Hannah Rego is a writer from Louisville, Kentucky. They have attended residencies and workshops through Spalding University's Low-Res MFA, Sundress Academy for the Arts, Winter Tangerine, and the June Jordan Teaching Corp at Columbia University. They are associate poetry editor at Rabbit Catastrophe Review and a founding editor of ctrl+v, a journal of collage. Their work appears or is forthcoming in Bettering American Poetry Vol. 3, Ninth Letter, The Arkansas International, BOOTH, and elsewhere. They live in Brooklyn.
I’m On My Way to My Doppelganger’s Birthday Party,
and I’m early.
I can’t remember
her name. Theresa. Same name
as a close friend in Kentucky,
a Taurus I boiled oxtails with
who is finally letting herself fall
mutually in love with my brother.
Maybe that’s why I keep forgetting —
the name already full of her
broken femur & self-lauding of Molly Queen,
of her unbelievable ability to listen.
I worry she can’t feel this love
when we talk about anything else.
I worry that when I keep the closest
moments of all people in my head,
that they are reading my mind
& doubting my ability to understand them.
Because I’m thinking too often about our backs
curled the same way & his hands, same
size as mine, kneading the back of my neck,
or about the lesbian couple, one going
down on me while the other watches,
her face close to mine, & how her
dad is only lucid some days now, &
I should always think of that instead.
This is how I live out love through fear
of failure. And when I spread it out before me,
it’s only the two of swords
I see. No cups, no lovers, just her arms
crossed in front of her, swords raised — poised
to cut from two sides.
If I am caring, am I caring the right way?
Is there some amount of goodness
I chase to fill the well
only I fit inside?
I don’t mean to mention the subway,
but sometimes I have to meditate
just so I’ll stop ogling every wall st asshole’s
shoes. Oxfords. Brown boats, little strings.
My mom got me two pairs
of men’s shoes before I moved & I thought she’d finally
understood something. She did. On the phone
she’ll say, I get sick now whenever I see that,
about gender
appearing on any documents
This week I entered the kitchen
to work with the men. I learned
the easiest way to cut a shallot &
the hardest thing to learn about cooking
is that it is a foreign language
chef said two times.
Oui, this speaking with my hands
gets harder every time.
I’m on my way to my doppelganger’s birthday party,
& in the Lyft we pass a neon pizza
sign & pizza smell fills the car, & I think
of the old walk from university to home
past a tomato sauce factory, & how it always smelled
like hot tomatoes. I don’t know yet what I will do,
but I want to do something worth telling you about.
So I am sure I will. I don’t know yet that no one
at the party smokes, that a closeted girl from Baltimore
will tell a story about a silicon baking sheet melting,
about to catch, or that I will, while lighting a cigarette,
catch my hair on fire.
Theresa, my doppelganger, I met at a bar.
I walked up to her & said,
Sorry if this is weird,
but we look exactly the same.
At the restaurant, there is a server
who in the summer I dressed
almost exactly like. I mean,
we were already dressing like each other —
semicasual men’s pants, patterned button-ups.
But I button top button always,
but sometimes I wear tights under my shorts,
but sometimes I am so afraid of misperception
I’d rather be called baby in some bartender’s bed,
& I hate to bring up New York again,
but I didn’t leave my life
to start it right back over.
When I walk in public, I look
into the soles of the oxfords,
saying, sorry if this
is weird, but we look exactly the same.
The two of swords is angling
her swords over a bird not yet
in frame or an approaching enemy
or her own neck. Or at nothing
at all, & even if she knows so,
I might slice.
Most of this poem I wrote, genuinely, while I was on my way to my doppelganger’s birthday party. In an interview with Anne Boyer, Amy King referred to her work as “a memoir of the mind in real time,” which has resurfaced inside me like a pop song when I am writing almost anything. Sometimes it’s fun to write a poem by trying to trap a moment in my head under a jar and trying to watch it crawl up the sides and trying, too, to pay attention to the smudges that appear in the glass. Fun Fact: I read a draft of the poem to one of the party guests when I arrived (we actually met at a poetry reading I gave, but yes, sure, this is probably still self-indulgent, but no, thank you, I will never stop reading poetry, whether the work of myself or someone else, dead or alive, at parties), and she said, “don’t you think it should only be about gender?” Anyway, as you can see, it’s also about hot tomatoes. Without hot tomatoes can we even articulate our social condition.