Marie Marshall

"This woman's writing changes the way I think about life."

Before Fifty Shades: ‘The Dying Slave’.

Before Fifty Shades

It almost seems strange to be saying this, but there was life, and lifestyle, before Fifty Shades of Grey, and it made its way into literature. Sacher-Masoch’s Venus in Furs was published over 140 years ago. For some time before I became a ‘legit’ (what does that even mean?) author and poet I wrote about love, sex, domination, and the areas where they did and did not overlap. I wrote the vignette below in a deliberately-mannered and sentimental style, to reflect the formality that often exists within Dominant/submissive relationships; the era in which it is set is not mentioned, but it could belong to any time…

__________

“I have made her as comfortable as I can.” These had been the doctor’s parting words to Greta. Now Greta sat by Leonora’s bedside as the late afternoon sun struck aslant at the covers, through half-closed curtains. The room was almost silent. Outside, absurdly cheerful birds were twittering, oblivious to the sadness inside, where the only sound was the quiet rasping of Leonora’s breath.

“I do not have long,” said Leonora, very quietly. “I know this, Mistress.”

Greta reached out and took her hand, surprised by the strength of the grip she felt. Looking at Leonora’s face, her eyes met the dying woman’s, and held, and locked. She was surprised how bright they were, how much love and happiness they seemed to contain at this time. Leonora was smiling. Greta forced herself to smile in return, though she felt her heart was breaking.

“You will be fine, darling. Very soon you will be well and strong, and you will leave that bed. We’ll take our walks together again, and do all the things we love doing. And just call me Greta for now – there is no need for formality.” To herself she thought, “Why do we always say these absurd things to those whom we love, while life is slipping away? We know they are dying, they know they are dying, and yet we toss bright phrases about as if they are suffering from nothing worse than a slight migraine. Can we not bear the truth, even though we all know it?” She refocused on the sweet, submissive woman in the bed – the loving one who was slipping away from her – and fought hard to keep her composure. It did not break.

At the admonishment to drop her Mistress’s formal title, Leonora shook her head weakly, but with some vehemence. “Please, Mistress, I beg you not to deprive me of that – not now, please. I could not bear it, Mistress.”

There was something bold, almost forward in this petition. Greta’s thoughts rolled back through the decades to the time that Leonora had first come to her. By mutual consent Greta had offered her protection and command, and Leonora had offered herself. Her enthusiasm for being a submissive woman to Greta’s need to dominate had been tempered with a little hesitancy at first, but often the enthusiasm had got the better of her, and she had blundered into many a transgression, for which Greta had not been slow to chastise her pet. Now Greta sat, looking down at Leonora, wondering if she had been domineering rather than dominating, cruel rather than magnificent. But all she could see in Leonora’s eyes was love and devotion. If her slave had ever felt hard-done-by, she did not show it now. She showed only the faithful adoration that Greta had become so used to over the years. Leonora’s willingness to be led down any path of experience had surprised Greta, but to Leonora it had simply been a duty she had been resigned to – no, not resigned, one to which she had come singing with joy. Step by step her Mistress’s will had become second nature to her, as vital as food and drink, and as air, and she had learned to obey almost unbidden, knowing and anticipating Greta’s wishes, reading her needs, and submitting herself to them.

Now it was to end. That perfection of love was to wink out in an instant, a bare moment which seemed to be racing upon the two women as they faced each other now. Greta struggled to find the words she needed to say. In her mind, after all this time, were doubts about the life they had chosen. She asked herself, “What great things might Leonora have done, if she had been free?” And in an unspoken, inner dialogue she seemed to hear Leonora talking back to her, telling her how she had blossomed as a singer, as and artist, as a whole person, in Greta’s service, and how wonderful it had all been.

“Dear Leonora,” said Greta finally. “If I have never succeeded in telling you how grateful I am for your lifelong gift of yourself, please let the action I am about to take be an explanation. Darling, all those years ago you gave yourself to me unreservedly. Today, all debts are cancelled, all pledges redeemed. I give you the only gift I can – yourself. You are free.”

