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"The Same Wall"
My living room's scarred red rose pattern made me think of nineteenth century dances, when there was a room for dancing and nothing else, and a word for the woman who never got the invitation. Not that dancing was beyond her, the wallflower, but she hung back against the damask of trellised roses to watch the whirling of the partnered ones. Was she poor? Not pretty enough? She was not to ask but only answer, prop her body against the wallpaper until claimed, or not. The stags, fattening on punch and cigars, leaned against their opposing wall and laughed so loudly her spine and shoulder blades pushed harder against the florid plaster, Oh, let me in. In those men too the fear of the dance with nothing to hold them up but a woman's hands. The wallflower's hands held each other as she hung, itinerant portrait in bad light, for the inspection of men who neither cared nor knew how to look at every mortal stroke of her. She was let in to the actual flowering earth alongside the men with their smell of hair oil and smoke, their gold watch-chains, their laughter like bugles. The rose pattern that helped paralyze her is gone. I stripped my walls, painted them white and once a year hosted the dances my generation grew up with: a lot of floor pounding, not much touching, dances that could be done in a circle or a line or alone, no one having to ask or answer, dances once meant to dissolve our differences into one huge world-changing music, and still —as I flung out one arm, or whipped my head around inside a guitar crescendo—I'd see someone leaning against the same wall, as though waiting for its blank expanse to open and seal her off from our random, pounding motions. Whether the wall is flowered or not, I see a woman stand against it not dancing.
—Robert Hill Long
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