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Six poems from The Leopard Lady Speaks: A Novel in Verse

2014, The Missouri Review

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The text presents a selection of six poems from "The Leopard Lady Speaks: A Novel in Verse," exploring themes of identity, race, and performance within a historical context. The narrator recounts personal experiences and societal perceptions, blending vivid imagery with emotional depth to convey the struggles and resilience of characters facing a world that objectifies and commodifies them. The use of vernacular language enhances authenticity and highlights cultural nuances, ultimately reflecting on the complexities of self-representation and the multifaceted nature of both personal and communal identity.

Six poems from The Leopard Lady Speaks: A Novel in Verse Valerie Nieman The Missouri Review, Volume 37, Number 2, 2014, pp. 95-105 (Article) Published by University of Missouri DOI: https://doi.org/10.1353/mis.2014.0034 For additional information about this article https://muse.jhu.edu/article/549951 Access provided at 12 Jan 2020 22:44 GMT from Leiden University / LUMC ( poetr y ) Valerie Nieman Six poems from The Leopard Lady Speaks: A Novel in Verse How I Was a Jig I never danced afore I step on that stage in naught but a grass skirt and some beads— the Gastons not holding with card playing nor music ’cept the shape notes. Not for themselves and not a’course for me, even was I proper clad. Straightaway as I hook on with the traveling show, there in Oil City, this man (I come to call him The Patch) askt me if I was wanting kindlier work than gen’ral labor— like the sign says, no free rides. “We got a kootch show, mixed now but we’re headed South and I got two colored, plus you, as you’re willing, to make a jig show for the crackers.” What is a jig, I askt. “Why, honey, you’re a jig! Colored, negro, jig. Jigaboo. You must come from back of beyond if you ain’t heard that by now. Tell me you’re eighteen, right? SUMMER 2014 / THE MISSOURI RE VIE W 95 Yeah, well, you ain’t gotta do nothing but shimmy what you got.” What I got, the other girls say, warn’t much. You ought ta eat a little fatback, they tell me, put flesh on your bones. Long’s they see your titties, though, it don’t matter if they big. So I jigged. Made that grass skirt sing like ripe wheat reaped into the cradle, easy work long as I did not look into the eyes of the rubes, round and wet as river stones. The Patch says for me not to worry when the inside talker pulls the menfolk aside and speaks low, special drawing for one night— holding up a brass hotel key— you don’t much get a chance at a strong young girl like this, firm as a new apple. It was what they call a con, a key con, them red tickets took up so careful, one hope by one, then throw’d away to tumble with the free wind as we pulled stakes and blew town. 96 THE MISSOURI RE VIE W / SUMMMER 2014 Blue Baby: The Professor Tells His Scar All of us wear scars, it’s true; some we show and some we keep beneath our clothes. It’s only when the generator stops chugging power through python cords and the lot goes dark at the edge of some town that I, button by button, open myself to the night, as surgeons once cut and spread my delicate ribs to find arteries tangled around my heart. Blue babies, they called us, but not for nursery blankets and the boast of a boy. We were piped wrong: our blood reversed its flow, got thick, and skin and lips turned blue for lack of air. I was three when my parents, despairing, carried my limp self into the hospital at Baltimore. Famous doctors undid what God had done, made the blood whoosh back into my lungs, and right away, they said, I flushed pink, and lived. The scar’s so merged into my body now that it’s no shame anymore, but as a child, it was a constant reminder—born without a heart, the other kids would say, born without a heart, and they had to put one inside of me like Frankenstein. My parents labored to explain: doctors sewed up a hole, put a patch on my frayed heart, stitched it all around like the sampler that hung above my grandmother’s bed— How sweet are thy words unto my taste! Yea, sweeter than honey to my mouth! I asked her, “What’s a stitch?” and she showed me on that sampler—here is a feather stitch, satin SUMMER 2014 / THE MISSOURI RE VIE W 97 and cross-stitch. Ladder, overcast, and star. I chose the cross-stitch, deciding that must be the one, small silken crosses holding my unfortunate heart together. 98 THE MISSOURI RE VIE W / SUMMMER 2014 The Professor Lists Her Begats She is, as she tells me, a piece of work. She is, as she tells me, a real catbird. The Leopard Lady has lived a life these rubes could not imagine. She tells me her begats, as the first words of the Gospel count the sons from Abraham to Jesus, not the daughters whose dismissed bodies host the sons of men, “an’ so the world on one leg goes crooked.” It is a miracle play of sorts, a tale missing some pieces, the place-between filled like the borders of a puzzle: here should be trees, and there a cloudy patch of sky. Born an orphan along the Ohio and drawn to water since—it may have been some brothel where her mother died, the babe alive in her pale arms had a skin too dark for families who’d take a sunnier child. Some sleight of hand before a sleepy judge and presto-chango! she was Hagar, sent to the childless Gastons for care—little of