February 2025
|
Poetry
|
Clayton Bradshaw-Mittal

west texas history lesson

grandma

her history ends in a field 
of bluebonnets and indian

paintbrush, ruby red studded blue.
grandma lay in the flowers

her straw hat banded in raspberry
like dirt before it becomes a grave.

in the photo, her sudden belief
that a god governed texas

bled through polaroid gloss.
love in colors that only exist

on planes diverging
filled the basket next to her.

this was her final trip across
counties firmed by oil-soaked

soil and native blood.
i spent my absent summers

turning the dial on her black-
and-white television set.

i grew jalapenos with grandpa
whenever they could afford

a home with room to garden.
and tea was brewed in mason

jars left on the sidewalk
boiling in the dust-baked sun.

in october just before she died
my father and his wife gathered

on her porch with their new baby.
when they did not let her hold

the infant granddaughter, she pushed
my stepmom from the porch.

some nights i remember that act
of resistance and the way

it inspired me to push back

west texas history lesson

your history begins on a tuesday
mid-august afternoon and ceases

on a friday, late evening
when, as a child, you obsessed

over the facts of your birth
curious about the circumstances.

far more interesting, you couldn’t understand,
was why your father, the football player,

married your mother under duress.
there’s a photograph that instigates

this question, where your father
pales in his glaring sweat.

your mother, barely visible in white frills
metaphor of a shotgun camouflaged

in the wood-patterned panel of your grandmother’s
trailer a brief fear visible in both their eyes

or perhaps they’re drunk with foresight
of the violence that’s to come.

pregnant in the west texas heat, she carried
you to term, abortion surely the better option,

something she continues to hold against you
and you against her.

kitchen myths

the kitchen is a safe space
so long as you never spill the salt
just sugar and graham cracker crumb

eat dahi-shakkar before a needed win
crush the eggshell after
even if the yolk signifies twins

a long life means never cutting noodles
and check your teas for undissolved sugar
or is it don’t add the milk first?

drop a fork—a woman will visit
a knife—a man (much more frightening)
a spoon—somebody’s kid might wander in

planting parsley leads to childbirth
hot peppers to heart break
and a stage performer will always slip on a nut

black-eyed peas at the new year
or is it marzipan pigs
no, tamales in an old friend’s home

never slice a banana
or place chopsticks upright
or hand a friend a knife

i used to never believe in any of this
until the year my mother
aiming for my head

taught me toasters can fly

it is at the dinner table one night

evening darkness blurred 
around fringes
defying a willful amnesia

when
my father’s beeper
goes off, the steady
red light, the buzz
of electric currents
like synapses
seeking
out the recesses
of happy memory
with
a searchlight.

the Whataburger downtown
burns,
kitchen grease turned to smoke
and scare,
a texan emergency
if there ever was one.

this moment, buried
between beatings taught
me to respect my father,
the firefighter,
the paramedic,
for the hero he was
to other people.

and that night, silence vibrating
in the chasm left by his absence
we know he’ll return
despite
my mother’s feigned look
of worry.

there is another time,
week before thanksgiving,
when he is called away
in the middle
of the night
to unbury
college kids in the Texas
bonfire collapse.

we see him in the morning
on tv
explaining the process
for rescuing survivors

and at school
i ask my classmates
if they’ve seen
him too.

we wait all day
to hear from him
to know what
happened

how a log tower
bundled by thin
wire could have
possibly
fallen.

when he does come home
close to midnight
I am staring into the clouded
space of darkness
floating just above the spinning blades
of the ceiling
fan waiting
for his family
celebrity
to wane


and for his
anger

to erupt.
About the Author

Clayton Bradshaw-Mittal (they/them) is a queer, previously unhoused veteran, MASS MoCA Fellow, and alum of the Vermont Studio Center and Tin House Winter Workshop. Winner of the Plaza Short Story Prize, their creative work can be found in StoryThe Masters ReviewFairy Tale ReviewF(r)ictionHole in the Head ReviewSouth Carolina Review, and elsewhere. Other writing appears in The RumpusBarrelhouse, and additional journals. They teach creative writing at Gannon University and are the Managing Editor of New Ohio Review and “No Place is Foreign” editor at Another Chicago Magazine.

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Featured art: David and Marian Fairchild

Images from David and Marian Fairchild’s Book of Monsters (1914.) [via The Public Domain Review, https://publicdomainreview.org/collection/book-of-monsters/}

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