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Viva Las Vegas

January 1, 2025 By Michelle Bitting

Viva Las Vegas

Mojave Desert, September 1937

No blood test, no waiting for a license the Clark County bureau happily tosses at you like rice, like holy water or bee pollen—honeyed words inked in haste on an altar between two lovers, two tumbling weeds, two birds sworn to nest until death parts them—the end that eventually rolls its dark curtain down in a leaden clap, an almighty thunder shocking the clay of a red Nevada horizon. I thought of Greta’s starlet toes sinking into cement outside Grauman’s, and in my womb’s gully, new life plotting its infant steps with every breath I take. And, really, what choice did Dick and I have? Once he’d slipped himself inside me last New Year’s Eve when Mother was out, once he slid that ring on my hand at Inspiration Point, waves crashing against rocks and his husky voice warm in my ear: I love you, Doll. There was no turning back. We hit the road, stopping once the whole 300 miles for me to throw up in a service station restroom on Highway 91. Richard holding my head, wiping my face with his handkerchief wrapped around ice from the dispenser out back of the Texaco mart. Once I’d emptied my gut and caught my breath, I felt ready to make it— especially after I chewed a few saltines washed down with ginger ale. My stomach settled, Richard filled the tank, and we were off in a cloud of desert dust. I couldn’t wait to get there. The less I had to think about Mother’s face when she read the note I’d left propped against her rosebud teakettle in the kitchen. About eloping. About the baby growing inside. And taking the car. About the miles between us and goodbye to my former life as a daughter descended from Hollywood elite. A nobody now—a civilian, mother, wife—I swirled a cap of wintergreen rinse around my mouth and spit that bittersweetness into the rest stop sink, smoothed my sweaty curls back from my temples, my stomach settling, my past and its ill-fitting dreams sucked far and away under faucet, drain, sewer, sea. Yes, everything ended up there, didn’t it? And someday soon, Richard would take me sailing on that sea, on our very own boat, our clean new dream atop the waves of time with no mind to the giant bottom-feeding fish of my fading, forgetting past—the one that got away.

About Michelle Bitting

Michelle Bitting was short-listed for the 2024 Cleaver Magazine “Duality” Creative Non-Fiction Award and was commissioned by the Los Angeles Cultural Affairs Department for her original poem “Twyla” as a finalist in the Paris/Olympiad cultural exchange in September 2024. Recently, poems published by the Poetry Society of New York Jacar Press’s One, and Cleaver Magazine were nominated Best of the Net 2025. She was short-listed for the 2023 CRAFT Character Sketch Challenge, the 2020 Montreal International Poetry Prize, and named a finalist for the 2021 Coniston Prize and 2020 Reed Magazine Edwin Markham Prize. She is the author of six poetry collections, including Broken Kingdom, winner of the 2018 Catamaran Poetry Prize, and Nightmares & Miracles (Two Sylvias Press, 2022), winner of the Wilder Prize and named one of Kirkus Reviews 2022 Best of Indie. Her chapbook Dummy Ventriloquist was published in 2024 by C & R Press. Recent poetry appears on The Slowdown, Thrush, Cleaver, The Poetry Society of New York’s Milk Press, Catamaran, SWWIM, and is featured as Poem of the Week in The Missouri Review. Bitting is writing a novel that centers around Los Angeles and her great grandmother, stage and screen actor Beryl Mercer, and is Senior Lecturer in Creative Writing and Literature at Loyola Marymount University.

Artist Credit:

Andrea Damic (Sydney, Australia) is an artist and writer who has often experienced juxtaposing impact on her life. You can find her fiddling with her website https://damicandrea.wordpress.com/.

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From The Blog

2024 Best of the Net Nominations

September 30, 2024 By Brett Pribble

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