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I love American newspapers, the way each section

is folded independently and believes it owns

the world. There’s this brief item in the inter-

national pages: the Chinese government has posted

signs in Tiananmen Square; forbidding laughter.

I’m sure the plastic surgeon would approve, he’d say

the Chinese will look young much longer, their faces

unnaturally smooth, but what I see (although

no photograph accompanies the story) is laughter

busting inside them. I go back to the sports section

and a closeup of a rookie in mind-swing, his face

keeping all the wrong emotions in check.

There were times when the girls knew where the man was in the orchard, and times they did not. These times they trod slowly and carefully, not that they thought he would harm them—not really—but it had become a kind of game. You might turn the corner into an orchard row and find him there, walking toward you or away, or maybe you saw his legs, his trunk, obscured in leaves.

In Lima, dying is the local sport. Those who die in phantasmagoric fashion, violently, spectacularly, are celebrated in the fifty-cent papers beneath appropriately gory headlines: DRIVER GETS MELON BURST or NARCO SHOOTOUT, BYSTANDERS EAT LEAD. I don’t work at that kind of newspaper, but if I did, I would write those headlines too. Like my father, I never refuse work. I’ve covered drug busts, double homicides, fires at discos and markets, traffic accidents, bombs in shopping centers. I’ve profiled corrupt politicians, drunken has-been soccer players, artists who hate the world. But I’ve never covered the unexpected death of a middle-aged worker in a public hospital. Mourned by his wife. His child. His other wife. Her children.

My father’s dying was not news.

I

What a lucky beast I am,

when he cleans up nice

and nicks his perfect face.

I get to lick that face,

when he lets me.

In the cut’s opening

I get a taste of him

from the inside

out, which is all I have

ever wanted,

to be cell-close

to him. Praise the razor’s

overzealous arm;

the ease

with which it finds tenderness

in this man.

LATISHA: The cops ain’t looking for no girl so we don’t get caught. (Pause.) Until now. Now, we kinda worried. Kinda in trouble.

YVONNE: (To Latisha.) Why?

LATISHA: Yo! You can’t tell nobody. And I mean nobody.

YVONNE: (To Latisha.) No, no, I won’t.

LATISHA: I’m telling you I’ll jack you up for real.

YVONNE: (To Latisha.) I won’t tell.

LATISHA: (Pause.) We capped that teacher.