T
tragicomicnight
Guest
Mark Weiss
20 years old,
lit major,
6 feet tall, dark hair, green eyes
Marie Denissonde was the reason I came to Wiltshire. She had won a Booker prize at 19 for her first collection of poems, and at 30 she had already gone from France to England to the states where she had a cushy fellowship. Her poetry was truly inspired with a dark sensuality that kept me transfixed. She wrote poetry like no other woman alive, in fact, the New York Times had called her a modern Sappho. And there I was, in her poetry workshop, and totally oblivious to whatever it was she was saying. I kept reminding myself why I was there, how I was in her class to learn and I had girls without international acclaim in the literary world to ogle. This didn't slide, though.
She had a habit of sitting on her desk, letting her long slender legs with their thigh high boots dangle off it. It was too much. "Hasn't this woman heard of a chair?" I asked myself, "does she have any clue what kind of torment..." They were birdlike those legs, up to strong thighs that would have appeared chubby were it not for my constant and most likely unhealthy observation of them. And then there was the occasional tantalizing glimpse of her white belly. Good god, if this woman knew what she was doing to me. And, when the lecture was done, (my friend Keith's notes said it was about Verlaine), I was about to leave. But, she called me back.
"Trash."
I was a bit confused. "Pardon?"
"Trash. Your term paper on Neruda. It's trash. It gives Chile grounds for declaring war. It is trash." Her voice had a faint trace of her French origins, but that was slightly intermingled with a stern uppercrust English accent. She had spent some time at Oxford.
"I was just going by an article I read. Harold Bloom said..."
She interrupted, her voice having something of a relaxed harshness to it. It was sardonic, but not altogether cruel. "Harold Bloom is not Pablo Neruda. Nor is he Matilde Urrutia, somebody who you did not even mention when discussing the Captain's Verses. How does that work?"
I was flushed with embarassment. She was right. "Well, professor..."
"My parents were not nearly so strict and uptight as to name me professor. The syllabus says my name is Marie. I also tend to say that."
"I'm sorry, Marie."
She gave me an innocuous pat on the head. "Very good. Do you consider your poetry good?"
I took a lot of pride in my work and was ready to defend against any ad-hominen attack or comment against my art. "Yes, I do. I put a lot of work into those poems."
"Your work is good."
I breathed a sigh of relief. "Because Shelley was good, because Byron was good, because Keats was good. You're a throwback, worse than that, you're a dispassionate throwback. Under the veneer of romantic bullshit, I see nothing. Byron had passion and insight coupled with the desire to fuck anything that moved..." She stopped seeing the blush on my face.
"You don't think professors say that? You don't think they say fuck?"
"Well..."
"I do. I say the word, and you know what? I do fuck and I have the urge to FUCK. And FUCKING and the thought of FUCKING infuse my work with passion, something you're a little short of."
She looked into my dark, green eyes with her brown ones.
"You are not hopeless," she said, toying with my hair, "you're an obedient little doggie. You can be trained. You will not ask questions, you will not say no."
I simply nodded. This was the beginning of something I could have never imagined.
(OOC: Okay, now someone pick this up, if you please, Marie has been described minimally, so do what you like there. Light BDSM is a very open possibility.)
20 years old,
lit major,
6 feet tall, dark hair, green eyes
Marie Denissonde was the reason I came to Wiltshire. She had won a Booker prize at 19 for her first collection of poems, and at 30 she had already gone from France to England to the states where she had a cushy fellowship. Her poetry was truly inspired with a dark sensuality that kept me transfixed. She wrote poetry like no other woman alive, in fact, the New York Times had called her a modern Sappho. And there I was, in her poetry workshop, and totally oblivious to whatever it was she was saying. I kept reminding myself why I was there, how I was in her class to learn and I had girls without international acclaim in the literary world to ogle. This didn't slide, though.
She had a habit of sitting on her desk, letting her long slender legs with their thigh high boots dangle off it. It was too much. "Hasn't this woman heard of a chair?" I asked myself, "does she have any clue what kind of torment..." They were birdlike those legs, up to strong thighs that would have appeared chubby were it not for my constant and most likely unhealthy observation of them. And then there was the occasional tantalizing glimpse of her white belly. Good god, if this woman knew what she was doing to me. And, when the lecture was done, (my friend Keith's notes said it was about Verlaine), I was about to leave. But, she called me back.
"Trash."
I was a bit confused. "Pardon?"
"Trash. Your term paper on Neruda. It's trash. It gives Chile grounds for declaring war. It is trash." Her voice had a faint trace of her French origins, but that was slightly intermingled with a stern uppercrust English accent. She had spent some time at Oxford.
"I was just going by an article I read. Harold Bloom said..."
She interrupted, her voice having something of a relaxed harshness to it. It was sardonic, but not altogether cruel. "Harold Bloom is not Pablo Neruda. Nor is he Matilde Urrutia, somebody who you did not even mention when discussing the Captain's Verses. How does that work?"
I was flushed with embarassment. She was right. "Well, professor..."
"My parents were not nearly so strict and uptight as to name me professor. The syllabus says my name is Marie. I also tend to say that."
"I'm sorry, Marie."
She gave me an innocuous pat on the head. "Very good. Do you consider your poetry good?"
I took a lot of pride in my work and was ready to defend against any ad-hominen attack or comment against my art. "Yes, I do. I put a lot of work into those poems."
"Your work is good."
I breathed a sigh of relief. "Because Shelley was good, because Byron was good, because Keats was good. You're a throwback, worse than that, you're a dispassionate throwback. Under the veneer of romantic bullshit, I see nothing. Byron had passion and insight coupled with the desire to fuck anything that moved..." She stopped seeing the blush on my face.
"You don't think professors say that? You don't think they say fuck?"
"Well..."
"I do. I say the word, and you know what? I do fuck and I have the urge to FUCK. And FUCKING and the thought of FUCKING infuse my work with passion, something you're a little short of."
She looked into my dark, green eyes with her brown ones.
"You are not hopeless," she said, toying with my hair, "you're an obedient little doggie. You can be trained. You will not ask questions, you will not say no."
I simply nodded. This was the beginning of something I could have never imagined.
(OOC: Okay, now someone pick this up, if you please, Marie has been described minimally, so do what you like there. Light BDSM is a very open possibility.)