She was a woman who looked like a girl.
That’s what attracted them.
That’s why they chose her.
With her it would be legal,
An uncommitted crime.
A sexual projection.
She could see in their eyes
What they were doing.
She could feel the catastrophic desire.
This torching hunger for a body untouched.
And she thought: I’m letting them take it out on me.
I become the body in-between.
The extinguisher.
And yet.
Their cold eyes terrified her.
Their otherworldly absence.
Their rigorous penetration.
She was taking it all in.
What could have been done to girls or boys.
She absorbed the vice as a woman.
Was paid to let them blemish her.
And come back to her, the woman with the girly face.
Containing them.
Never knowing where they came from.
Where they would be going.
Nobody was safe in their gaze.
She couldn’t allow herself to sink into
The body of a girl.
She had to remain a woman.
The line is too thin.
The line is too thin.

“Portrait of a lady wearing a yellow dress and holding a basket” by Charles Paul Landon (1761-1826)
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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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