Sarah Ann Winn
Fig. 27: Yellowed envelope containing paper dolls.
Fig. 27a: The first doll is wrinkled to softness. Her features have long worn away. She wears her hair in a bun, and her black dress is unchangeable.
Fig. 27b: Second doll in curlers is paper clipped with a rusty clip to a folded cutout of a crayon drawn refrigerator. Inside is drawn a block of government cheese, four bottles of RC Cola, and a mostly empty jar of pickles. The doll’s hands are punctured with needles. Her eyes look cloudy. She has a home made prop so that she can stand.
Fig 27c-i: Third doll represents all her sisters. Her/their red hair ironed on an ironing board, her/their freckles. Her/their quietly faulty heart. When she changes clothes, she may appear half as young or slightly older. There could be seven of her.
Fig. 1611: Gene Straton Porter’s Girl of the Limberlost. Hardback, first edition. Dog-eared and age splotched. The imaginings of lakeside girls are pressed between its pages, still bright. Limber, a flexibility in losing, the main character also is able to extend her reach.
Fig. 1612: Closeup picture of great-grandmother’s signature on the title page. Evidence of a separate preface, unfinished.
Fig. 19: Sheet music for an untitled lullaby, copyright 19—. Paper foxed and water marked, alternate lines end with the sound of two slender trees bending in the wind, and the sound of leaves rustling. The song ends in a baby’s cry for her mother, unanswered, unanswerable. Note penciled at first staff, Piano 4 hands.