parish, I wanted to know what order he belonged to but couldn’t remember the word. “What brand is he?” I finally said. She knew what I meant. Luckily, she found me amusing.

         An evangelical preacher, in this situation, is about as off-brand as you can get.

         And we have so little time, she and I.

         “He’s been here to visit a few times,” Dad says in the mild, reasonable tone he takes when he senses that I’m annoyed. “He’s a good man.”

         He doesn’t need to worry about me being rude to the minister. One of the things my mother passed on to me, a part of my Puerto Rican inheritance, is the ethical imperative of hospitality. No matter what I think of someone, if they’re under my roof, sitting at my table, it’s unacceptable, unthinkable, to be rude or make them feel uncomfortable. Like many life lessons we absorb from our parents, this one never had to be spelled out. She modeled it in her graciousness to every person who came to our door.

~~~

This house, my father’s childhood home, is in a small Pennsylvania Dutch town. Twenty miles from the nearest Catholic Church. Fifty miles from Harrisburg, where our parents raised us. Almost two thousand miles from Daisy’s native Puerto Rico.

         I was the youngest, the last left at home. During high school and college I came up here with them on summer weekends so Dad could work in his beloved organic vegetable garden. I pulled weeds while Dad turned over the compost pile or rototilled, and Mom got the meal ready. Later the three of us would sit at the kitchen table shelling peas, cutting up green beans to freeze, peeling peaches for canning.

         I brought friends from college to visit. I remember Mom asking us about our freshman philosophy class. “I’m a Platonist,” she said, and then waved her hand dismissively at Dad: “He’s an Aristotelian.”

         She ordered my friends around as if they were her own kids, and they were charmed.

         “Nancy wants to see the museum,” she would announce to me, after earlier telling Nancy, “Rosalie wants to take you to the museum.”

         Neither of us particularly wanted to go, but we went. It was easier that way.

~~~

Say the word “medium” and my first image is a huckster on a stage, picking up verbal cues from the audience: I’m with someone whose name begins with an M. [Gasps from audience.] Is it Mark? Maybe Michael? [“Oh my god, Uncle Mike!”].

         But ordinary people also see things, and don’t charge money for it. Take the elementary school teacher who’s a friend of my brother Carlos. She visits the house just after Mom and Dad move in, and tells him that she sees a woman, middle-aged perhaps, sitting by Mom’s bedside.

         Mom’s mother, Esther, died in her forties, as did Mom’s dearest childhood friend, Ela.

         A couple of years later the friend visits again, and sees more people in Mom’s bedroom. Gathering.

         Daisy had parents who adored her. Beloved aunts and uncles. Dear friends and cousins who died young and in middle age. Her brother Raúl died at sixty. There could well be a crowd of loved ones waiting for her.

         I wonder about this sometimes when I sit down with Mom, whether I’m among ghosts, crowding them out. But if the ancestors are annoyed at me taking up their space, they give no sign that I can detect.

~~~

I would like to say that there was some defining moment in which I lost my faith. It would make for a better story.

         There was the nun in first grade who yanked a child out of his seat, threw him to the floor, knocked his desk on its side.

         There was the nun in fifth grade who said that non-Catholics are denied entrance to heaven—presumably with no loophole for my father, a Lutheran.

         In eighth grade, there was the priest who responded with disgust and horror to my friend Toni’s suggestion that she and I help him since the altar boy was out sick: “Girls aren’t allowed to touch the Host.”

         I’d like to say I took a principled stand—“Well in that case, I’m leaving”—but the truth is, I couldn’t bow out, because I had never truly been inside.

         I made attempts to pray when I was little, but came away convinced that no one was on the receiving end of the messages I was sending out. Not that I didn’t have plenty of outrageous stories about—and anger at—the nuns and priests of my childhood. But I was a naturally irreligious child, simple as that.

         In grade school we were expected to attend Mass and other religious functions (they dragged us, is how my child self thought of it; they herded us). But one time, at a vigil for the Blessed Sacrament, a nun explained that for every prayer you said during the vigil, a soul in Purgatory would be released early.

         That got my attention. I would have preferred details (How early? Can I pick which soul?), and to this day I’m not sure if it’s official doctrine or folk Catholicism, but it was something that made intuitive sense to me. Not a big guy in the sky keeping tabs, but all of us in some giant interconnected fabric, failing to reach our potential and helping each other keep climbing.

         There should be a word for someone with a jaundiced view on clergy and organized religion. “Unbeliever” isn’t quite accurate, nor is “skeptic.” The Online Etymology Dictionary suggests that the word jaundice derives from the Proto-Indo-European root ghel, meaning “‘to shine,’ with derivatives denoting ‘green’ and ‘yellow.’”

         So now we can complete the joke, those three people walking into a bar: a Catholic, a fundamentalist, and a person shining with hints of green and yellow.