As Greta spoke, Leonora tugged urgently at her hand, in a way that she would hitherto not have dared.

“…And my parting gift is to return yours to you. I wish to die belonging to you, Mistress. It is all I have ever wanted – to serve you all the days of my life, right until my death. I am your slave for life, for my whole life.”

The grip on Greta’s hand was a little weaker now. The tugging seemed to have sapped Leonora of much of her strength.

“Very well, little one,” said Greta, using a term of endearment she had not used to Leonora in a long time. “It is my pleasure to grant your wish. I remain your Mistress to the end, and you my slave. But know this…”

Greta bent low, kissed her slave on the forehead, and the lips, feeling as she did so the barely-perceptible breath on her cheek.

“…in Paradise there is no slavery. In Paradise you will stand by my side as my eternal wife, and only as that. Even you cannot go against a law made in heaven. Be peaceful, my darling little one, be peaceful…” Greta’s commanding voice fell away, and she simply sat, holding Leonora’s hand, looking at the silent devotion and love in her eyes.

She sat and looked into those eyes until all the devotion and love had finally faded away, along with all other light and lustre, and all that was left was the eyes. Leonora’s breath had stilled to nothing, she was free, and her hand lay gently in that of her earthly Mistress.

That was the moment – when she was finally alone – that Greta surrendered her life-long dignity. She bowed her frame over her dead love and, as the birds sang with incessant merriness outside, she wept.

Coming soon

Balbirnie 3

Coming soon to Central Scotland – the opening weekend of Aval-Ballan’s new studio premises in Fife. Aval-Ballan is a creative arts partnership, based in Markinch, Fife. Their new premises will be at the Balbirnie Craft Centre, and they will be unveiled on the 1st and 2nd of June. If you’re in Scotland, do drop in. Their artwork, painting, new-old furniture, sea-glass and sea-pottery jewellery, etc. are wonderful; they run workshops for people who simply want to paint. Vist their web site for details and directions.

I am glad to say that they will be giving space to my books – Lupa and I am not a fish – probably on a permanent basis, so you will be able to get a signed copy at retail price!

Seulement dans le Vieux Carré

Decatur St., New Orleans, by Russell Lee.

Decatur St., New Orleans, by Russell Lee.

Seulement dans le Vieux Carré

Seulement dans le Vieux Carré
tombe mon coeur au trottoir,
là-bas où les maqueraux crient
  “Hé, chère!”.

Il me faut regarder de nouveau,
peut-être avec les yeux
d’un oiseau de printemps,
douces, à la teinte parme;
ou comme les Acadiennes
pendant la semaine sainte…

En cheminant à la Rue Bourbon
– en plein soleil
ou à la tombée bruyante de la nuit –
je le ramasserai, mon coeur,
qui nage sur
  un flot de jazz…

  et ça suffit pour vivre.

 

Only in the Quarter
does my heart fall to the sidewalk –
down there, where the pimps call out
“Hey, honey!”



I need to take another look,
maybe with the eyes of a spring bird,
soft, violet-hued;
Or like the Cajun girls
at Easter time…



Making my way along Bourbon Street
- in full sunlight,
or around clamorous nightfall -
I’ll pick it up, my heart
that’s floating on
a tide of jazz… 



and that’ll do to live on.

Les hommes volants

Detail from ‘Golconde’ by René Magritte.

Detail from ‘Golconde’ by René Magritte.

           Les hommes volants 

En haut les manteaux noirs et les chapeaux boules –
Ça va, ça marche, ça roule!
Regarde ces types aux visages gris, devant ma fenêtre;
Ils montent, peut-être,
Un escalier de vent, de soleil, ou des rèves.
“Evidemment ils s’élèvent
Chaque jour, tou près de nos bâtiments?”
Non, pas si souvent!

