Self-Portrait with Early Promiscuity and the Norton’s Anthology of Poetry

Photo © Sidney lima. All rights reserved.

When round and full, her silver face
Swims into sight, and lights all space
—Sappho

I wanted to be everything the mirror denied. A real beauty, 
untouchable as the moon, the same one Shakespeare, Shelly

and Sappho saw, the same one my father carved through at night
on the still waters of Prince William Sound, his silent oars

like silver spoons in cream. I wanted to be just beautiful enough
to be a source of pride, cold as winter’s end, asexual,

more Artemis than Aphrodite, gleaming white and sealed
as a marble tomb. But I was plain, ordinary, clumsy with my mouth,

my face an early etching of a lesser artist. My father argued
if anyone called me pretty. My mother too. Sex was an envelope

to open in secret, a flashlight to hold to my palm—a way in. When
I was locked out of my house, I could give a hand job and get a ride

to the beach. I could make out by the waves as if I mattered. A girl in
a puddle of belonging, in a simulacrum of love, because I put out.
Meghan Sterling (she/her/hers) is a queer writer and working mother living in Maine whose poetry has been published or is forthcoming in Tahoma Literary Review, the Los Angeles Review, the Colorado Review, Rhino Poetry, Hunger Mountain, and many other journals. Her collections are These Few Seeds (Terrapin Books), Self-Portrait with Ghosts of the Diaspora (Harbor Editions), Comfort the Mourners (Everybody Press), and View from a Borrowed Field (Lily Poetry Review’s Paul Nemser Book Prize). You Are Here to Break Apart (Lily Poetry Review Press) is forthcoming in 2025 and Sick Poems from the Lovebed (Harbor Editions) is forthcoming in 2026.

Appears In

Issue 26

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