it's always Christmas in the downstairs bathroom.
By Amelia Clare Wright.
“My mother’s laugh is full and bloated, / even when it’s fake, something buoyant but controlled. / I feel like straw, / blown in the wind of old cravings, / without direction.“
Light Bulb 2 by Amanda Means.
I masturbate in my childhood bedroom to a video called
“harry styles shutting down toxic masculinity for three minutes straight.”
I do it under the covers because my curtains are and always have been sheer.
I wonder if my vibrator is a sign that I’m growing up even though I see
high-school-fifteen-cuts-on-her-sleeve-fragile-bodied Amelia in the medicine cabinet mirror
The need to do something with myself, to roll up my sleeves and live up to my promise(s).
I can’t admit anything to the people who love me.
Upstairs is all wishing I could play the piano and
waiting for my mom to finish her makeup so we can go to the store.
I don’t know how to make myself when
home is so stagnant and potential is so past.
It is always sewn-lipped-binge-drinking Amelia in my shower,
and my boyfriend’s dad still calls me Mia.
My mother’s laugh is full and bloated,
even when it’s fake, something buoyant but controlled.
I feel like straw,
blown in the wind of old cravings,
without direction.
It’s always Christmas in the downstairs bathroom:
(pine-scented soap and a dim, golden lightbulb)
A home like fly traps.
The Blood Pudding – September 5, 2024
Amelia Clare Wright is a recent graduate of Columbia’s MFA program in nonfiction creative writing. She has work appearing in Oyster River Pages, Variant, and The Hunger Journal, among others. She grew up in Baltimore City and now lives in Los Angeles. She is currently working on a memoir about pain and trying to decide if she wants to be a coral reef or a tree when she dies.
Artwork: Amanda Means has worked as a master black-and-white printmaker for such notables as photographer Robert Mapplethorpe, artist Roni Horn, and the Smithsonian Institution, but she creates her own work without even using a camera. The artist explores with the limits of the photographic medium, creating images without film by allowing developing chemicals to wash across scored paper, creating lyrical, abstract chemigrams in the tradition of Pierre Cordier. You can find more about her here.