I
couldn’t be bare, unless I took off my
Young Lady’s First Sanitary Belt,
my cat’s cradle, my goddess girdle,
and she couldn’t want me to do that,
could she? But when she walked in, and saw me still
clothed, her face lit up with sarcastic
wonder, and combat. I did not speak, she came
toward me, I bolted, threw open her door,
slamming my brother to the floor with a keyhole
shiner, I poured down the staircase and through
some rooms, and got my back against
a wall, I would hurt her before the last scene
of this long-running act could be played out
to its completion. When she got there, maybe she could see that,
we faced off, dressed in our dresses and our
secret straps and pulleys, and then
I walked away—and for the year I remained
in that house, each month our bodies called
to each other, brought each other bleeding off in the
waste of the power of creation.
Home Theater, 1955
They weren’t armadillos, or sow bugs,
or nautili, the animals printed on the
seersucker cotton of my nightie, maybe they were
rabbits, or deer. There was a new style,
that year, the shortie nightie, no longer
than the hem of its matching panties—and on its
cloth no eels, no trilobites,
no oviraptors, but goldfish and pigs
placed in rows like sown seeds.
That night, what was supposed to be
inside our father’s head—the arterial
red—had emerged and cooled on his brow,
cheeks, mouth, into a Comus mask,
and the police were there, and our mother was not. It was
like a Greek play, in a stone
amphitheater, with very few characters—
first the one in blood disguise,
then the elder daughter who
had called the two officers
to our home—they were not much older than she, they were
dressed for the hour in midnight blue.
And my sister’s torso, in its shortie, in the kitchen,
seemed to be almost rippling,
swaying like an upright snake still
half in its basket. Then, for an instant,
I thought I saw the younger cop just
glance at my legs and away, once
and away, and for a second, the little
critters on my nightie seemed to me to be
romping as if in an advertisement.
Soon after our father had struck himself down,
there had risen up these bachelors
beside the sink and stove, and the tiny
mastodons, and bison, and elk, the
beasts on my front and back, began,
atonal, as if around an early fire, to chant.
Paterfamilias
In the evenings, during the cocktail hour,
my mother’s new husband would sometimes inspect
the troops. Your mother has the best damn fanny
in the house, he would say to my sister and me—in our
teens, then twenties, thirties, forties. Turn
around! he’d cry out, Turn around! We wouldn’t
turn around, and he’d say, Your mother has the nicest little
ass in the house. And let’s look at those legs,
he’d shout, and she’d flash her gams. Your mother
has the only decent legs in the house,
he’d growl. And when I’d pass him next,
he’d bear-hug me, as if to say
No hard feelings, and hit me hard
on the rear, and laugh very loud, and his eyes seemed to
shine as I otherwise never saw them shine,
like eyes of devils and fascists in horror
comic books. Then he’d freshen his Scotch, and just
top hers up, a little, and then
he’d show us his backwards-curled, decurved
Hohenzollern thumb—Go on,
touch it! Touch it! They were people who almost
did not know any better, who, once
they found each other, were happy, and felt,
for the first time, as if they belonged
on earth—maybe owned it, and every creature on it.
Easter 1960
The doctor on the phone was young, maybe on his
first rotation in the emergency room.
On the ancient boarding-school radio,
in the attic hall, the announcer had given my
boyfriend’s name as one of two
brought to the hospital after the sunrise
service, the egg-hunt, the crash—one of them
critical, one of them dead. I was looking at the
stairwell banisters, at their lathing,
the necks and knobs like joints and