Vive la pomme, les amants aux têtes couvertes,
Et aux bouches ouvertes;
Vive quand-même le chapeau melon. Mais maintenant –
Zut! – les homes volants.

The flying men 

Up go the black coats, the bowlers too –
   Jolly good, okay, tickety-boo!
Look at these grey-faced blokes at my window;
   They’re climbing – maybe so –
A stairway of breezes, sunshine, or dreams.
   “They rise, so it seems,
Daily, right by our flats?”
   No, not as often as that.

Long live the apple, the lovers, heads under a shroud,
   And open-mouthed.
Moreover, long live the bowler hat. But now
   See the flying men – holy cow!

Raconter des salades (à Robert Doisneau)

Detail from a photo by Robert Doisneau

Detail from a photo by Robert Doisneau

Raconter des salades
(à Robert Doisneau)

Je vois la juive jeune
et son nègre adorant
danser comme
deux fruits-de-nuit
Tous les deux bourgeonnent
en plein été
autour de Saint Germain
faut que je sourie!

        Jive talking
(for Robert Doisneau)

I see the Jewish girl
and her adoring black guy
dance like
two nighttime fruits
Both are coming into bud
in high summer
around St Germain
gotta smile!

Book spine poetry

I mentioned this to my agent and – lo and behold – he came up with an image made up of the titles of my two poetry collections. Obvious, really.

© Marie Marshall/Bookseeker Agency

© Marie Marshall/Bookseeker Agency

Perdition captcha my soul but I do love thee!

captcha1

I’m going to take a wild punt here and claim that I’m the first poet ever to publish – commercially, that is, not self-publish, blog, etc. – a poem entirely made up of captcha words. The poem is entitled ‘More words from the Old-Man-of-the-woods’ companion’, and it can be found in my new collection of poems, I am not a fish.

I’m sure that if someone has done this before I’ll hear about it…

‘…but the choicest of our hard wrought poems…’

SPL2

On the glass frontage of the Scottish Poetry Library in Edinburgh are the following lines, translated from Gaelic by poet Derick Thomson:

It is not gold or other treasure
that you will get from me in special;
it is not tribute, or gift of cattle,
but the choicest of our hard-wrought poems.

Amongst the ‘hard-wrought poems’ now deposited there is a signed copy of my new collection, I am not a fish, which I have gifted to the Library. It was delivered there today by my literary agent. On the same trip he also deposited a copy of my novel, Lupa, at the National Library of Scotland. Each is a drop in Scotland’s literary ocean, but it feels like a big deal to me.

NLS3

You, Midge, and the box. (A poetic exercise for Richard Siken)*

Siken

There is a harsh, yellow light coming right in, right past the

drapes.

It is steady, like a searchlight but dimmer.

Hotter. You

came here along a cinder path, you came of your own free will,

and here you are.

Midge is mute in the rectangular room,

she can’t hear you, taking things out of the box, putting

things

into the box. Three nails, a book, and a folded scarf.

You call to her,

Midge look at me,

and she answers but it is like underwater, like at the pool when

you

are underwater and everyone is talking and laughing on

deckchairs. The box is blue, rectangular, with sharp corners.

The lid

is battered and won’t fit,

and the lock scratches your fingers.

Midge comes and licks your fingers and complains that they taste

of gasoline,

and you can smell it. You know this is not

the

right box, but you can’t say.

It is full of clouds. It is full of clouds

and peeling sunshine. Also the cries of children from outside,

and a backfire from an old car.

It is sick and cold here, and aching joints,

and all the time the television flickers. The shadows in the

room,

in the harsh yellow light, are hard, and they move.

They make a man’s shape, the seaside man, the man you know.

The

man lies down beside the box.

He nestles to it and shivers,

because

his back is bare, and Midge says

Look there, at how they criss-cross like tic-tac-toe.

