Where I’m From — Summary

I am from pink shag carpet, from Coppertone sun tan lotion, and my bologna has a first name.

I am the view from the hill overlooking Loon Lake, lapping up peace from the rhythm of the waves. I am from deep purple lilacs at the cabin, ladybugs resting on yellow pillows at the center of daisies.

I am from being late to everything, and people who always listened to my jokes, and being the only morning person in a congress of night owls, from George and Esther, and we prayed for a baby and God gave us you.

I am from let’s stop for lunch, and let’s stop again an hour later. From do as I say not as I do, and beware of strangers. I am from flannel graph Jesus and knowing all of the best hiding places for Sardines.

I’m from Manito Boulevard and building houses in autumn leaves, pot roast and orange rolls. From falling in love on a bus line in Burbank, the ten Great Dane puppies born in the refrigerator box in the kitchen, and that time the house was quiet and dim after dad went blind.

I am from the top drawer in the dining room chest, a dig worthy of an archaeologist, where I sift through report cards, photos labeled “me and Edna”, immunization records, blurry instamatic shots, and, other than a mirror, my only chance of seeing my face reflected back to me.

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Marciglass builds a portrait of herself out of memories, using the "I am from" pattern to list the things that made her. Some are playful and specific: pink shag carpet, suntan lotion, a bologna sandwich with a first name. Others are tender, like the lilacs at the cabin, the view over Loon Lake, and the parents' line, "we prayed for a baby and God gave us you." Family sayings, church memories, and childhood games sit alongside harder moments, such as the house falling quiet after her father went blind.

The mood is warm and nostalgic, with a gentle sadness underneath. The ending shifts things. The speaker sorts through a drawer of old papers and photos, and says it is her only chance, besides a mirror, of seeing her own face reflected back. The poem suggests that her identity is something she pieces together from what has been kept, and it leaves a quiet ache about memory and who we are.

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