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  • The Red Shoes*
  • A. Van Jordan (bio)

Through the silence, the shoes are a night without someone to share a bed with, though

a storm builds outside the bedroom window. Naked is her body without her red shoes; red

is the sky in the dream of the shoes at her feet. A woman is a woman without red shoes

laced on her arched feet, but the shoes dance whether she laces them up or not.

The woman who is not a dancer will dance once she laces the shoes on her arched feet,

once her feet are arched in the shoes, red will be the color of her toe nails and her soles.

And what of her soul? That soul will be laced up, too, and the dance will be a dance of a night in bed

with a lover through a storm. The need to dance is the same as the need to live, without questions,

without knowing the next step. The need takes the lead in the dance to the next stage, to the next lover

until the dance is all one knows, all one needs. Yes, the shoes lead to a door inside this woman;

the door opens a room she didn’t know was there. And once inside, she dances the dance of no return, [End Page 1]

a threat she refuses to heed, a space she must explore, crossing a threshold, closing the door behind her, on the woman

she believed she was before the shoes brought a tune to which she hangs on for life, barely keeping up. [End Page 2]

A. Van Jordan

A. Van Jordan is the author of Rise, published by Tia Chucha Press (2001), which won the PEN/Oakland Josephine Miles Award. His second book, M-A-C-N-O-L-I-A, published by W.W. Norton & Co. (2004), was awarded an Anisfield-Wolf Award and listed as one the Best Books of 2005 by The London Times. Jordan was also awarded a Whiting Writers’ Award in 2004 and a Pushcart Prize in 2006, 30th Edition. Quantum Lyrics was published in July 2007 by W.W. Norton & Co. He is a recipient of a John Simon Guggenheim Fellowship (2007), and a United States Artist Williams Fellowship (2008). He is a Professor in the Department of English at the University of Michigan.

Footnotes

* For Michael Powell, Emeric Pressberger, 1948

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