~~~

Much as we clashed (bossy mother, stubborn daughter), my mother showed me, in ways large and subtle, what a wide world there is out there.

         When I was seven she would drop me off at the public library while she went grocery shopping. I remember gazing up in amazement and joy at an entire bookcase full of fairy tale collections: Where do I start?

         She used to gather us kids by calling out or singing, “Allons, enfants de la Patrie.” When I was eleven or so I finally asked her what it meant, and she sang me “La Marseillaise” in French, stopping after each line to tell me the English translation. After that, I responded to her call of “Allons, enfants” with variations on “Raise the bloody standard” or “Kill the aristocrats,” and she would laugh.

         When I was in my twenties she shared a copy with me of a poem she loved, “El viaje definitivo” (The definitive journey), by the Spanish poet and Nobel laureate Juan Ramón Jiménez. The narrator describes how the birds will continue to sing in the idyllic walled garden, how the sky above will still be blue and calm, after his death.

         “Y yo me iré,” the poem begins. And I will go.

~~~

Irreligious as I was, I was also fascinated by religion. I majored in theology in college, and after graduation I read voraciously from the work of feminist scholars of religion and other feminist authors writing about spirituality.

         The history of Christianity was also a history of women finding their own way: gnostics, nuns, beguines, mystics, authors, scholars, at best ignored by the Vatican, at worst tortured and executed.

         And of course they were never allowed into the priesthood.

         More than anything else, that exclusion of women was what angered me about Catholicism.

         You might wonder why. I wonder myself. It’s like resenting the star players of a team I’m not even on.

         In the religious traditions that predated Christianity, I learned, a priest or priestess was, in a sense, a technician. They offered sacrifices to the gods, they performed rituals. They didn’t counsel or teach, weren’t role models or expected to be particularly moral or ethical. And thus, presumably, no one was left disillusioned when they turned out to be as petty and human as the rest of us.

         But imagine it. A woman with the power to bless and to curse, to heal, to protect from evil. A woman who welcomes initiates and casts out miscreants, opens the door or slams it shut.

~~~

Another story I hear secondhand features Mom and her only grandchild.

         I was twenty-one when my niece was born. My sister and her husband had their own New Age beliefs, which didn’t include baptizing their child in a church.

Since the little girl spent a lot of time in my parents’ loving care, you can probably guess how this story unfolds. One day Dad comes home from work and Mom announces to him that she’s baptized Lani herself.

         It’s one of those exceptions, buried deep in a footnote of some rulebook, I imagine, that says in cases of emergency, any Catholic—or indeed any individual, ancient priestess, shining person—can perform a baptism.

         I like to imagine the scene: the cheerful toddler, the grandmother kneeling down with her arm around her. She makes the sign of the cross, pronounces the requisite words. They smile at each other. Blessings in all directions.

~~~

I ended up writing a novel about a woman who became the Roman Catholic Church’s first ordained female priest.

         She understood her priesthood in the older, pagan sense, with priestly energy that flowed through her, unrelated to how or whether she believed in God, whether she kept or broke her vows, whether she was still acknowledged by the Vatican.

         She was a conduit for that energy when she performed the rituals/sacraments, when she spoke certain words and in the utterance, made it so: I baptize you. Your sins are forgiven.

~~~

As the pastor climbs the stairs, I remember a story Mom told me, about a man traveling in Spain who was passing through a small village and stopped to see the church. A funeral was about to get under way. The man said a prayer for the departed soul, signed his name in a visitor’s book in the vestibule, and went his way.

         They traced him later, told him the deceased was a wealthy man whose fortune was to go to the first person who signed the registry at his funeral.

         I don’t know where she came up with these bits of Catholic lore. This was long before social media, even before there were Catholic cable TV programs on everything from Marian apparitions to local diocesan news.

         Pastor Lang greets us and I nod to him. He’s tactful and unobtrusive as he quietly asks my mother whether he can sit with her and pray.

         I wish I could report here that I had a moment of magnanimous acceptance of all traditions, of all these men in clerical collars who tried to stifle the priestly energies of women.

         Instead I rearrange the cushions along the side of the bed, pushing them down so that the saints’ medallions on the wall are clearly visible.

