Poetry |

“The Contact Before Surgery,” “That shirt makes you a whore because it’s black,and “Dotted Line”

The Contact Before Surgery

 

was the hands of a boyish resident.

He came in when I was alone.

 

Out there, a corridor of Hands.

Hands rushing in white coats.

 

Hands and the bag of blood,

the cord of sugared water,

 

the gash to come and my hours

of silence. His hands

 

circled, hands on my breasts

beneath the thin white gown

 

that opened in the back.

No one had touched them.

 

He pulled up a chair.

I know your high school.

 

I went to the catholic school

up the road, The Christian Brothers.

 

He touched the part

of my body not sick.

 

But I had discarded

the whole of it by then.

 

I didn’t speak.

His hands were between us.

 

The everyday doctors did not

look at me or sit beside me.

 

It was an old lesson: hands

and the price of attention.

 

 

*     *     *     *     *

 

 

That shirt makes you a whore because it’s black

 

I paid for the whore shirt with my own money,

bought it at the mall. It was button-down

and satin to the touch. Who was this whore

that had never kissed anyone, not even her

mother. Who would not menstruate until

she was old enough to leave home, until

she had tasted fat, the pleasure of its depth.

Whoreness must have started at the sleepovers

when we played hooker. We stripped for each other.

No, whoreness started younger: at three, at two, at birth—

in the womb, whoring with balled fists and floating

in the whore sea. When the 11 year olds played

streetwalker I was the best. What did the best mean?

It meant no smile. It was shame in girl form, which

was shame’s first form. It meant relinquish the body.

It meant do not eat in front of others, do not pee in public

bathrooms, not even school. It was the body in plain sight

but hidden — the girl’s small cocked hip in the room of girls.

 

 

*     *     *     *     *

 

 

Dotted Line

 

I come from the dotted line on the family tree.

The dotted line my brother drove through

to the states we’d never been. No one noticed

he’d run away until he called and asked

 

Guess where I am?

Where?

Ar Kansas.           

Do you mean Arkansas?

 

He was not a person I loved anymore

though I loved him more than anyone

I had ever loved. We never spoke on the phone.

Never him. Never my mom. Never my grandmother

 

who drew a dotted line

to the three of us after the divorce.

Once my mom called me in college.

I thought someone had died.

 

I had a dream about you, she said.

It was the year of blackouts. No one knew.

I forgot everything. It was like falling

into the sky. It was like disappearing

 

inside a closet, like hiding in a gap of the earth.

A great omission. A face that only a mother could love.

What is the face without the only. Without the mother.

Why am I not tied to them. Why is there no thread.

 

Why when I slept did my brother rise and walk

to a clearing in the trees. There he made a seat

from a log, formed a table from a stump.

I was not asleep, but I didn’t know where I had been.

 

The time was missing. It scattered like the hundred

pin pricks on our childhood wall. We poked them

between the cracks, a map of lands. Who can say grace?

the neighbor asked before she fed us. My brother

 

and I repeated Grace, Grace, Grace. She shook

her head at us. We were the only grandchildren

who didn’t go to church, who didn’t learn

that communion was Jesus in your mouth.

 

Contributor
Jessica Cuelho

Jessica Cuello is the author of Hunt (The Word Works, 2017) and Pricking (Tiger Bark Press, 2016). She has been awarded The 2017 CNY Book Award, The 2016 Washington Prize, The New Letters Poetry Prize, a Saltonstall Fellowship, and most recently, The New Ohio Review Poetry Prize. Her newest poems can be found in Copper Nickel, Cave Wall, Bat City Review, Pleiades, and Salamander.

Posted in Poetry

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