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“I want to go where it’s cold,” Lourdes told her husband. They began to drive. “Colder,” she said as they passed the low salt marshes of Georgia, as if the word were a whip driving them north. “Colder,” she said through the withered fields of a Carolina winter. “Colder,” she said again in Washington, D.C., despite the cherry-blossom promises, despite the white stone monuments hoarding winter light. “This is cold enough,” she finally said when they reached New York.

At times you could not fully expand your chest to take in breath, such was the push of the bodies on your body. And the kids in the trees throwing spiny sweet-gum monkey balls at your head. There were moments you felt you might be crushed. It had happened, in 1947. A Slovak woman and her babe in arms were crushed right here. Imagine killing somebody with your chest, a pair of hot corpses borne along by the pressing of your body and other people’s bodies—and still you came, out of this instinct to cram into the streets, because the body, despite reason, insisted on satisfying an urge that nothing in your brittle, private, homebound individual interior could satisfy.

I draw the curtains.     The room darkens, but

the mirror still reflects          a crescent moon.

I pull        the crescent out,          a rigid curve

that softens                    into a length of cloth.

I wrap the cloth around                     my eyes,

and I’m peering    through a crack in the wall

revealing                        a landscape of snow.

At my desk, with my pen, pencil, markers, ruler, and thick white paper, I was in command. And when I drew the superhero who was my alter-ego, I gave him—i.e., myself—what in all my shyness I didn’t have: a girlfriend. She was as pretty as my limited skills could make her. Her name was Laura.