Apotheosis: Girlhood
Tell me: does a story end when you run away from something?
[There were once two girls who braided their hair together so they became
one, put bandaids on each other’s knees when they scraped their knees
on the pavement, stamped faded butterfly stickers all over each
other’s walls. Two was always better than one. Together they could laugh
mockingly whenever someone said otherwise, trace their
fingers over each other’s cheeks, wiping away tears, when they
thought the world was ending. Every night they’d ask can you see me
& slam their fists against the wall, attempting to make indents
matching the shape of their bodies, of a parallel future where art
was not the only way to remember, spitting out the baby hairs
landing in their mouths. They would leave breadcrumbs that led
to memories: dried daisy petals gathered at the height of their bloom,
baby teeth they’d stolen back from the tooth fairy, spare birthday candles
never used, bloodied scissors. They said when the body loses a part
of itself, it will never truly forget what no longer exists. We were told
not to never talk about our bodies, the shadows imprinted on the walls.
Do not dare to put your hand against them, measure how much
bigger your palms are. Some things are too small that if you
covered them briefly, they would disappear forever. It’s easy
to lose the things that create the smallest ripples in an ocean.]
No. It is only the beginning.
Apotheosis: Ghost
On a Monday, you’re cutting kiwis with a butter knife
when the signal goes out, television turning to static.
You let the fruit’s juice sting in open cuts. If your mother
were still here, she’d get all upset, say that no one
wants sour fruit. Once, you had a dream that in a past life
you were an artist’s muse, a still life of lemons & oranges
painted out of devotion. If you fell from heaven to hell,
it would be disguised, syllables you’d roll around & smother
in the back of your mouth. Your mother once offered
you stolen clothes in exchange for cut sour orange slices,
the ones from the overpriced Persian market a neighborhood
over. Those were luxury goods, she’d say, bunching fistfuls
of nylon & polyester between her wrinkled fingers,
they reminded her of home. That wasn’t here. You could
never tell if this memory was sad or not—it just exists.
Back then, life was expensive. You’d steal two dollar bills
out of a mean girl’s locker at school, stuffed them in white
envelopes & sold them online for twice their value.
Your mother always told you good girls go to heaven
when they play nicely, called her daughter an American
tragedy in the making. Have you ever been offered something
you felt like you’ve left behind, but can’t remember it?
Every so often you write wish you were here on the back
of a cheap tropical postcard, mail it unsigned to a random
address on the other side of the country. When you suck
all the juice & blood out of your wounds, keep your eyes
open when there is no reason to, you think it tastes like
your mother’s chicken, fried golden but raw on the inside,
smothered in store bought pomegranate molasses.
Ashley Hajimirsadeghi is an Iranian-American multimedia artist, writer, and journalist currently pursuing an M.A. in Global Humanities at Towson University. Her writing has appeared, or is forthcoming, in Passages North, The Cortland Review, Salamander, RHINO, Salt Hill, and The Journal, among others. She is the Co-Editor-in-Chief at Mud Season Review, a former Brooklyn Poets Fellow, and a contributing writer and film critic at MovieWeb. She can be found at www.ashleyhajimirsadeghi.com