You taught her all about the green land.
Ariel Aviva’s body was a surface unknown.
The anatomy undiscovered, unnamed.
The inherited stamp: entrancement, bewilderment.
She got sucked into the mould.
Into sexual anonymity, conformity.
She didn’t know anything.
Lacking the knowledge of descriptions.
She thought she was malfunctioning.
Led to believe the other girls had it all under control.
They were all raised the same way.
They shrank beneath the weight of the boys’ arms.
Compliancy, the female devil, well-mannered, lurking everywhere.
Niceties are rarely questioned.
It’s a word used to shelter another one.
A not so social one, amenable, never.
Ariel Aviva’s good girl hands.
She takes you down to her valley.
Thinking she’s stuck, knowing all about the plants, nothing about herself.
The boys are all verbal and loud, eloquent, they were taught something different.
And how could she ever understand?
The value of her own land?
The underground life beneath her skin.
With all this unnecessary silence evading her body?
“Mary Magdalene” by Girolamo Savoldo (1480-1548)
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My name is Laura Gentile. I’m of German-Italian descent and I speak five languages such as English, German, French, Italian, Luxembourgish and I’m currently learning Romanian.
I hold a Master of Arts Degree in English Literature, Film and Visual Culture (Dissertation: The Decadent in Love with his Psychopomp: Thomas Mann's 'Death in Venice' and Adrian Lyne's 'Lolita') and a Master of Letters by Research in English Literature, Film and Visual Culture (Thesis: Romanticising Decadence and Aestheticising Death: Women as Projection Bodies and Mimetic Identities in Zola’s 'Thérèse Raquin', Schnitzler’s 'Dream Story', Süskind’s 'Perfume: The Story of a Murderer' and Eugenides’ 'The Virgin Suicides').
Author of "Within Paravent Walls". Pentalingual Idealist. Writer of psycho-corporeal Poetry. Creator of Croque-Melpomene & Les Femmes de la Décadence.
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