When I tell my mother I want to be white
  she gives me papaya soap & tells me to wash

my face with it twice daily. When I ask for my hair
  bleached like the pretty white girls all the boys google after,

she takes me to Party City and their back
  shelves of costume wigs. The manager gives her

an odd look because the day was nearer
  to Christmas than to Halloween. I told her then

that I changed my mind and wanted
  to go home, aware of what a sight we must

have imprinted into the workers of the store:
  a weary brown woman shaking a Princess Peach outfit

woven with plastic blond hair at her
  brown daughter. I didn't bother asking

my mother for a new tongue either, one washed
  and dry-cleaned of the gritty, bitter taste of papaya

soap. Some mornings, I try to forget the mountains
  I'd wake up to before moving to America, but their darkness

still haunts me. It has been almost
  seventy-five years since the Americans left

the vestiges of post-war trauma in the Philippines, and yet I keep
  trying to forget the models lining the supermarket aisles,

stuck to the most inconvenient places like the corner
  of a pasta box or a deodorant's lithe curve, how large their eyes,

how thick and clean their hair
  with blonde highlights, unlike sooty-looking

black hair under the sun.
  A white girl once told me how beautiful

my spray tan was, and I didn't bother
  correcting her or myself for being disastrously happy

at our conspiratory ignorance.
  When I was a child, my mother always warned me

not to scrape my knees against the tile floor
  or else they'd get so dark no man could love me.

I guess that was the first time I understood that my skin color
  was a matter of worth, but I still don't know what that meant

and to what end. Some days, the old habits possess me
  and force me into the bathroom, papaya soap in hand, in my mouth, a prayer

for it to work a miracle more
  in my saliva than it ever did on my skin.
The world spins a little
  different when it's quiet—sunlight heaves

into its younger self,
  disrobing lifetimes the way a bird jumps to escape

its own kin. At this point,
  birdsong is nothing but a word I imagine hearing

through the news reports
  telling viewers to seek peace at all costs.

Everything is accentuated
  by sorghumed blood rushing lazily

into the ears like a whisper,
  and for once, my fists loosen their clasped mouths

shaped like hunger. Even if
  a war starts over my head, I will hear nothing but the faint

wisps of smoke. Well-meaning
  people always note how empty I must feel when deaf

and clouded over, ears just
  glasses hung by mist. Isn't silence so demanding, waiting for you

to reveal yourself as
  a casualty of survival to the world, they explain. Outside,

I imagine the birds still
  singing for their lost children, the guns still readying

for another sharp seizure
  of laughter. Listen, there are some sounds better left

adrift for a moment, for the sun
  to claim as it grazes the horizon, searching,

and leaves for home.

Yvanna Vien Tica is a hearing-impaired Filipino writer who grew up in Manila and in a suburb near Chicago. She has been recognized by The Scholastic Art and Writing Competition, The Kenyon Review, The Young Playwrights Festival, Princeton University's Creative Writing Department, and The Poetry Society UK. Her work has appeared or is forthcoming in EX/POST Magazine, DIALOGIST, Hobart, and Shenandoah, among others. In her spare time, she can be found enjoying nature and thanking God for another day. She tweets @yvannavien.