Chapters (67)
- Cover
- Note to Reader
- Dedication
- I
- Murano
- Bubbles
- Vessels
- A Peacock in a Cage
- At the Fishhouses
- When It Is Over, It Will Be Over
- Letter from the Pribilofs
- II. Go West
- You’re
- Mae West: Advice
- Marriage
- Censored
- Freedom
- Go West
- The New Woman
- Mae West: On Aging
- “Celebrity” Striptease at Southern X-Posure
- Confessional
- Self-Portrait as Mae West One-Liner
- Never
- Prayer
- Envoi
- III
- W.C. Fields Takes a Walk
- Philip Larkin’s Koan
- Once
- Saturdays at Reynolds Work Release
- Olive Oatman in Texas
- Assemblage of Ruined Plane Parts, Vietnam Military Museum, Hanoi
- IV. Shooting the Skulls: A Wartime Devotional
- Portrait of F19: Male, 42 Years Old
- Portrait of D6: Male, 38 Years Old
- F21: Male, 37 Years Old
- Devotional
- Devotional
- Portrait of F11: Female, 39 Years Old
- F20: Male, 29 Years Old
- Portrait of D19: Male, 41 Years Old
- Portrait of D17: Female, 37 Years Old
- C18: Male, 36 Years Old
- Devotional
- Devotional
- Portrait of E4: Male, 34 Years Old
- Devotional
- Devotional
- C2: Male, 42 Years Old
- Portrait of E20: Female, 32 Years Old
- C11: Female, 54 Years Old
- Portrait of B4: Female, 34 Years Old
- Portrait of C8: Male, 32 Years Old
- V
- Baucis and Philemon
- Rhetoric
- Irises
- Monticello Vase
- Birthday Poem
- Mortal Love
- The History of Paisley
- Notes
- About the Author
- Also by Paisley Rekdal
- Acknowledgments
- Special Thanks
in which a lotta hussy nothin’ floats, so writes
Variety of vaudeville’s paints that obsidian a face
moon-pale, shuttered to history—
Mae sends her maid Bea west
to Harlem where she cannot travel
to procure her tunes (Piano man croons: “He may be your man
but he comes up to see me sometimes”; “That’ll do,” Bea says) while
on the boards Mae nips out bits
of bio (spouse and birthday both), turns her script to cryptic
lace as police haul her off
for indecency. (“My play?” she purrs. “Let’s call it
‘Coitus,’ shall we?”)
In the courts and on the boards, Mae sways
and shimmies. Bea, from her place
behind curtains, applauds
as Mae’s mouth spits out bursts
of Bessie Smith, Lady Day, Ma Rainey.
Mae loves Bea so much she writes her
into play (Diamond to Maid: “Lissen, shadow,
whad’re you doin’ here?”), laughs at the thought
only one letter between them separates.
Dalí’s canvas is a frame
within a frame, portrait of a face for which
the outline is enough. She’s a sofa now. An oriflamme. Her eye
discourses. Hey, what’s that dark that breaks
through yonder window?
Court: So did you ever see her navel?
Witness: No, but I did see somethin’ in her
middle travel east to west.
Freedom
FREEDOM
He’s the kind of man a woman would have to marry to get rid of.
Mae: once, a man wrestled me to ground, wrangled my hands in his
and, when I tried to knee him in the groin (missed),
yanked my legs from under so I wouldn’t run. He laughed
as I saw stars. I get it: freedom (for a woman) has
a tag on it: ya gotta have more strength at hand, ya gotta have
no fear of fists. Give a man a free hand, he’ll run it all over you.
Gag whose strut of which I’m envious; of you, who thrived
on hungers without risk. Should I praise or blame these plays
no girl’s reality might imitate? Not even yours, feinting
off a drunken Fields, Yale men aswarm upon your stage—
To slide on your armor means to fake
away what hurts. The one who, instead of kiss, would shove.
The one who, gently, strangled. Mae, we weren’t swift
enough to rid ourselves of them. We were never swift enough.
Go West
GO WEST
“Mae West”: British slang in WWII for inflatable life jackets