All the Women Caught in Flaring Light

By Minnie Bruce Pratt b. 1946 Minnie Bruce Pratt
1

Imagine a big room of women doing anything,
playing cards, having a meeting, the rattle
of paper or coffee cups or chairs pushed back,
the loud and quiet murmur of their voices,
women leaning their heads together. If we
leaned in at the door and I said, Those women
are mothers, you wouldn’t be surprised, except
at me for pointing out the obvious fact.

Women are mothers, aren’t they? So obvious.

Say we walked around to 8th or 11th Street
to drop in on a roomful of women, smiling, intense,
playing pool, the green baize like moss. One
lights another’s cigarette, oblique glance.
Others dance by twos under twirling silver moons
that rain light down in glittering drops.
If I said in your ear, through metallic guitars,
These women are mothers, you wouldn’t believe me,
would you? Not really, not even if you had come
to be one of the women in that room. You’d say:
Well, maybe, one or two, a few. It’s what we say.

Here, we hardly call our children’s names out loud.
We’ve lost them once, or fear we may. We’re careful
what we say. In the clanging silence, pain falls
on our hearts, year in and out, like water cutting
a groove in stone, seeking a channel, a way out,
pain running like water through the glittering room.


2

I often think of a poem as a door that opens
into a room where I want to go. But to go in

here is to enter where my own suffering exists
as an almost unheard low note in the music,
amplified, almost unbearable, by the presence
of us all, reverberant pain, circular, endless,

which we speak of hardly at all, unless a woman
in the dim privacy tells me a story of her child
lost, now or twenty years ago, her words sliding
like a snapshot out of her billfold, faded outline
glanced at and away from, the story elliptic, oblique
to avoid the dangers of grief. The flashes of story
brilliant and grim as strobe lights in the dark,
the dance shown as grimace, head thrown back in pain.

Edie’s hands, tendons tense as wire, spread, beseeched,
how she’d raised them, seven years, and now not even a visit,
Martha said she’d never see the baby again.
Her skinny brown arms folded against her flat breasts,
flat-assed in blue jeans, a dyke looking hard as a hammer:
And who would call her a mother?
                                                 Or tall pale Connie,
rainbow skirts twirling, her sailing-away plans, islands,
women plaiting straw with shells: Who would have known
until the night, head down on my shoulder, she cried out
for her children shoved behind the father, shadows
who heard him curse her from the door, hell’s fire
as she waited for them in the shriveled yard?

All the women caught in flaring light, glimpsed
in mystery: The red-lipped, red-fingertipped woman
who dances by, sparkling like fire, is she here on the sly,
four girls and a husband she’ll never leave from fear?
The butch in black denim, elegant as ashes, her son
perhaps sent back, a winter of no heat, a woman’s salary.
The quiet woman drinking gin, thinking of being sixteen,
the baby wrinkled as wet clothes, seen once, never again.

Loud music, hard to talk, and we’re careful what we say.
A few words, some gesture of our hands, some bit of story
cryptic as the mark gleaming on our hands, the ink
tattoo, the sign that admits us to this room, iridescent
in certain kinds of light, then vanishing, invisible.


3

If suffering were no more than a song’s refrain
played through four times with its sad lyric,
only half-heard in the noisy room, then done with,
I could write the poem I imagined: All the women
here see their lost children come into the dim room,
the lights brighten, we are in the happy ending,
no more hiding, we are ourselves and they are here
with us, a reconciliation, a commotion of voices.

I’ve seen it happen. I have stories from Carla,
Wanda. I have my own: the hammering at authority,
the years of driving round and round for a glimpse,
for anything, and finally the child, big, awkward,
comes with you, to walk somewhere arm in arm.

But things have been done to us that can never be
undone. The woman in the corner smiling at friends,
the one with black hair glinting white, remembers
the brown baby girl’s weight relaxed into her lap.
The brown-eyed baby who flirted before she talked,
taken and sent away twenty years ago, no recourse.
If she stood in the door, the woman would not know her,
and the child would have no memory of the woman,
not of lying on her knees nor at her breast, leaving
a hidden mark, pain grooved and etched on the heart.

The woman’s told her friends about the baby. They
keep forgetting. Her story drifts away like smoke,
like vague words in a song, a paper scrap in the water.
When they talk about mothers, they never think of her.

No easy ending to this pain. At midnight we go home
to silent houses, or perhaps to clamorous rooms full
of those who are now our family. Perhaps we sit alone,
heavy with the past, and there are tears running bitter
and steady as rain in the night. Mostly we just go on.

Minnie Bruce Pratt, “All the Women Caught in Flaring Light” from The Dirt She Ate: New and Selected Poems (Pittsburgh: University of Pittsburgh Press, 2003). Copyright © 2003 by Minnie Bruce Pratt. Used with the permission of the author.

Source: The Dirt She Ate: Selected and New Poems (University of Pittsburgh Press, 2003)

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Poet Minnie Bruce Pratt b. 1946

POET’S REGION U.S., New England

Subjects Parenthood, Sorrow & Grieving, Relationships, Gender & Sexuality, Social Commentaries, Disappointment & Failure, Living, Midlife

Poetic Terms Free Verse

 Minnie Bruce  Pratt

Biography

Minnie Bruce Pratt is recognized as an eminent poet in the United States. In addition to receiving acclaim for her verse, Pratt is acknowledged as an essayist, activist, lesbian-feminist, and educator. By chronicling her existence in poetry and prose, Pratt has explored themes reflecting the particularities of her life. She has surveyed her Southern, middle-class upbringing, her ten-year marriage and strained divorce, her battle . . .

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Poem Categorization

SUBJECT Parenthood, Sorrow & Grieving, Relationships, Gender & Sexuality, Social Commentaries, Disappointment & Failure, Living, Midlife

POET’S REGION U.S., New England

Poetic Terms Free Verse

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