         “Here’s your rosary, Mama,” I say loudly as I drape the beads across her palm.

         The minister, unperturbed, opens his book and begins.

         I can’t tell if he’s maintaining a polite silence about the rosary or simply hasn’t noticed he’s in the presence of saints and archangels, ancestral spirits, the Mother of God. Maybe he doesn’t know about the interconnected fabric, the mysteries joyful and sorrowful, glorious and luminous, the meaning of the rose-shaped beads in our intertwined hands.

~~~

Later in the afternoon we’re alone again, Mom and I.

         “How about sharing some of that morphine, Ma?” I say. “I’m feeling kind of stressed.”

         I like to think I can see the faintest arching of an eyebrow, the slightest upward tilt of her mouth.

         We’re new at all this. This business of dying, this process of waiting at a deathbed. We’ll make our own rules for the rapidly dwindling time we have left.

         Dad comes into the room and sits down on their bed. His bed, now.

         “You look exhausted,” I say. “You should lie down and try to sleep.”

         To my surprise, he does just that. Normally he never takes a nap during the day, but within minutes he’s snoring gently.

         I realize that for the moment, no one else is in the house: my brother is out of town, the next home care attendant hasn’t started her shift, no neighbor is visiting to pay their respects. In the welcome quiet, I reflect that this is probably the last time my parents and I will be alone together in this house.

         I’d like to say that I had the presence of mind to think about how lucky I’ve been, to have the parents I did, for as long as I did.

         I do manage to be present in this moment, in these moments one by one, to witness the three of us together in this room, asleep, awake, semi-conscious, to witness our young healthy selves downstairs in the kitchen, outside in the garden, filling this house, these years.

         My father raises his head abruptly.

         “What’s that music?” he says. “Is it the radio or the CD player?”

         “Dad,” I say, “there’s no music playing.”

         “I hear music,” he insists. A moment later he’s asleep again.


Rosalie Morales Kearns (@RMoralesKearns), a writer of Puerto Rican and Pennsylvania Dutch descent, is the author of the novel Kingdom of Women (Jaded Ibis, 2017), about a female Roman Catholic priest in a slightly alternate near-future. She’s also the author of the speculative/fabulist story collection Virgins and Tricksters (Aqueous, 2012), and founder of Shade Mountain Press. She has essays and poetry published or forthcoming in EntropyYes PoetryWitness, and other journals. 

What the Dresses Remember

By Sarah Dalton 

#1

Signature Jones New York Wrap Dress

Product Description: The ever-flattering and flirty wrap dress in a bright fuchsia floral print accented by sky blue, charcoal grey, and golden yellow brushstroke-like marks. Knee-length, long sleeve. 95% polyester, 5% spandex. Dry clean only.

Fabulous Dress!!                                                Customer: SarahD 

I call this dress my waterlily dress because it reminds me of Monet’s famous Waterlily paintings if they were crossed with the bold, bright bougainvillea colors of a Latino neighborhood. Like a model on a catwalk, this dress struts and poses just hanging in the closet. It’s so stylish, so wild and alive with color. The wrap dress design tucks around the chest and hips, securing at the waist with a long belt enhancing that most coveted shape, the hourglass. People still give me compliments about this dress, even though they saw me in it at the last wedding. My mom complains that all my Facebook pictures look the same, and, for her, that must mean I don’t have enough clothes in my closet. It’s a genuine wrap dress, and, if it gets too windy, everything below the waist can burst open like Marilyn Monroe on the subway grates in Seven Year Itch. On the plus side, this means the dress accommodates a variety of body shapes.

3 Comments:

MsLinda: I’m torn between this dress and another, how did you decide to get this one?

SarahD: Serendipity. In my early 20s, usually around New Year’s, I used to sit on my bedroom carpet, women’s magazines fanned out around me, and spend hours thumbing through the glossy pages, carefully cutting out the pictures that I found beautiful. With Mod Podge and a sponge brush, I collaged these pictures into an artist’s sketchbook, a style inspiration book, before Pinterest, of course. It was a blueprint to create the style I wanted—sleek pencil skirt office suits for the professional-me; airy weekend dresses for the romantic-me; tight skirts with lush patterns for the confident-me; jewel-toned blouses to accent the brown-skin-me; statement necklaces for the playful-me. If my perfect sense of style existed on paper, I only needed to find something, anything, to magically manifest it. This serendipity has happened once with this dress, and once with a roll of wallpaper.

SarahD: Here’s the link to the wallpaper: https://www.anthropologie.com/shop/blazing-poppies-wallpaper

