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To the Men I Met at a Dead Show in 1981

Leah Mueller

We tried to walk barefoot
into a blizzard, but the security guard
stopped us: an aged elf,
dressed in a lime-green, three-piece
polyester suit that undulated
beneath the fluorescent lights
of the Dane County Colosseum.

The acid had already peaked,
but all of us were still tripping:
thousands of freaks in sweaty tie-dyed
shirts, swirling and hugging, waving
our arms like trees in a windstorm.

You and I met at the concert,
jogged in place to “Bertha”,
and decided to stroll outdoors
for a breath of ice-cold air.

“I can’t let you out,” the guard said.
“It’s against the rules.”

The concept of rules at a Dead show
struck us as funny, so we laughed
for what felt like a long time.

You asked “Why?”
and the guard looked dejected,
like he really wanted to let us
play barefoot in snowdrifts,
but would face harsh punishment if he did.

“I just can’t,” he replied.
“Besides, you don’t have any shoes on,
and, well, it’s snowing.”

I gazed down at your feet,
pale and knobby with bulging red veins,
and laughed harder, while the guard
waited patiently for me to stop.

Finally, I met his eyes.
A tiny bee sticker made from cloth
was affixed to the lapel of his green suit.
The bee was smiling.

“I like that,” I said. “It’s cute.”
“I’m glad,” he replied.
“Do you want one?”

Reaching into a pocket, he extracted
an entire roll of cloth bugs—
butterflies, caterpillars, dragonflies,
every insect imaginable, marching in circles
around the circumference,

and I said, “Yes, please,”
as I selected a ladybug for my shirt.

He disarmed us without firing
a single shot, so we had no choice
but to wander back into the auditorium,
where “Bertha” was still playing.

We hadn’t missed a note.

Wesley Willis

Leah Mueller

drew pictures of buildings and trains,

lumbered towards pedestrians,

clutching portraits. His speech was

scrambled as rush hour, schizoid.

His hard ink lines, dark and forceful.

Sometimes a commuter stopped to purchase

one of the pieces, held out a few dollars,

chose an image from the stack.

 

When he died, Chicago named

a tower after him. No longer Sears,

some London upstarts tried to

claim ownership of the Willis name,

 

but everyone knew the edifice

belonged to Wesley—misshapen eyes

pointed upward, searching for that place

where structures end, and sky begins.

Leah Mueller and her work is in Rattle, NonBinary Review, Brilliant Flash Fiction, Citron Review, The Spectacle, Atticus Review, Your Impossible Voice, etc.  You can read more of her work at http://www.leahmueller.org
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