My Great Aunt Tells My Mother I Am Such a Good Girl

Photo © Amy Dupcak. All rights reserved.

I remember the butterfly
brittle & pinned to the black
velvet of a shadow box.
How it hung next to her dresser.

She loved that butterfly,
the orange & yellow of its wings a riot
in that house of neutrals: the worn brown couch.
The black prayer books, her wooden rosaries.
The unusual extravagance

of it. She & her sister,
the two who never married, alone
together in that cluttered house—

I had to touch those orange & yellow wings.
I pushed a chair to the dresser
& took that box from the wall. How delicate
those wings. How easily the first rip came—

an accident from my small hands.
But not the second. Or the eighth.
& I didn’t stop

until all that was left intact was
the thorax. The abdomen, the proboscis.
The antenna. I didn’t stop
until those wings were orange & yellow
confetti littering the bottom

of that black velvet box. I didn’t stop
until she took her frame, her gnarled fingers
soft on my five-year-old hands,
& stashed it in her closet. I didn’t stop

until she filled that empty space
with a crucifix
borrowed from the living
room wall.

Lisa Allen’s work can be found or is forthcoming in Lily Poetry Review, December Magazine, Anti-Heroin Chic, Bear Review, and MER, among others. She has been nominated several times for the Pushcart Prize and was a 2022 Best of the Net finalist for her poem “Prolapse: Etymology,” published by South 85 Journal. Lisa holds an MFA in Creative Nonfiction and an MFA in Poetry, both from the Solstice Low Residency MFA Program in Creative Writing at Lasell University, where she was a Michael Steinberg fellow in Creative Nonfiction. With poet Rebecca Conners, she co-founded and co-directs the online creative space The Notebooks Collective.

Appears In

Issue 22

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