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| Wiseman-Rose, Sophia |
| Zelvin, Elizabeth |
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The
Dance by Elizabeth
Zelvin God, let this be a good day. The sun is shining. I will help bring in
the harvest. Friends and strangers join us, first to work and then to dance and sing. Tonight
we will celebrate the harvest. The sun and the harvest, work and friends and music ought
to be enough. Is it wrong to long for more? Is it too much to want someone to love?
God, let this day be special. Let tonight be different from all other nights. Is it too
much to ask? Now it is night. The sky is black. The stars
are out. I am dancing with a man I have just met. I like the sparkle in his eyes and the
grip of his hand as we circle in the dance. His hand is big and rough, the hand of someone
who is not afraid of work. His clasp is firm and gentle, as if my smaller hand is precious,
like a child's. I feel warm and safe. The floor is packed. Others all around us have given
themselves to the dance, the joyful music. We laugh, for no particular reason. He says, "Your dress is pretty." The
dress is new. I bought it for the dance. I like his smile. Maybe
he will be the one. Shots ring out. The man I danced with vanishes.
I hear screaming all around me. I cannot speak or move. I have blood spatters on my dress.
Blood spatters on my dress. Around me all is dark. I am dying. I am
dying. How can I go to meet my God with
blood spatters on my dress? THE DIFFERENCE Elizabeth
Zelvin the difference between a hookup nowadays and what we called a one-night stand is
that the girls we were back then were
always looking for love yes, every single time we hoped that moment of connection had to lead to more, we wanted more, we wanted
love we didn’t care which boy
bestowed it never noticed he had none to give the boy I’d flirted with for weeks at the office finally snagged at a weekend party on the rooftop under the stars said Get out the moment it was over ignored me at the copier on Monday the
boy in the cornfield on the camping trip after
mixing grain and grape and hop a mistake I never made again we worked together for the next two years he would never meet my eyes never spoke to me in all that time the boy who said Everything
human is natural to me the Roman poet Terence, more correctly Nothing human is alien to me more
comfortable quoting the classics to justify himself than asking
my permission yet another way to ignore No my granddaughters are young women
now joyous, beautiful, full of life rich
in women friends so far treat the boys they know
as buddies both their parents were late bloomers please, God, let my girls skip the hookup phase fly, when they’re ready, straight to love
GOLIATH Elizabeth
Zelvin like a sneering hunched rhinoceros tossing giant boulders
on his horn he
blunders toward whatever stands against him blind
animal that he is, he stomps the
ground until it shudders step
by step his lumbering feet crash down on
crowds of people, cities, forests what
will he trample next? institutions,
nations, the tectonic plates that
hold the earth together will anyone dare
to stop him? one
reckless disenchanted politician? one
general with the courage to say no? one
young person with clear eyes and flowing hair a
slingshot and a single stone?
LILITH
GOES TRANS Elizabeth
Zelvin I
don't want to be a woman any more I've
had enough of dancing backward on
heels sharp enough to pierce parquet as
Adam, tuxed and Old Spiced for the ball grips
my butt with jealous fingers eyes
fixed on my décolletage and
mansplains the night away Adam's groupies will
be glad I'm gone so
will the ladies who lunch competitive
yeshiva bochers demonize me anyway the feminists will lose an archetype the original Vilde
Chaya Eve says she'll miss
the way we laughed the girl talk in the Ladies how we borrowed one
another's clothes and
did each other's hair she's
afraid that I'll transition into One of Them she says We
won't be sisters any more
ULTIMATE PEACE Elizabeth
Zelvin my granddaughter
at seventeen one
of a bunch of Jersey girls and boys selected
for potential spends
the summer on a rich kids' campus all
hallowed halls and tennis courts learning
how to think she writes a research
paper on
the other summer program on the site children
making friends, as she is playing
Ultimate Frisbee the
only team sport without outside referees on
each disputed play or call the
players must resolve the conflict exchange
opinions, listen, reach consensus in
thirty seconds—so say the Rules the
Spirit of the Game defines the game what's special about
these kids throwing
a frisbee around, eyes bright flushed
and laughing as they run and leap swipe
the disc out of midair and send it spinning? they're
Israeli and Palestinian kids segregated
from each other all their lives till now coming
together, my granddaughter writes before their innocence and open-mindedness is tainted she describes these children swaying, singing John Lennon's Imagine, arms interlocked uses it as a metaphor for a developing mindset a refusal to allow political groups, public sentiment and the media
to corrupt their perceptions of one another then she refutes
charges that this beautiful moment is naive, the song
sentimental pushing an artificial narrative of peace and love she says, progress cannot be achieved without
imagination How can you expect a Palestinian child in Gaza to forget the screams? my granddaughter asks How can you expect an Israeli child at the Nova Music
Festival to forget the screams? You cannot expect them to. At
seventeen, was I so clear-eyed? So concerned my
responses to the world might be considered
naive and simplistic so
articulate about why they were not? Children's sports
programs like Ultimate Peace offer a long-term process of healing and understanding that replaces
lessons of being taught how to hate she says. Not acting at all is much worse. As the cycle of resentment and hostility continues younger generations
need to be better equipped to overcome the fear and prejudice they
inherit. every
grandmother is a fairy godmother bestowing
three wishes at birth only three? okay, so we cheat mine for this beloved girl are true at
seventeen health,
happiness, and a social conscience a
happy childhood, a moral compass, and a capacity for joy a voice of her own, an imagination,
and the ability to think
The Nice Ones by Elizabeth Zelvin My Aunt Marion told me about her
next-door neighbors when she lived up north. The family was a father and mother, a boy,
and three girls. The mother was a downtrodden woman, too scared of her own shadow, Aunt
Marion said, to have a conversation with a neighbor. The boy was the apple of the father’s
eye. You could hear his voice booming, “my son,” all around the neighborhood.
