Fiction Friday: Micropoetry Based on the Book

mormoni

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.

Leann Sweeney,
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.

Fiction Friday: Micropoetry Based on the Book

mormoni

Loving Brad in my way had been so easy.
I would never have that kind of uncomplicated friendship
with another man again.
I had already decided to move on to a life without him—
just as I had to a life without Elder Roberts.
The only exception was that I had loved Brad
& had lost him,
I believe,
because he had chosen me,
even as Elder Roberts had chosen against me.

The night of the Johnny Lingo luau
was a sea of modest swimsuits,
an expanse of Mardi Gras bead grass skirts,
& an ocean of plastic palm trees—
a wholesome activity
to keep us out of the lake of fire & brimstone.
The tableau was like a movie set
where everyone was ad-libbing.
We weren’t on the beach
but in the cultural hall,
where we would not possibly see
any scantily clad females,
for we were responsible for helping men
control their desires
by covering the flesh
that draped our lovely bones.

A 1969 BYU short film that reminded me
of The Blue Lagoon with Brooke Shields—
minus the cinematography
or Brooke Shields—
at its soul,
was not about a girl who fought against the system
of being bought
but who bought into it,
given away by her father as property
to be loved, honored, & cherished
as someone else’s.
Though I had always seen Mother as a kept woman,
thinking my ugly thoughts about what that meant,
I was a hypocrite,
for I felt that David
belonged to me.

Like many ugly duckling stories,
3-cow Mahana
magically became beautiful—
with just a smile.
She hadn’t had to lose weight
or get plastic surgery;
there were no birthmarks,
burns,
or scars
to blemish the already perfect specimen,
& the knowledge that she was not worth more
but had been paid more for
than any other woman on the island
had turned her into a dark swan.
There was a certain irony that,
unlike the adage about buying the cow,
Johnny Lingo had paid for his
with 10 of them.

The pink lei I had been given at the door
which hung over my chest made me appear
bigger than a B-cup—
a symbol (or two) of fertility,
which was highly prized in the Church,
& I wondered if,
by having 10 children,
& smiling all through it,
I, too,
could be a 10-cow wife.

Logline for Because of Mindy Wiley 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.