23 June 2020
To grieve over what
someone thinks of you is not self-pity. It’s being on stage without
knowing you’re in a play. (This is easier in the zoom times.) To
speak one’s lines offers a space for seeing yourself see yourself.
But you’re hardly the star, more an extra assigned to wave a sign,
put in your 10K steps, then return home to pat yourself on the back.
She worries that she’s been shouting “Black Lives Matter!” for
20 minutes, but it seems to matter in a more difficult way when she
passes two Black men standing on the stoop of a hostel. Her partner hisses at her to stop. To see yourself as others see you is a line in
Ashbery; it’s also a bad habit, especially when you don’t know
them. Let mirror dissolve into light, and watch light move up and
down your spine like climbers on a wall. We climb for real on a fake rock face. But in a Berkeley park, a woman yelled at teens that they didn’t belong
there, climbing Indian Rock. She yelled the n-word at them. Her face
is a mask, but no barrier against sickness. We turn our masks around
so we can face them, staring through empty eye sockets and a
mouth that grins through very few teeth. You’ve come to accept the
mask as yours. Without it, you’d be too difficult to read.
3 comments:
Oh, nice ending. Great meditation on mask wearing and it went places I didn't expect. First line gets everything going and makes me think.
the idea of acting in someone else's play keeps getting turned around with the pronouns--us, you, we, them... the only one missing is I. so no I because of the masks, maybe. And all the distancing (on stage, via zoom...) enables observation, which becomes performance too. Cool.
Oh, also, really intriguing first line. Which I always think of as a title, even if it's not.
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