a methodical song, hummed quietly into thebalsa walls of each miniature. nimble fingerscoax miniscule scenes into place: there, herdoor shut tight and sealed with newsprint, allegress cut off to hasten the rouging of her cheeksfrom the fumes. or the girl in the closet, neckgrooved in red, no puddle of blood beneath her. oheiress, you rule over these silent crimes, eachimage made to train the ruthless to reimaginejustice, to establish order for working womenkilled at home or church.lessons in methodology, how to pluck each detailedmonument to her private suffering from itsnoxious and stifling stem. yet you are nooracle, though you saw beyond your wealth,privy to the protections afforded by money,quelling those afforded by whiteness.race, a liminal boundary, paint melting intosolvent, unseen. each doll’s porcelain skintinted to mimic the conditions of death. yourutmost attention, almost affectionate, to thevividly lurid: a girl’s clothes rumpled, legs splayed,whisps of hair in a pool of blood on the floor. anx-ray into the ends of poor white women:yes, an obsession, like floral wallpaper or the petals ofzinnias. a prayer uttered under your breath.
Frances Glessner Lee as the First True Crime Girlie: An Abecedarian
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Copyright © 2025 by Michaela Mayer.
All rights reserved.
Reproduced by Poetry Daily with permission.
Michaela Mayer is a 29-year-old poet and educator from Virginia. She has a digital chapbook, “Folklore of the Self,” out with Fahmidan. Her works have previously appeared in Barren Magazine, Feral Poetry, Olit, Monstering Mag, The Lumiere Review, and others. She lives with her partner and their two cats, Sappho and Sonnet, and can be found online via Instagram @mswannmayer55.
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Kitchen Table Quarterly amplifies work that lays all of this history bare—cultural history, political history, geographical, medical, romantic, etc.—and explores how they weave together to create our daily lives. We are looking for work that spills secrets and wipes the dust off of old memories. Here, we contend with history’s complexity and its shortcomings. Furthermore, we recognize that, too often, people's stories are erased because of who they are, how they look, what they believe, and/or where they come from. At Kitchen Table Quarterly, our mission is to explore the personal within the historical; as such, we are committed to lifting the voices of those whose histories have been lessened, altered, or outright denied. We want honesty. We want an education.
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