that, as she was set to work as soon as her small hands could wring a cloth or pull a weed. Allowed a bit of schooling, she found more herself, reading the King James Bible and books she ferreted from trash cans and town dumps. Shakespeare she loves, for stories “full o’ blood and sorrow such as God ’lows the devil to sow into our flesh.” Somehow, she gained the Sight; accounts vary, maybe too keen an edge to test, for I have heard three tales. At fourteen, near as she could tell, she ran off with a man who passed each day on the road, SUMMER 2014 / THE MISSOURI RE VIE W 99 who parleyed with her as she tilled and reaped. She went in her sack dress and brogans, having nothing to regret leaving. For the first time in her life, she crossed over the county line. But bumming was hard and money thin—she worked and he stole, until she was abandoned, again, in Oil City, where Providence, she says, had set down a traveling carnival. “They called me a forty-miler, not knowing I’d already come a piece farther than that,” she says, and not like to leave a place more kind and work less hard than any she’d known. “I was of’ told, back on the farm, to stay clear of gypsy folk and carneys or they will steal you off, but I was already stole.” She is, as she tells me, a piece of work. She is, as she tells me, a real catbird. 100 THE MISSOURI RE VIE W / SUMMMER 2014 The Ballyhoo Come up, come up, ladies and gents, lads and lassies, to see this glorious creature from Haiti’s floriferous mountains, the one and the only, alive on stage, genuine Leopard Lady! Abandoned by her lover, she called on black arts of voodoo, summoning Erzulie of the heart, unholy Mambo Madam of love and vengeance, to trade her suffering for a beast’s indifference. By day our dappled Lady is as sweet as they come, but oh, beware the doomed stroke of twelve! On some nights when the moon is white as a magnolia flower and the wind blows warm as breath, heavy with the power of a southern hurricane—why, it might be just such a night as we have here, when the uncanny will clutch at our immortal souls—then, Mesdames, Messieurs, she alters from a woman to a beast, conjured complete with pointy fangs and claws and a hairy pelt, and, it’s true, a twitching tail right where her svelte bottom naturally ends! So come up, come closer to see the Leopard Lady in the flesh, touch her spots your very self, meet this strange mortal suspended ’tween the human and the animal. (Fear not, good folks, we keep the Leopard Lady secure under lock and key once the show shuts down, to ensure SUMMER 2014 / THE MISSOURI RE VIE W 101 the safety of the public—especially those of the male persuasion!—from her embrace, because fatal that would prove.) No cage needed for this sweetheart of the isles: her bestial twin demands iron bars and this massive Houdini-proof Master Lock fastened on her door. So step on up, you can walk right up and see her while she’s tame, even hold her magicked hand! Made just once and they broke the mold! (And for the menfolk, a very special offer inside, see what that silky scarlet kimono hides!) 102 THE MISSOURI RE VIE W / SUMMMER 2014 The Leopard Lady Tells Her Spots Don’t be looking for what’s daubed on that banner, the Leopard Lady naked in the jungle, brown skin all over with black spots like wallpaper on a wall. I’m moreso like a spotted hound or the rump of the Apalousey our trick rider uses, white strowed over dark, but truly like the banner says, I am ALIVE! Inside the tent I rest on a high stool, wrapt in red, ’til the Professor brings them round and spiels a story that be n’t mine. I keep my back to the crowd but they spy my hands, speckled like troutfish, crost and resting on my shoulders. I hear them rustle and breathe, then I ’low the silk slide down. “Nothing there,” one says out. My back is perfect brown, ’cept for a patch on my backbone just above the spangly girdle I wear for modesty, but it’s scarce that. The silk be whispering louder than them as the kimono falls and I turn and stand. They see me top to toe allover speckled, face to breast to ankles, my affliction being such that where SUMMER 2014 / THE MISSOURI RE VIE W 103 one side is marked so will be t’other. Here I am. And then the light dims down and the crowd shuffles along to see the Terrible Snake Man of the Amazon, and I gather up my red to cover my nakedness. 104 THE MISSOURI RE VIE W / SUMMMER 2014 I Could Take as Omens I hear the owl bark hoo-hoo hoo-hoo hoooooo like a dog chained, and why when owl has wings and eyes that it should mourn I don’t know, any more than night-passing geese go baying high up by the moon, hounds on blood, a pack digging its nails into the sky and turning up stars. Valerie Nieman Valerie Nieman, a 2013–2014 North Carolina poetry fellow, is the author of one poetry collection, Wake Wake Wake, as well as a short-story collection and three novels. Her poetry has appeared in Poetry, New Letters, Blackbird and many other journals as well as several anthologies. Her latest novel, Blood Clay, was the 2012 winner of the Eric Hoffer Award in General Fiction and a finalist for the John Gardner Fiction Book Prize. Nieman graduated from West Virginia University and received an MFA from Queens University of Charlotte. A former newspaper reporter and editor, she teaches creative writing at North Carolina A&T State University and serves as poetry editor of Prime Number magazine. SUMMER 2014 / THE MISSOURI RE VIE W 105