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The hallway of the house in Salogó was no mess of my mom’s paints but a tangle of sequins, gowns with butterfly sleeves, also called terno or mestiza, everything always had multiple names, and pumps with bullet heels. With the intensity of an artist, my mom became Tio Nemorino’s election manager, as if her transference of skill, from painting to politics, possessed value in equal measure. My favorite image of this time is a glossy picture of my mother about to lead the dance in a gown of black tulle, I liked the femme-fatale profile, her look of a vampira in the ballroom—I liked her shocking look amid the pastel dancers. In the picture, she’s in some barrio hall, in her well-sprayed bouffant, her terno in that uncommon black, and high heels, her foot in the air about to take her first step, the entrada, and she is looking at no one in particular, at an absent demonio, who knows if in her mind it was at him, the bastard, my father, though the picture tells me she had no worry but the dance, she glanced in a side-view pose like an actress, Ingrid Bergman, Ingrid Bergman, and then we’d ride home in the mud through Salogó’s farmlands until the next election event. How many times have I been at a party with my mother, overwhelmed by our family’s public face—this need for voters to love you. I used to wake up at night after those election dances and crawl over to her bed, put my ear to her chest, and hear her tired breathing, to reassure myself she was still who she was, and not the vampira of TEIPCO.
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