#2

Park Avenue SA Madrid White Dress with Black Embroidery

Product Description: Black and white offer a striking contrast in this feminine button-down, A-line dress. Knee-length, short sleeve. Vestido/Dress 100% lino/linen. Forro/Lining 100% algodón/cotton. Limpieza en seco/Dry clean only.

Classic European Glamour                                                 Customer: SarahD

Finally, more European designs! Very refreshing! Black details dance around the white linen backdrop. Black stitches give a vertical (and slimming) illusion up the front. Black embroidered floral cut-outs punctuate the hem and sleeves, and a black woven belt cinches at the waist. The accents are flattering and alluring. Not to mention, black and white never go out of style, right?  

When I saw this dress on the sales rack honeymooning in Spain, it immediately reminded me of my favorite movie at the time, Under the Tuscan Sun, specifically that scene where Francis, the heroine, played by Diane Lane, has a dream to buy a white dress to visit her lover. In the dressing room, I gestured to my new husband to come over and look. I needed to lose ten pounds for the dress to fit perfectly, but the dress was made for me. I was in love with its potential. Back in California, I started to call it my “Under the Tuscan Sun” dress. Every woman needs a Little Black Dress. This is its perfect partner, the Little White One.

8 Comments

Anni: What a gorgeous dress! I’m trying to figure out what size to get. Would you be willing to give height, weight, and size?

SarahD: In 2009, when I bought it, I was 5’6” and 150 pounds. I got size 44. In 2016, after seven years of marriage, the death of a neighbor woman who was like my second mother, 2 children, two bouts of postpartum depression, I was 220 pounds. Nine months postpartum, I went down to 180. Now I’m back at 220.

Joanna L: Where have you worn the dress to?

SarahD: Technically, I’ve never worn it out of the house. Alone in the bedroom, I took out the dress and fingered the black details, thinking about Francis next to the ocean, waves spraying around her like confetti, her white, silk dress billowing in the wind. I tried on the dress and gauged myself in the mirror. My arms couldn’t lift past my shoulders without the sound and feel of fabric straining on the back of my armpits. The buttons at my breasts looked like they would burst when I breathed deeply. I sucked in my tummy and held my breath. When I sat on the bed, my stomach fat pushed through diamond-shaped holes or the buttons popped undone. The dress fit like a stretched out torture device. In the movie, following that epic ocean-dress moment, Francis arrives at her lover’s house and finds him with another woman. She leaves crying, heartbroken. All dressed up, looking like a modern day Audrey Hepburn and even she got rejected.

Tina: Are you planning on wearing it anytime soon?

SarahD: For now, the fantasy’s alive in my closet, protected by a thin, plastic sarcophagus. Why do I keep it? What do I hope to capture about myself when I can finally wear this dress? Francis’s sense of adventure, her I-should-know-better -but-I’m-in-love-and-I’m-going-to-drop-everything-and-run-after-it feeling, her elegance, her confidence, before the heartbreak, when hope makes all of us beautiful.

#3

Studio M Sheer Floral Halter Dress

Product Description: The luxury of silk in a sheer, floral paisley print halter dress with plunging neckline. Knee-length. Dress, 100% silk. Lining, 100% silk. Dry clean only.

This Dress Will Change Your Life                                  Customer: SarahD

Proceed with caution (or not) because this dress is transformative, and don’t say I didn’t warn you! It is deceptively sexy because it’s a below the knee dress with a silhouette that slides along your curves, form fitting but not tight. And the silk! Smooth and liberating, like skinny dipping in the ocean. The high empire waist and halter top changes the dress from demure to sex goddess. A thin string is the only support for the girls, ladies, so there are two options: stick-on bra cups, which have always made my breasts look lopsided, or braless, which is not just for hippies anymore. The Venus in me was born from this dress. Here’s how I remember it:

It was December 2003, and I had just returned to my university from a year studying abroad in Chile. I left a country I loved and a man who broke my heart, before I could break his when my flight left. Over the next several months, I wrote thirty-five letters to him in my journal. On Valentine’s Day, the bold black letters of his name in my inbox made my heart gallop and my breath tremble. The fantasy became real, and suddenly, I was terrified. I opened the email and responded immediately. Heartbreak breeds scarcity thinking. A few days after that message, I ventured into an expensive hair salon and told the stylist, “I want my hair Halle Berry short.” With her 2002 Oscar, Halle was the trendsetter, the history-maker. The stylist took a pair of massive scissors and with drawn out snips, lopped off 12 inches of hair that I donated