Forever Sun Salon Self Portrait

 
Two women in one and neither one ever whole. Your husband is your child. I know this. I think of your two hearts, your one eyebrow, the miscarriage of your marriage. There is blood on your skirt. I walk the winding staircase to the tanning salon. You are there in your Mexican headdress, so elaborate. I see you, dancing your joy with your wooden leg. Your skin is bathed in brown like the color mine becomes when we massage it with wet coffee grounds. What a mess we make. Goats are chewing the receptionist’s hair. At her desk, I stop, but you turn the corner. I see you, drawn to Diego’s belly. You think home is in that place, that man. Get away from him. Come with me. We will run from his painted men. Their hands are too large and they are too pleased with themselves. Later I will be sunburned. It will be good then. You will bathe me with cool wet lavender and chamomile oils, almond oil. You will put honey and mashed bananas on my skin. The light on the water will reflect on the walls like sunlight through the clouds above the Sierra Madre. The long white bulbs become green through my lenses. I put myself into this oven and think of you, the way you baked after you were dead. They say your corpse rose suddenly, snapped, sat straight up from the heat of it. Your final self portrait, you haloed by a ring of flames. I see you, as they said, smiling in the center of a sunflower.

Salad in Suburbia


The pitted date unfolds like a broken cicada skin. Whirring and helpless memories of old houses stunt the burn of lemon juice finding the cracks in my skin; traveling through canals of age. I’ve been here for thirteen years. I’ll be here for thirteen more. Cilantro stems like spindly locust legs unfurl over parsley and pistachio; cling to smooth Pyrex. Food fills a space once lushly loved yet now untouched. In the bowl, it seems, the insects emerge winged and intoxicated; dripping lemon and sherry; glistening oil; sustaining pristine cithara string notes. Ache is all there can be no matter what the species. We sing these songs so long that we die and never notice.

Torchy Blane

Glenda Farrell as Torchy Blane in Fly Away Baby (1937)

“Every time you come in here you try to stop the machinery.”

There’s More Up Her Sleeve Than Her Elbow


Tweed and divination take up all her free time. She shadows
scoundrels and crooks at top speed, top down,
engine rumbling, wind ravishing
her pin-curled spun gold.
She’s not duped by the detours this time.
 
She won’t lose her shirt over this scoop.  She’s been up against it.
Deep in it
with the boys. She’s sleuthed out all of it–
heads shot off, counterfeit schemes,
smuggled tablets,
cons and cover-ups in Chinatown. Something else is driving
 
her mind set behind arched eyebrows and blue-black
pancake mascara.
Got her eyes on a new lead. Not the same old
double-cross racket at that track
in Jersey. Got a tip
about some shady masculinist macroeconomic construct
 
or some other such scam. She grows tomatoes in her dooryard,
raises chickens
in the back, buys her fruit local. She’s working
double-time, and not just because
hard work is its own reward.
She’s got ink in her blood. If only she were married.
 
She could sit down and, in her ever flowing, feather trimmed ethereal
house gown,
eat chocolates from the bowl next to the vase
full with roses–bought locally.
Languish. Alas, she is merely
engaged to Mr. McBride–who doesn’t bring home
 
his whole damn dollar. The lug. Our heroine buys her own
chocolates and bowl, roses
and vase, hairpins and gowns,
pancake mascara. This is Torchy Blane. There’s more up her sleeve
than her elbow–and it better be her 40 damn cents.