When this six-top of college girls orders a pitcherof sangria, it’s likely some gateway drug to rebellionin this Christian college town—they’re twenty-something& still earn demerits for sitting cross-legged or traffickingthe sidewalk kept sacred for men. I’m seventeen & have beena waitress for one thousand years. The varsity defensive line dubsme Flaming Virgin. We devil-stick. We hacky-sack up& down third period study hall. We’re so proud of ourselves.It’s 1999. I close the Irish pub after working a double with so muchGrateful Dead on loop. Oz the line cook asks me back to his placefor beers & lets me out of his closet three days later. The light’s sobright all I understand is a tattoo of waves crashing over one bony hip.When I’m little Dad recites Ode on a Grecian Urn every timewe go out for one of his brick-laying jobs. I’m in charge of mortar.I love the bit about the bride so stuck in time she can never get caught.
Everyone I’ve Danced With Is Dead.
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“Everyone I’ve Danced With Is Dead.” from EVERYONE I’VE DANCED WITH IS DEAD: by Mamie Morgan
Published by Jackleg Press on March 15, 2024.
Copyright © 2024 by Mamie Morgan.
All rights reserved.
Reproduced by Poetry Daily with permission.
Mamie Morgan lives in South Carolina with her husband and their dogs, Henrietta Modine and Wednesday Stewart. Her poems and essays have appeared in Oxford American, The Atlantic, Washington Square Review, Sixth finch, Muzzle, Four Way Review, Smartish Pace, Carolina Quarterly, and elsewhere. Everyone I’ve Danced With Is Dead was published by JackLeg in 2024, alongside her chapbook My husband is learning to draw.
Washington, District of Columbia
"In this elegiac collection fittingly titled Everyone I’ve Danced With Is Dead, Mamie Morgan’s poems are exquisitely stitched as they offer up lamentation for, and salutation to, the dead. These are dedicatory jeremiads against loss that flame with anger, anguish, feminism, and, yes, even humor. And though they are underscored in a bladed nostalgia, they are never sentimental; instead, 'they are finding new ways to feel' while 'flinging every street-facing window open.' Swirling in the poetic spaces of this book, are caribou, witches, and chickens as well as cameos by Amy Poehler, Mary Oliver, and Iphigenia; but, most importantly, ascending from the book’s foundation is Morgan’s incantation for the living and the dead—the clear and sustaining phrase, 'I want you alive.'"
―Simone Muench
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