Leann was not a kid person,
despite being in a Church that prized children
to the exclusion of everything else,
though Mother believed the Church would change her;
perhaps if polyandry were allowed,
Leann—who was like Scarlett O’Hara at the barbecue at Twelve Oaks,
writing to a dozen elders at a time—
would meet the one elder who had not been conditioned
to want what she did not.
We were so unlike the Jonas family,
which consisted of a half dozen teenaged girls;
“Greater by the Dozen” was their family slogan,
for they were of the Quiverfull movement.
Leann believed all they needed was a set of sextuplets
to make them “Cheaper by the Dozen,”
so they would get a spot on 60 Minutes.
To Leann, big families were overrated,
for they lacked the intimacy of small ones.
We were archetypes in a stage play,
even as I felt those around us were stereotypes in a TV series.
Leann was known as the pretty strawberry one,
Kath, the popular chocolate one,
& I, the quiet vanilla one—
a Neapolitan concoction that perfectly completed one another.
As for Donna Marley,
who was known as Twenty-Seven & Unmarried,
she was the hot fudge, whipped cream, & cherry,
all in one.
Kath’s African lineage made her one of the most popular girls in the ward.
To Mick, she was the “white chocolate sista” he liked to tease,
& though Kath replied that she may have been a freak of nature,
he was just a freak.
who had come as Scarlett O’Hara
in the white dress at the beginning of Gone with the Wind,
had the kind of charm that was disarming,
whereas I felt like Melanie Hamilton,
with Elder Roberts as my gentle, noble Ashley,
who was as loyal to the Church
as Ashley Wilkes had been to the Lost Cause of the Confederacy.
An Irish-Catholic girl coming of age in the Deep South during the New Millennium finds her family splintered when two Mormon missionaries come to her door, their presence and promise unearthing long-buried family secrets, which lead to her excommunication and exile.