Photo: Poetry Dispatch
MISS JULY GROWS OLDER by Margaret Atwood
How much longer can I get away
with being so fucking cute?
Not much longer.
The shoes with bows, the cunning underwear
with slogans on the crotch — Knock Here,
and so forth —
will have to go, along with the cat suit.
After a while you forget
what you really look like.
You think your mouth is the size it was.
You pretend not to care.
When I was young I went with my hair
hiding one eye, thinking myself daring;
off to the movies in my jaunty pencil
skirt and elastic cinch-belt,
chewed gum, left lipstick
imprints the shape of grateful, rubbery
sighs on the cigarettes of men
I hardly knew and didn’t want to.
Men were a skill, you had to have
good hands, breathe into
their nostrils, as for horses. It was something I did well,
like playing the flute, although I don’t.
In the forests of grey stems there are standing pools,
tarn-coloured, choked with brown leaves.
Through them you can see an arm, a shoulder,
when the light is right, with the sky clouded.
The train goes past silos, through meadows,
the winter wheat on the fields like scanty fur.
I still get letters, although not many.
A man writes me, requesting true-life stories
about bad sex. He’s doing an anthology.
He got my name off an old calendar,
the photo that’s mostly bum and daisies,
back when my skin had the golden slick
of fresh-spread margarine.
Not rape, he says, but disappointment,
more like a defeat of expectations.
Dear Sir, I reply, I never had any.
Bad sex, that is.
It was never the sex, it was the other things,
the absence of flowers, the death threats,
the eating habits at breakfast.
I notice I’m using the past tense.
Though the vaporous cloud of chemicals that enveloped
like a glowing eggshell, an incense,
doesn’t disappear: it just gets larger
and takes in more. You grow out
of sex like a shrunk dress
into your common senses, those you share
with whatever’s listening. The way the sun
moves through the hours becomes important,
the smeared raindrops
on the window, buds
on the roadside weeds, the sheen
of spilled oil on a raw ditch
filling with muddy water.
Don’t get me wrong: with the lights out
I’d still take on anyone,
if I had the energy to spare.
But after a while these flesh arpeggios get boring,
like Bach over and over;
too much of one kind of glory.
When I was all body I was lazy.
I had an easy life, and was not grateful.
Now there are more of me.
Don’t confuse me with my hen-leg elbows:
what you get is no longer
what you see.
–from Morning in the Burned House, New Poems