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,
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.