The black girl
Labetta from the next house over
is teaching my daughter Eleanor
to do the hula hoop, to shake her hips
in that rhythmical
unmistakably sexual
shimmy, though they are still
saplings, birch
and ash growing together
on the same boiling
hopscotch-chalked street.
And though I feel the long
kiss of history
as I breathe in the Georgia dusk’s
humid pine odor
and see within the lilac’s sweet shadows
the slave ghosts hoe rock and red clay
and shuffle in their musical
cruel shackles toward the auction
block in Charleston,
which is now a tourist attraction,
my daughter and her friend don’t
yet feel the ironies radiate
like the day’s heat
up from the asphalt
through the soles of their matching
pink sneakers. As they grow
into their bodies and fill out
the hourglass shapes that spell
women, so they
must grow into history and put on
guilt’s glitter, anger’s
lipstick and sequins.
But now they are only
two girls out late
after dinner, alone with the slow sparks
of fireflies in the dusk that gathers
and deepens into
night, that takes them
into her arms like an anonymous
mother and makes them over
until I can’t tell
one body from
the other. And now, because I am
nearsighted, there are only two
hula hoops, glowing
yellow-green, revolving as if
by themselves, haloes around
the invisible place where
their bodies were, night’s lost
daughters found, who wear in their
dark hair
fireflies, in their earlobes
the seed-pearl stars.
From Dirt Angels by Donald Platt, 2009