The girls fended for themselves. One night, the boy went into the
oldest girl’s room and assaulted her. Aunt Marion heard screeching and then a lot
of shouting from the boy and his dad. Aunt Marion hesitated to call the police, but other
neighbors did. In the end, it was all brushed off as a misunderstanding. The father went
around telling everyone what a good brother his boy was to his sisters for a week afterward.
After that, the girls all locked their bedroom doors at night until one night, the oldest
sister forgot. The brother went in with an axe and split her head open. She died instantly.
Even then, the father insisted his boy was a good boy, and the girl, his dead daughter,
must have started it somehow. Aunt Marion thought that made the father as insane as the
son, who never stood trial and ended up in a mental institution. The
State itself being unhinged, Aunt Marion said, the two
remaining girls were considered safe in the family now, with a father who never ceased
to bemoan the loss of his wonderful son and a mother who, having formerly been inattentive
to all her children equally, now mourned her dead daughter while continuing to neglect
the two who still lived. Her depression worsened until she stopped going out of the house
at all. A year after the tragedy, she hanged herself. Their mother’s
suicide finally got the girls out of there. They clung to each other, cried, and begged
so hard not to be separated that they were even placed together in an excellent foster
family in a different neighborhood. They were two of the nice ones, Aunt Marion said. But
the damage was done. They didn’t get the sympathy they deserved. By that time, the
story had spread and warped, as stories do. Most people thought that the two girls themselves
had killed “all those people,” although some believed they killed them only
because they were so desperate to get away and into a home where they might experience
some kindness. I remembered that when I married
my own abusive pervert of a husband. I thought of those two girls the night I leaned over
in the bed where he slept beside me and cut him right across the jugular. I’m not
one of the nice ones. Sorry, Aunt Marion.
Katie in the City by Elizabeth
Zelvin like
a dervish in the frenzied ecstasy of
being young and free she
whirls through our apartment strews
her stuff in all the rooms leaves
crumpled clothing on the floor the
way her dad did forty years ago so recently ecloded
from the chrysalis she
rises early every morning spreads bright wings and flies downtown to a
World Trade Tower of glittering steel and glass
a vast office on the sixty-second floor, a job she loves I ask,
did they talk to you about safety? just about fire drills, she says I know you use the stairs if there's a fire it's a lot of
stairs, but I'm in good shape my heart clenches what's
wrong with them? have
they forgotten 911? did they not mention she's at risk and can't take fire
drills as a joke the way kids do? does
no one warn the young of
all we learned so bitterly the hard way? on 911, they told
workers on the higher floors you have a choice: go up or down I say, if
something happens, Katie, go
down! I will, Grandma, she says,
I promise I will not imagine towers crumbling
glass splintering, black smoke rising remember that terrible
meaningless sacrifice or
turn to stone for fear of another I
will revel in her for today this dancer who choreographs
her unique glow into the
pattern of lights that is Manhattan combs
out her hair each evening like a mermaid thinks like an engineer, laughs like a
child this
young woman no one has ever hurt
Elizabeth Zelvin writes the Bruce
Kohler Mysteries and the Mendoza Family Saga. Her stories appear in Ellery Queen's
Mystery Magazine, Alfred Hitchcock's Mystery Magazine, and Black Cat
Mystery Magazine, as well as Yellow Mama.
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In Association with Fossil Publications
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