my father hands me the knife, says look into the eyes before you take them, there where we sit on the front porch with my mother eager for me to step out of girlhood and into a well-pressed dress. my father says take god with the blade and cut along the bone, careful not to spoil the good meat grown from my mother’s pumpkin pie we offer on paper plates. a man learns to hunt while a woman gives birth, sets her babies in the windowsill to cool like cherry tarts and asks how god could leave her at the first sight of blood. wind chimes call the dead when we least expect to hear them, stomp of hooves on a gravel road until it’s almost here, almost to my father where he asks me to remove the skin with my hands, pull from the fur until I feel a hollow pop. I don’t want to hold death like this, follow god into a carcass we bled from a tree as if it were nothing, were me, disposable as any meat we suck from a severed rib. tell me, whose god would make it so.
god finds me in a public restroom with my hair pulled back from my face, hand against the toilet to keep me from falling to the other side where nothing exists unless I want it to, unless I ask for it to make a home in my body, the way my mother spoke me into cinder spark from an apartment downtown. it’s the answer I want to hear at the clinic to keep me from disappearing like the ghosts my mother sees at night, flashes of yellow and white where the curtains pull together just so, cat’s eye of moonlight a sliver in the dark and no one sees me standing there, featherless bird as someone must have made me. I turned this god away when I was born and again when the crop circles staggered their spiraled prints as if carried on the wings of bees, but always someone brings him to my feet, covers my eyes with a shroud and there I am unfurrowing myself in the shadow of a 7-Eleven. even in this restroom where the walls could be pearl, dust catching the sun’s gaze like tiny crystals someone tossed into the air, almost beautiful, how I’d imagine god’s breath to flicker before it’s gone, before I release it.
and in it I smell the sweet fruit of what comes after, persimmon painted the halo of a flame, not sun or sunset as someone may have claimed it was before there was fire. if you sit with me long enough, I’ll touch your hand with the soft of my wrist, how veins color me into blues and greens like the ocean where I lost my best pair of shoes and isn’t that like saying goodbye to a friend, watching them float into the unknown without you. the truth is I’ve lost myself, not in the water but the earth, the time sheet punched into little perfect spheres. my name becomes the grocery list left stuck to an empty cart. if you sit with me long enough, I’ll write you a list of tastes, personify your unmade bread until it walks through the door, doughy and delighted to see your teeth. once I made a baby with nothing more than hope and see how she turned out fine, sparked into the room all sinew and tangled kelp. it isn’t enough to replicate yourself, send your cells into the sea and wait for sharks, a body to return – there’s blood to be spilled on the floor, in the car, on the windowsill smeared but I always forget to clean it. if you sit with me long enough, I’ll bite into your cheek as if you could be fruit, as if the list was you and not me, dangling from the hood of Hera’s open eye.
Christen Noel Kauffman is a 2022 National Poetry Series finalist and author of Notes to a Mother God which was a winner of the Paper Nautilus Debut Chapbook Series. Her work can be found in A Harp in the Stars: An Anthology of Lyric Essays, Tupelo Quarterly, The Cincinnati Review, DIAGRAM, Smokelong Quarterly, and Hobart, among others.
The colorful images below, courtesy of the Metropolitan Museum of Art, were painted by an unidentified artist sometime around the turn of the twentieth century. These portraits on silk each represent a particular character from one of nine plays. Like most operas of this style, the characters hail from diverse sources — literature, military history, and myth — but play stock parts. There are four basic roles in traditional Peking opera: sheng, dan, jing, and chou, each of which have numerous subtypes. Sheng and dan are male and female leads (historically both played by men), jing is a villain, and chou, the clown. As Mei Chun details, complex personas were to be avoided. “The flatness is deliberate. Flatness in characterization contributes to the effect of moral contrast while rounder characterization could lead to ambiguity and disorder.” The characters’ painted makeup, known as lianpu, tracks back to masks worn by dancers during the Tang dynasty, and is mainly used for jing and chouroles. The colors and expressions convey moral qualities that were easily legible to audiences of the opera. From Public Domain Review https://publicdomainreview.org/collection/peking-opera