Auntie lies in the rest home with a feeding tube and a bedpan， she weighs nothing， she fidgets and shakes， and all I can see are her knotted hands and the carbon facets¹ of her eyes， she was famous for her pies and her kindness to neighbors， but if it is true that every hat exhibits a drama the psyche² wishes it could perform， what was my aunt saying all the years of my childhood when she squeezed into cars with those too tall hats， those pineapples and colored cockades， my aunt who told me I should travel slowly or I would see too much before I died，wore spires³ and steeples， tulled toques. The velvet⁴ inkpots of Schiaparelli， the mousseline de soie of Lilly Daché have disappeared into the world， leaving behind one flesh-colored box， Worth stenciled⁵ on the top， a coral velvet cloche inside with matching veil and drawstring bag， and what am I to make of these Dolores del Rio size 4 black satin wedgies with constellations⁶ of spangles on the bridge. Before she climbed into the white boat of the nursing home and sailed away——talking every day to family in heaven， calling them through the sprinkling system——my aunt said she was pushing her cart through the grocery when she saw young girls at the end of an aisle⁷ pointing at her，her dowager's hump， her familial tremors⁸. Auntie， who claimed that ninety pounds was her fighting weight， carried her head high， hooded，turbaned， jeweled， her neck straight under pounds of roots and vegetables that shimmied when she walked. Surely this is not the place of women in our world， that when we are old and curled like crustaceans，young girls will laugh at us， point their fingers， run as fast as they can in the opposite direction.