It’s 1973 and the house is new Our father holds us spellbound in the living room inventing the Ghost of Black Creek Road … and there she is! Our mother makes her way from the hall, hair dark and slick with dye, surprised we’re still up, embarrassed People have always called it haunted Phantom footsteps on the stairs Cats meowing when all the cats have been buried out back in the muck It’s 2023 and the house needs a new roof Our mother wears a catheter I would like to have a little dignity, she says on the way home from yet another hospitalization, who would have thought I would become the Ghost of Black Creek Road? I want the light my mother says, opening the blinds to snow and once-in-a-generation cold
Death comes for my mother in a brown leather jacket. She tells me the dream is so real. Death has blond wavy hair. Death wakes her up, pounding on the back door of her house. I got my shotgun, she says. Of course, she means only in the dream. I don’t know how to use those things. I’d only hurt myself. Death turns away, she won’t shoot him in the back, and I imagine my mother in her pastel sleepwear, hefting the rifle she doesn’t have, hands trembling. Nothing would surprise me about her, not even the gun, though we have never been gun people. I remember how she laughed long ago, right after we moved in, when the encyclopedia salesman opened that same back door before stairs were built and nearly stepped out into thin air. One week ago, four hours from here, ten good people shot to death in a grocery store. My mother tells me more than once, I would have given anything to have traded my life for one of theirs. Especially the one picking up the birthday cake.
Someday I will be an orphan and then there will be nobody to remind me that the pointed shape of my head when I was born inspired my father to call me Denny Dimwit, after the cartoon character. My mother started smoking when she was 14 and never stopped, third child of eight, the troublemaker, the piss-pot, the girl with a chip on her shoulder. Now her shopping list makes my brother cry, it’s so short, oatmeal, tears break his voice, blueberries. Yes, my mother will be gone someday, but along the way she will laugh and lie to the other gamblers at the casino, pointing at the oxygen tubes in her nose, pretending she, like them, refused to be vaccinated, and then the virus laid her low, she spent weeks in intensive care and look at her now.
My mother coughs for the first few hours every morning. It gets worse until it gets better. After coffee and a cigarette, she’s able to maintain a semblance of self. She can sit on the couch. She can watch Family Feud. She can say, I felt so abandoned in that hospital even though I was there, beside her, every day for more than a week. After supper she can play dice. It’s hard to look at her hands so thin-skinned, so gnarled, so old before her time. The day I drove six hours to sit by her side, my face free of makeup, scoured by weeping, waiting for the ambulance, she said, My God, you’re beautiful.
Hope Jordan’s work appears most recently in Hole in the Head Review, Beloit Poetry Journal, Stone Canoe, and Blue Mountain Review. She grew up in Chittenango, New York, holds a dual BA from Syracuse & an MFA in Creative Writing from UMass Boston. She lives in New Hampshire, where she was the state’s first official poetry slam master. Her chapbook is The Day She Decided to Feed Crows.
Three prints from One Hundred Views of New Tokyo (Shin Tokyo Hyakkei), a collection of prints by eight artists published between 1928 and 1932: Maekawa Senpan, Subway, 1931, Kawakami Sumio, Hamarikyu Park, 1931, Kawakami Sumio, Chrysanthemum Show, Hibiya Park, 1930. From Public Domain Review