to Locks of Love. Twelve inches to let go of my first love and shed the dream of running away to live the expatriate life. Surprisingly, once I cut my hair, I acted more “feminine,” wearing dresses, skirts, even make-up. My mom told me I looked different, pretty. In September, with money from my first job post-graduation, I bought this dress. In October, I wore it for the first time after a night with a revolutionary lover. The morning after, I stood in front of the closet, my skin warm and naked after a shower. This dress beckoned me, and I didn’t feel the least bit intimidated by its siren song. My body could do that, and therefore, I could wear clothes that mirrored these confident and euphoric feelings. I had fallen in love with myself that morning and discovered how abundant love really is when I know where to look for it.

2 comments

Lady Lou: I bet you get lots of compliments when you wear this dress.

SarahD: It is a showstopper! That day, I walked to my car and got a rain of piropos from a group of men. Yes, I thought, I am f**king beautiful, and my body can do that.

#4

Alfani Pink and White Dahlia print Nightgown

Product Description: This sleeveless nightgown with pink dahlia flower print is both effortless and lovely. Full-length, sleeveless. 95% polyester, 5% Spandex. Machine washable.

The Nightgown That Made Me A Mother                    Customer: SarahD

I usually walk around the house in yoga pants, sweats, or flannel pajama sets. This nightgown changed all that. The color reminds me of a pink Crepe Myrtle in full summer bloom, and the dahlia flower print explodes like firecrackers all over the fabric’s design. Soft, lightweight, very touchable. When my first son was born, this dress was there for me morning and night, as I waddled between couch and bed, nursing an insatiable baby, wondering when will the highlight of my day not be sitting on a sitz bath or escaping the house for a thirty minute drive around the city. It combines comfort with beauty, which apparently are not mutually exclusive.

4 comments

Mia M: I’m thinking of buying this nightgown for my daughter who’s about to give birth  to my first grandchild. She and I clash over clothes and style, and I don’t want to give her this dress and start a fight. Would this be a good gift for her or should I get something else?

SarahD: My mother gifted me this dress for my first Mother’s Day when my son  was a month old, and she is the fiercest, most beautiful and independent person I know. She met my father (stationed with the US Air Force in Panamá) at a YMCA dance, married him, and at seven months pregnant, came to the US. She is the consummate Latina who never left the house in tennis shoes until well past menopause and, even then, only to go to the gym. She knows how to lucir como una Latina. I inherited many of her finest traits: her flawless skin, her wide nose, her dainty ankles and wrists, her independent spirit/stubbornness, perhaps even her taste for foreign lovers. However, I did not inherit her love for clothes, shoes, make-up, or her patience for a Sunday night hair straightening routine.

She enjoys buying me clothes. Not including black items, about half of my closet she bought for me as a gift. While pulling this nightgown out of the reused, pastel pink gift bag, I must have had an “oh, another one” look on my face because she threatened to return it. Once I tried it on though, I never took it off. This dress marked my transition into motherhood, and my mom made sure I would lucir, even with leaky boobs and sore nipples. Your daughter will love it, she will love you, but she might not admit that to you out loud, and she might not be ready to take the gift with grace. Give it to her anyways.

TT: I always wear the same grunge-style pajamas, flannel pants and a big, button-down flannel shirt. I want to try something new, but I don’t want lingerie. Would you recommend this dress?

SarahD: This dress is loungewear. Rest assured that your flannel pants are not getting subverted by itchy, lacey frills. I remember the grungy outfits I used to wear once a month for the free dress days at my Catholic middle school, the boxy shirts and baggy jeans, a la Nirvana. My mom never failed to remind me how pretty I could be, if I just didn’t look like an ugly boy all the time. Twenty-five years later, I realize, she’s right, that grunge outfit I hid behind had less shape and color than a cardboard box. She understands my style better than I do and is not afraid to nudge me out of my comfort zone. This nightgown will feel as comfortable as your flannel pjs, but the braver act is trying something new.

#5

Studio 1 New York Red and Ivory Scroll Print Maxi Dress

Description: Turn heads no matter where you go. Red and ivory scroll print maxi dress with front keyhole neckline and halter top. Full-length, sleeveless. 95% polyester, 5% spandex. Lining, 100% polyester. Hand wash, line dry.

Choosing Love Over Fear                                                    Customer: SarahD

