Summer is upon us! It’s time to feature, as promised in my sensationally popular post FASHION, my swim-suit.
In my post Odalisques & the Ocean I described the sea as teeming with crepuscular carnage:
(Hail the living ocean the wreckage of shore! The dark things that sift through the muck of its floor. The fish, angels of numbness, glittering like jewels in a crypt. The eels and spiny things, glass-eyed, lidless conglomerations of hideousness both repellent and fascinating.)
Ages ago I happened upon the perfect swim-suit for braving the high seas. My very fashionable swim-suit is a super-hot metallic with jewels and gilding strategically placed to accentuate my odalisquan curves:
I love my swim-suit! I always stand-out at the beach, and best of all, I feel confident and secure, prepared for anything the sea might spit at me! I always wear a bathing cap to protect my head in case of unforeseen collisions with crashing rocks. This one has goggles built in so when I’m underwater I can open my eyes to defend myself. I swim with a sword, as well as my pen, which appears to deter ships, even when I’m drowning.
If hawk is planning a visit, I could stab us a fish!
In MOVIE NIGHT I wrote about Owl & I’s proclivity for the lost films of Theda Bara. Last night we watched A WOMAN THERE WAS, a film made in 1919 which is now considered to be lost. In this film, Theda played Princess Zara.
A WOMAN THERE WAS
SCENE: A corporate board room, high above the metropolis.
(Bird shadows from birds, out-of-frame, move through otherwise spare room: shiny, long table. carpet. chairs.)
(ZARA at wall of glass, looks out. Revery: sweet gag petal wad swallowing torn flower. Rosy fumbles. Tissue.)
(A bird hits the glass.)
(ZARA touches finger to crystalline cracks.)
(ZARA abruptly turns to door.)
(PAGE enters with cart. Tea is served. PAGE departs.)
(Upon tray, an unmarked letter.)
(ZARA reads: decry whisper lonely embrace–)
(-reclining lovely abandon–)
(-creased marker remind no–)
I hope you will let me come to your court from time to time. As the wind comes. Then goes.
(ZARA’s mouth opens as in O.)
(Crumple wretched paper note.)
(CLOSE-UP: ZARA’s tear-streaked face tightening like puddles freezing o’er with ice. Her upper lip curves like an archer’s bow:)
“I HOLD NO COURT BUT WITH BIRDS ON THE WING.
IF THE WIND COMES, I HAVE SUMMONED IT.
IF NOT, I HAVE BOTTLED IT.”
(VIEW FROM DOOR: ZARA drinks tea. Shadows assemble. Thousands of birds gather, hovering, outside.)
END OF SCENE
In MOVIE NIGHT I wrote about Owl & I’s proclivity for the lost films of Theda Bara. Last night we watched UNDER THE YOKE, a film made in 1918 which is now considered lost. In this film, Theda played Maria Valverda.
UNDER THE YOKE
SCENE: Forest, early spring.
(Gnats, infinitesimal murmuration, in a shaft of light. )
(Cinnamon ferns, sporing.)
(MARIA upon forest floor, drowses.)
(Around her body ephemerals flower in visionary time-lapse.)
(Lured be. Hepatica. Bloodroot. Dicentra Cucullaria.)
LADY, LADY, BOREAL BE.
WITHOUT IS NOT THROUGH, THROUGH IS NOT TOWARDS.
LIFT UP YOUR SKIRTS! BESTOW YOUR FAVOR.
(CLOSE-UP: MARIA within corona of ephemerals. Encroaching ominous bar-shaped shadow. )
(Muzzle slides under chin, nuzzles soft of throat. Presses.)
(Lurid be. Hepatica. Bloodroot. Cucullaria.
(VIEW FROM TREES: MAN stands over MARIA pressing rifle to her throat. Their bodies at ease. Hers, langorous, as if rising to the surface of a pond.)
BOUND HOME. BOUND. BY CREEPERS AND THORNS.
(CLOSE-UP: her eyes. Ineluctable weary.)
END OF SCENE