Lisa María Madera
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​A Flor de Piel


5/12/2020 0 Comments

I was born on the wings of death.

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In the weeks before I was born, my father encounters a statistic that shows that women in their 5th pregnancy have a higher chance of hemorrhaging. My father is concerned. While my mother is a universal donor, she can only receive O- blood in return. Since the only blood bank in the province of Pastaza, is a walking blood bank (my mother), my father fears that were my mother to hemorrhage, she would die. So he sends my mother on the 9-hour mountain road up to Quito and asks a medical missionary colleague for a favor, he asks that he track down O- blood for my mother and have it on hand in case of emergency. But for some reason (the excuses vary), the doctor doesn’t come through. 

In Quito, while my mother waits, she stays in a room above the hospital. She reads the Bible. She prays. She imagines holding me in her arms. My mother has a powerful imagination. When she goes into labor, she calls a missionary nurse, a friend of hers living across the street who comes to help her. Together, they walk through the hospital halls throughout the day and in the evening they head to the delivery room. At 9:30 p.m. on May 12, 1965, my mother gives birth in the company of medical staff but otherwise, alone. I am born loud and healthy, a whopping 9 + lbs.

The pediatrician checks me and goes home.

The obstetrician checks on my mother and goes home.

​But then, several hours after delivery, just as my father feared, my mother begins to bleed. The hospital has no O- blood. The resident dials the obstetrician who has gone home to bed and doesn’t answer his telephone. Now, the resident holds my mother’s life in his hands. 


Desperate to keep my mother alive, the resident massages her belly and talks to her. “Tell me a story, Señora. Tell me the story of your life.”

And this is the story that comes to my mother as she hovers beneath the rippling curtains of death: 

Earlier that year my father takes my mother on a romantic get-away to a simple elegant hotel in the forest run by an elegant man, Don Francisco. The lodge has a small menagerie--jungle animals chained or trapped in cages. A watusa, a howler monkey, a spider monkey, a marmoset, a capuchin chained at the leg, a honey bear, a tortoise, a giant anteater,  a sloth, a blue macaw eating bananas, a rainbow boa, and, an ocelot pacing his cage. 

My mother admires the ocelot.

Later that night, after dinner, my father remains in the dining room talking to the other guests and my mother returns to her cabin. My mother bathes by candlelight. She slips into her negligee. Traces the curve of her lips with dark lipstick, brushes her glistening mahogany hair, and then she climbs into bed and waits for my father. 

In the dark corner of the room, something stirs. The flame flickers in shimmering eyes as the ocelot emerges from the shadows. He circles the bed, twitching his tail in slow anticipation. My mother watches him and then, slowly, slides up on the bed and stands with her back to the wall. She calls for my father. My father doesn’t hear her. 

The ocelot takes his time. Back and forth he circles the bed, admiring my beautiful mother, her green eyes, her glowing skin... 

My mother calls louder. Before long someone knocks on her cabin door. “Señora? Señora? Can I help you?” The elegant Don Francisco has heard her.

“Help me,” she calls, “the ocelot…”  

Don Francisco knocks again. “Señora, tranquila. Come, unlock the door for me and I will capture the ocelot. I will help you, Señora! I will save you! But first, you must unlock the door.”

But my mother, caught between modesty or an intuitive sense of increasing danger, refuses. “Help me! I want my husband.”

Don Fransisco keeps knocking, insisting. The ocelot paces. Watching. Waiting. 

She calls again and again, “Please, get my husband.” Finally, Don Fransisco leaves my mother to the ocelot and goes to search out my father who comes, as he should, and rescues her. 

In my mythic life, this is the story of my conception: the ocelot pacing at the foot of the bed, my mother in the candlelight, both overcome with desire... 

This is the story my mother tells as she is alone and dying. When she finishes her story, she drifts into dreams. “Wake me up,” she murmurs to the resident who continues massaging her belly, “Wake me up before I die, I might have something to say.”

In the dark morning hours after my birth, an official at the American embassy opens their citizen files and searches for a universal donor. Just before dawn, before the very first sunrise of my life, the blood of an American colonel saves my mother’s life.

​My mother weeps for days after I am born. She wants to see no one.


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    About the Author

    Lisa Maria Madera is an Ecuadorian American writer and educator whose work explores how cultural narratives shape our individual and communal relation to the Earth and her creatures.

    Madera's work has appeared in Ecopsychology, Hypertext, JSRNC, Minding Nature and in Kinship: Belonging in a World of Relations forthcoming from the Center for Humans and Nature. Her short story Luz Maria has been nominated for consideration in Best American Short Stories 2021.

    ​Dedicated to fostering compassionate and resilient communities connected to Nature, Madera also designs and hosts trips to Ecuador providing opportunities for observation and reflection on how our relationship to the world is shaped by the cultural narratives that define us.


    ​Madera offers her work in a vision of hope and blessing that these reflections might empower all of us to realign our relationship in kinship to the Earth, to her many creatures, and to each other, ultimately realigning ourselves in right relation to the world around us so that we might live sustainably and in community.

    Madera is currently working on a memoir entitled The Covid Chronicles: Lessons from Pacha Mama in the Face of Despair.     

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