My mom buys me a lot of clothes in her Sisyphean task of helping me look prettier, but this dress I bought myself, or, rather, the unbridled, confident, beautiful, unafraid woman living inside me did. Instinct bought it before I could talk myself out, and I am learning to listen to that voice for more than just purchasing a dress. This dress was a gift to myself for crawling out of my second, more severe, bout of postpartum depression which started when my son was diagnosed in utero with a rare musculoskeletal disease. I found comfort in eating, which was convenient while pregnant, even those weeks of pumping when my son couldn’t latch, but when the food was no longer going indirectly to baby, I couldn’t deny that I was using it to avoid how scared I was to become a mother of a special needs baby.

Mornings were the hardest part of the day. The baby started to fuss about 9:15. I would fret, fumbling with bottle parts, frantic that if I could just get a fucking bottle then I wouldn’t be such a fucking awful mother who couldn’t fucking figure out what was wrong with her screaming fucking child. By 10, he was asleep. Though relieved, I believed I was an inept mother. I turned on a “dinosaur Train” for my two-year-old and retreated to the bedroom to cry on the carpet until the baby woke up from his nap. I felt disconnected from my children, ashamed that I found not joy but anger and helplessness in new motherhood. I stayed home with the kids most days because I had no desire to leave the house. A good day was taking a shower. Leaving the house for anything other than a medical appointment was a feat. Postpartum Depression was a glacier that carved a canyon between my sons and me. It hijacked my thoughts with an absolute power, convincing me that I was a horrible mother. When my son was three months old, I started to see a trainer who ran fitness classes especially for women. My husband and I perfected our “pass-offs” as I came home from an early morning workout and he zipped to work, a quick kiss hello/good-bye. Working out became a routine act of rebellion against depression’s tyranny. After nine months of exercise and a commitment to self-care, buying this dress for myself was another.

2 comments

Flor: Where have you worn the dress to?

SarahD: I went on a girls-only trip to NYC to visit college friends and wore it to my first Broadway musical The Color Purple. My favorite scene was when Celie, played by Cynthia Erivo, tells her abusive husband that she is going to leave him. On a chair in the middle of the stage, she sings about being poor, black, and ugly, crecendoing into a final decree, but she’s heeeeeeeeere! The entire audience gave her a standing ovation, in the middle of the play! When Erivo reprised the song, her transcendent voice became a call to action. We sat enraptured, inspired by Celie’s climatic transformation, awakened by our own souls vibrating from witnessing the beauty of a risk, of choosing love over fear, of watching a woman find the courage to renounce a despot and start to listen to the voice of the divine within. Check her out! https://www.youtube.com/watch?v=E2ok14OZhdg

#6

A New Day Black, Sleeveless Maxi Dress with Slits

Product Description: A must-have for any woman’s wardrobe. V-neck and belted at waist for maximum hourglass accentuating. 93% rayon, 7% spandex. Machine-wash, gentle cycle.

 The Woman and The Dress Make Each Other          Customer: SarahD

I love myself in this dress and not just because it hides my unshaven legs. Wherever my weight is on that Ferris wheel, this maxi dress will meet me exactly where I am. Most of my life, I’ve preferred clothes that didn’t draw attention to myself or were low-maintenance like t-shirts and jeans, but my secret favorites were always my dresses who waited patiently for me like heirloom jewels. Most of my life, I’ve pined for a beauty that is a fantasy I’ve consumed like a goose fattened up for foie-gras. Its rules told me who, and it was never me; what, and it was never clothes made for a body like mine; where and when, and it was only acceptable for special occasions. This dress has edged its way into my daily life, teaching me that I don’t need a reason to be beautiful, that the moments when I feel Lawrence’s “sense of fineness” are rooted in noticing my body with pleasure–when I hold my sleeping child and feel his unconditional trust in his warmth and weight against my chest, when I pump my arms bringing groceries in from the car, relishing my biceps, when I do something outrageous and out of character, like wear a dress, and the air that tickles my legs reminds me I’m here to celebrate my body, not hide it, be afraid of it, or apologize for it. This is a lesson still in progress.

Closed for comments.


Sarah Dalton was the Managing Editor for Reed Magazine, Issue 153 where she coordinated an oral history project about the aftermath of a mass shooting called “Gilroy Strong: A Community Speaks.” She is an alumna of VONA, Macondo Writers’ Workshop, AWP’s Writer to Writer Mentorship, and a graduate student at San José State University.? Her nonfiction has
appeared in MUTHA Magazine, River Teeth’s “Beautiful Things,” The Sun’s
“Readers Write,” and Reed.