By Kimberly Madura


SHE lived at 1414 Rust Street in 1994,

in a gray, industrial, American Midwest town.

Her Czech father was a worker at the steel mill.

He was a hard worker.

Their house had a green door.


SHE looked like that woman in that

Czechoslovakian painter Alphonse Mucha’s painting

called “Spring” – that fluid beauty.  Mucha painted it in 1896

in pastels and gem tones: blues, greens, pinks, and

yellows like the color of her eyes, her hair, her clothes.

The woman he painted, SHE represented an

antidote to an overly industrialized world,

they said.


In Czechoslovakia, in 1989, during the Velvet Revolution – in a country

of blue mountains and green meadows and white castles, the people

marching in the streets jingled their keys – gray, steel and metal keys.

They were sending a message to the Communists to go home and

to symbolize the new possibilities that were being unlocked for them.

I wonder if one of those keys unlocked the green door

to her father’s house?  (The man who worked at that steel mill

and never heard of Alphonse Mucha or the Velvet Revolution.)


Kimberly Madura has been a social worker for the past 20 years.  She has been

published in several poetry anthologies.  Her first chapbook, Neon Glow, was just

released.  She currently divides her time between Vermont and Northwest Indiana,

where she was born and raised.


Author: authorbios

The literary journal dedicated only to author bios.

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