In a train station two women sit on tall-backed benches in
dim light
shadowing all but a trapezoid on the floor behind their
seat.
Three suitcases pile between them,
square brown and round purple under rusty red.
One woman stares through her left eye, the right hidden by
cast shadow and a hat.
Only white-gloved hands show light. One holds a brown purse
sitting stiffly on a lap. Tatty fur drapes angularred
blue and white and short crossed booties, the left hidden by
a case.
The other woman holds a newspaper at arm’s length,
a bold headline—Guilty—on both front and back page.
With nearly-closed eyes, she reads, gray-blonde hair
matching a face broken only by burnt orange lips.
The newspaper looks yellow beside white gloves sitting
on charcoal under a dark purse. Thick ankles look like boots
where they meet the top of
ribboned heeled shoes.
A tarnished umbrella leans on a leg, setting off a beige bag
nearly hidden in the
dark echo of bench and dress.
The guide talks of modernist isolation in an increasingly
mechanized world.
But you disagree
“You can tell they’re together by the suitcases.”