The

man has scars and deep wheals

like the furrows in a ploughed field.

The man

has scars like dogtooth check. The scars are like rivulets of

tears,

running with rainwater, wheel-ruts, the mud sucking at

your feet.

There is a cold, cold mist in the fields, but not here in

the

rectangular

room.

It is still summer.

It is still.

It is summer. Dust is dancing

in the sunlight, though the sunlight never moves. The man

turns his face to you,

and

you know him because he has been on a thousand billboards.

He has laughed at you from magazines,

from the magazines your mother once bought for you.

He

is saying

Quick, come quick. Or go. Come with me or go.

But he isn’t moving. Lying there with one arm

round

the box, while

Midge is taking out the nails, the book, the folded scarf, and

putting them in a neat row.

You take them

and make the order go backwards;

a nail, another nail, another nail, a book, a scarf folded neatly.

She

takes them

and makes the order go backwards.

Backwards and forwards,

a neatly folded scarf, a book, another nail, another nail, a nail.

She

takes the scarf and knots it round her neck,

she stands upon a chair,

a black chair with a red seat and Arabic writing like a prayer.

The

man is laughing and Midge says

Goodbye, and goodbye,

there

is a sound outside like a single backfire from an old car.

You look from the light to the empty box,

from the empty box to the light. From the overturned chair to

the light, and always to the blue,

empty box.

__________

* There are dangers with imitating the style of another poet. Firstly that your product will be a poor imitation, secondly that it will be a parody – these two don’t necessarily go hand-in-hand, but that’s just for starters. A few years ago I was asked to write, as an experiment, a poem in emulation of Richard Siken’s ‘The Dislocated Room’. At the time I hadn’t come across any of his work, but I bought his 2005 collection Crush and read the poem. Siken is one of these poets whose work I don’t know if I actually like, but nonetheless I find it compelling. ‘The Dislocated Room’, like other poems by him, seems to convey a sense of unease; images, phrases, whole scenes seem to repeat, but from a different angle or with a layer added; there is the ‘familiar unfamiliarity’ of a disturbing dream, one which is almost but not quite a nightmare. It starts thus:

It was night for many miles and then the real stars in the purple sky,

like little boats rowed out too far,

begin to disappear.

And there, in the distance, not the promised land,

but a Holiday Inn,

with bougainvillea growing through the chain link by the pool.

The door swung wide: twin beds, twin lamps, twin plastic cups

wrapped up in cellophane

and he says No Henry, let’s not do this.

I’m a fairly good parodist, so in my experiment I had to try to avoid that pitfall, hence I used the word ‘emulate’ above, rather than ‘imitate’. However, I couldn’t possibly get inside Richard Siken’s head. What I felt I could do was get close to the unease, the disturbing images, the implications of violence in the original poem. I needed to get out of the dislocated room and into another place to do it, a place inside my own head with my own unease; and so what I think emerged wasn’t a Siken poem but a Marie Marshall poem with Siken harmonics, undertones, overtones.

I’m posting this for the simple reason that this morning I stumbled across a reference to Richard Siken on Twitter, and it set me thinking.

A Coelacanth in denial swims out to you from Oversteps Books…

Coelacanth

My second collection of poetry, I am not a fish, is now officially published by Oversteps Books. You can buy direct from them or order the book from your local bookshop. ISBN 678-1-906856-37-3. There are still a limited number of signed copies left for sale here too.

The poems in this collection have never been published in print or on line anywhere before – it was an entirely new work written for Oversteps. So the only way you will get to read them is by buying the book.

Oversteps Books publishes some of the best in contemporary poetry, covering a wide range of established and new poets. There is a rigorous editorial policy, and the books are produced to the highest standards both in terms of editorial accuracy and the beauty of the finished books. The publishing house was founded in 1992 by the poet and translator, Anne Born (1924 – 2011). The poet and lecturer, Alwyn Marriage, became Managing Editor in 2008.

M

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