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The Film Maker's Mother
opal

Well known in every European casino
 1
of note, she would alight from the Daimler,
 2
a woman of consequence. A flunky
 3
carried the parcel, wrapped in brown paper,
 4
tied with string and sealed with wax,
 5
Sometimes a Picasso, a Renoir, Degas
 6
cloaked by the cover. Word went out
 7
when she was in the house.
 8
She was the high roller, the deep pockets,
 9
profligate, spender, squanderer.
 10
They loved her.
 11
 
 
Her husband an art collector,
 12
man of substance. He bought
 13
for investment. Art is a good bet,
 14
and the Belle Epoque knew it.
 15
The funereal wintry sameness
 16
of old age can bring an inkling
 17
that there’s nothing left to lose.
 18
Hanging paintings in dusty rooms
 19
saps their spirit, so she swapped them
 20
and revelled in her stake and chips
 21

The Belle Epoque is a casino in Monte Carlo, made famous by Ian Fleming in 'Goldeneye.'

15 Sep 06

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Comments:

i like the word-plays and mystery in this - comes across as a bit of cloak-and-dagger intrigue, a clever portrait :)
 — oracle

Thanks oracle - several - it's about the way we validate ourselves as we grow older - this woman was deetermined not to become invisible - and the way things are valued.
 — opal

Dear Opal

I can't wait to be more disgustingly old than i am already, picking up dicarded bits of chewing gum and sticking back together my falling apart flesh with them and not caring what i say or do. Micheal Winner though he might have been initially distraught at his mothers purloining of his painting collection for high stakes must surely have admired her absolute utter class. I love this poem unreservedly it paints such a pretty picture, to use an anology of the bored and restless decay of a rich old age.

Larry pontoon for matches Lark
 — larrylark

I love your character portraits- This one is rich.
The last line is perfect.
Nice work ;-)
 — Krttika

Witty. I wouldn't even know how to change this, maybe a period at the end? :)
 — NeighborDi

i could be wrong, but i believe it should be "flunky", not unless it was meant to be "munkey", or "hunkey", in which case i can smell the distinktion.

also, should sometimes be capped, line 6?

i really was immersed in the scene of the first half, just the language, the word choice seemed so perfectly suited to it. maybe it was the "woman of consequence" that really got the ball rolling?
the second part was not as strong, but still good
very nice
 — chuckle_s

true say chuckley - true say. Altered as per. Your comment made me re-read this poem and I'm quite fond of it - I see what you mean but I believe that the second section is more introspective after the big opening of the first section - that might be why it seems less 'strong' ?
 — opal

Oh, the streets of Rome are filled with rubble,
Ancient footprints are everywhere.
You can almost think that you're seein' double
On a cold, dark night on the Spanish Stairs.
Got to hurry on back to my hotel room,
Where I've got me a date with Botticelli's niece.
She promised that she'd be right there with me
When I paint my masterpiece.
 — unknown

i re-read it a little more carefully and it seems to be a sharp conceit. your footnote is misleading, as i decided that the 'belle' is indeed the widow. the hanging paintings as the vestige of her departed husband, and her wish to kill two birds with one stone - keeping 'their' spirit alive, while divesting herself of the sadness attached to the paintings' constant reminder of her loss - is very well-wrought writing, in my opinion. although my opinion is only approximately 3.14 away from onion, so whatever that's worth.
 — chuckle_s

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