Margo LaPierre

 

Hallway Cynosure

Whenever I try to put words to the delusion that permanently changed my perception of time, I see the space at the top of the stairs of the Dundas Street apartment in between the kitchen and JB’s bedroom door. Dusty corners: cat fur, clouds of fallen hair. Woodgrain? A railing. Weeks later I will break a friend-of-a-friend’s nose as he braces himself on that railing, threatens violence and refuses to leave. The crack snaps like a glow stick. His blood whips out like silly string. It was the spot in the apartment with the least light, like the dark converged there. The day slanted towards it from south, west, north, its sheen almost blue across the hardwood.

 

 

Chatoyant

I say delusion not because it wasn’t real but because I was too willing to lift myself from our mutual system of reality. My mind saw what now means. I contained my past, present and future self, existing simultaneously. I was complete. I had access to all of my timeline. Imagine a core sample drilled from the earth, gorgeous marbled cylinder. Except it was flat like the moon. And like the moon, not edgeless. The space between rungs of my crib where I kick away from the wall. The storm sewer at the end of my childhood street, the slightly larger opening after the seventh bar through which I squeeze to catch salamanders and crush leeches with rocks. The lovers one night or forever all the same to me. A piercing through of elations, a bed of nails. Successes yet to come. I saw the suicide on the far edge fated for me; I was myself, old, doing it. This flattening set me plainly on the level of my destiny. So I did what heartbreak programmed me to do three years before.

 

 

Little Woman

Death, I learned the next morning in St. Mike’s emerg, is ugly even in quarter doses. My pale scalp and hairline and the tracks of my beach-blonde extensions turned black. My cuticles and under my nails too. Mouth and teeth and lips and nose: black. The edges of me rimmed like a manuscript pulled from a fire. I did not know why or how, but it made sense to me that a girl who tries suicide should come back looking dusted by hell. It was the charcoal they used to pump my stomach. I remember the bathroom where I first saw myself and tried to scrub it off—your standard hospital bathroom. Round corners, calming lights. Even though I hadn’t yet learned to orient myself in the maze-like hospital, I remember which side of the wall I faced the mirror in. Left. That way. Wherever I go. There—

 

 

 

 

Margo LaPierre is a Canadian freelance editor and author of Washing Off the Raccoon Eyes (Guernica Editions, 2017). She is newsletter editor of Arc Poetry Magazine and member of poetry collective VII. She is the winner of the 2021 Room Poetry Award and the 2020 subTerrain Lush Triumphant Award for Fiction, and was shortlisted for the 2021 Fiddlehead Creative Nonfiction Contest. She is completing her MFA in Creative Writing at UBC. Find her on Twitter @margolapierre.