The
woman of the scales
half
hidden under the foliage
of
an imperial figtree
she
stands in a check apron
broadly-build
and on plastic slippers
their
red colour standing out vividly
against
her tanned skin
she
is about forty
her
children except the youngest
have
all left home
and
her husband, that's a different story
she
is not standing there doing nothing
no,
between the overhanging leaves
protrudes
the large opening of a sousaphone
she
holds its tubular body
tight
in her char-arms
while
she practises scales
and
the sparkling like full-blooded tones
burst
from the bell of the metal horn
and
her cheeks go boom flap
boom
flap up and down
like
the wings of a bird
ponderously
flying up out of the water
later
that day after the cleaning
of
the thirtieth hotel room
she
will put on another dress at home
and
make way with her sound
ahead
of the bridal couple, first to the church
and
then to the feast while the rest
of
the marching brass band will let
themselves
be pushed forward by her bass tones
a
last detail: she wears no rings
she
believes in the existence of the soul
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K. Michel [1958] photo: Roeland Fossen |
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