Poetry: Posed-for Nudes

{Photo by Matthew Burton for Scopio}

When I knew I was leaving you, I burned

the evidence: the manila envelope of nudes

you’d taken of me, developed in a makeshift

dark room in our basement, a space

haunted with boxed memories and mold.

 

What rooms had I posed in?

I cannot recall. In that house, where

I inch-by-inched up shag carpet

in green and gold. Painted the walls

with half-can remnants found in our

 

falling-down garage—exhuming

beauty from stale tableaus. I now wish

I could see those photos. Look into the eyes

of that girl, with her minute breasts

and velvet, equine hips—to catch sight

 

of the seduction; what it would teach

of duplicity. Yet that is why they could not

exist—their openness, like fecund seeds,

captured in grainy black-and-white, fodder

for extortion. When I told you I had destroyed

 

the photos, you cried. My taking away

those images, a more profound grief

than my taking away our daughter. You

mourned the loss of that nude girl with lurid

eyes replaced by the marble-cold gaze of a woman,

 

learning to pose only for herself.



{Originally published in Yellow Arrow Journal, Summer 2025, ‘Unfurl’}

Tricia Gates Brown

Tricia Gates Brown has worked as a professional editor and co-writer since the mid-2000s. Though the bulk of her current work is for the National Park Service and Native tribes, her expertise is broad. She has experience in academic and creative writing and strives to honor an author’s tone while improving a written piece. She holds a PhD from University of St. Andrews and edits everything from academic works to poetry, while her own essays, creative nonfiction, and poetry have appeared widely in journals. A 2022 Independent Publishers Award (IPPY) Bronze Medal was awarded to her novel Wren.

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