INSIDE THIS ISSUE:
Lyn Lifshin
Jennifer Burd &
is an independent International Journal & ezine
Copyright (c) 2013
Silver Grey Fox
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MISSISSIPPI PHOTOGRAPHS Broken down gray-brown shacks, dusty dirt roads cut flat grown spaces with tall trees no leaves at all. Up-close half-empty Nehi orange bottles. Bristle-thigh tee-shirted man grips a .32, trigger finger outside the guard. Know anybody from Mississippi? I ask the museum guard. Yes, me. She points at herself. Like the photographs? That's me. She points with her finger. Three shoeless black girls in pigtails. That's a cotton field, right? Me picking with my sisters, could of been. Nearest store mile an a half we go for a bottle of pop. No toilets, lights. Picking all day, year 'round work. My kids don't believe me. This one photo here? Again she points. White shelves of frosted ice frame Swanson TV dinners, chicken pot pies, half-gallons of supermarket vanilla, ice-cube trays with aluminum levers. That's the refrigerator my first apartment in Memphis. THE OLD MASTERS maybe got it right maybe not everybody sees the temptations in St. Anthony's light. But no watcher eats or finds a window to close or just walks along dabbing at a wet nose. Tiepolo tempts with all lush women lusting while Dali has nudes no fiery horse exempts. Beauty it is that shows unseen by the musers in the canvases of the great museums. Seurat's the Grande Jatte has the pipe and its smoker just a pipe-stare at nothing not the water. Nighthawk's black beauty the lonesome diners ignore lost to each other, sans hat rack, food, or door. Suffering and strife Hockney's collector husband squeezes blood from the paint, hates his totem wife.
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