by tashmcgill | May 12, 2016 | Monologue, Prose & Poetry
It begins with the shoes. The red shoes. They hardly come out of the closet these days, but when they do – her walk is lifted, the tilt of her hips just ever so much more swung from left to right. Everything else is for her or for them, but the shoes – the shoes are for you.
Layer by layer she dressed this morning, knowing whichever direction the day thrust her, she would need to be ready and prepared to stand her ground. Calendars matter, to this woman. The schedule of roles she will play that day; friend, colleague, sage and unclaimed lover. The precise number of minutes given to eyeliner, perfume and mascara are counted out in the rush towards beginning the day. Every task their due and nothing other.
Layer by layer, her costume slides on dictated by what others need to see in her, or of her. She catalogues the demands inside her head.
Be soft, be warm, be strong, be open, be commanding, be wise.
Jeans and a casual shirt, because nobody wants to appear unapproachable. Business shirt and pencil skirt, or hip grazing, cleavage revealing black dresses with variations of red, navy and lace for days when she walks with people as powerful as she. Black when she needs to hide and red when she is feeling most alive.
Jackets and scarves chosen by necessity. She dresses first with perfume; in a sanctuary of scent she feels herself and then clothes rush on at the beginning of the day. Layer after layer dictated in the morning rush by how she will undress at the end of day. Not what you need to see but what she wants to show you.
After dark, things slow down.
Last on in the morning, at night first her jewels come off – pendants unwound from ivory neck while her fingers follow the slight curve where the artery rests. Hair pulled back exposing neck, an invitation offered gently in the night, only ever in the night. Cool night air whispers ‘welcome home’. Rings of heavy gold slide from fingers except the one band that never leaves her hand. That band that carries precious stories in its rubies. And now you know that ring is a symbol, you will want to ask.
Then those shoes, her arches sighing in relief but they give her calves a certain elevation and as her hips find their gravity again, she feels warm. The shoes were for you, but maybe also for her. There is no part of her body that does not come to life as she unclothes it.
The rest comes off even slower, the layers for them – demanding crowd. Off comes cotton, denim, polyester and ponte. Cuffs, collars and shirts unbuttoned one by one. Skirt unzipped and allowed to drop, kicked by painted dark red toe up into the grasp of hand and cast aside to laundry pile or hung up.
In this, she is most graceful and more so than in other parts of day. Dressed, she is more clumsy than most. More likely to stumble than to dance, but as layers slide off the dancer re-emerges. Back arched and ribs held high as joints flex and bend to undo all that is held together during the day. The collarbone emerges and the shape of her hits the light, curve and strength and softness. There are symbols and stories painted on her body in scars and ink; some of them you know but others you have not listened to yet.
Then silk, satin and lace. A dozen shades. Under the plainest of wardrobes, she is always silk, satin and lace. Stockings unclipped and eased down past bended knee; balanced in warm lamplight. Garter undone but she is not yet undone, there is still more to see, even more to know below bustier and corset and teddy barely containing soft breast. Still she is not undressed.
Here she is, left perfumed in the sweet musk and salt of the day, still layers of vanilla, sandalwood and orchid. High notes of orange, jasmine and patchouli. And this is her, both earthy and sweet. Vanilla, bergamot, florals and earthiness the essence of whisky, which is the other name by which you know her.
Still, layered in perfume she is not yet naked before you. She undresses but she does not leave herself unclothed.
It is beyond silk and lace, beyond what the skin wears and beyond costume of the day. Even removing silk and lace, undoing self entirely to the response of air against skin; all sharp pucker and caress. In undressing there are all elements of ache and relief, until she meets you, skin to skin and eye to eye. A dozen stolen, fleeting touches and then the eyes meet.
There is the wall you could not see til now, where every brick is a shout that said ‘Too much’, ‘too loud’, ‘too smart’, ‘too physical’, ‘too sensual’, ‘too strong’, ‘too intense’, ‘too present’ and the wall is hidden there, beneath blue eyes seeking out yours. Just one word is all she needs to hear – Leap!
Now, eyes upon eyes – back in a room full of strangers but where a glance and a look was true. There in a moment, her eyes slide from blue-gray flecked maybe to truest blue; she undressed for you.
A woman undresses from her eyes; as the shadow lifts and grey-blue hue turns to summer light – she is naked for you now. She leaps over the wall of misread doubt from voices past, while still clothed and disrobes for you.
It might happen in a room full of strangers; deep in the night while she pushes all noise and interruption to the side. Perhaps it happens while you’re not watching but she is thinking and assessing to one side. It is most likely to happen while you also, are watching her – the slow, steady and soon-to-be reliable slide of public to private sight. But whether she is still clothed in silk and lace, or wearing denim or corporate suiting for the day – she undresses from her eyes.
There is one story that is not told upon her skin, or in the ache of body that is expressed between the light and dark of night. She tells you only one story in the light of eyes unveiling into sacred, private sight. There is only one story that remains under cautious and wary eyes. The story of the Phoenix and the girl who rises.
‘I am the Phoenix, bold and wise. I am the Phoenix flying high and true and firm, but I will acquiesce for you. I will let you touch and hold my burning wing, hold my sharpened voice and sing, I will burn and rise again for you.. and let you see me, see me shining through. I am the Phoenix, I will rise again and rise and rise and rise again.’
And there she is, exposed at last – she is a creature of the myth. She undresses and you find her in between the grey and blue, the Phoenix, who rises and looks for you.
by tashmcgill | Dec 29, 2014 | Culture & Ideas, Monologue
I was standing at the kitchen bench, knife in hand and a slab of ham in front of me.
‘This is what you do,’ I thought to myself. Maybe it was the coffee, maybe it was the Mimosa. It seemed like a thought that came from nowhere, yet was profound in the moment it appeared to me.
It was a thought as visual as it was constructed of nouns and verbs.
‘You slice away at the meat of life until you hit the bone.’
Sometimes holding a pen, metaphorical or otherwise) feels like holding a knife at the throat of someone you love.
Perhaps that’s why writers drink: we need the courage that comes with loosening the inhibitions, the fear, the risk.
The virtues of public and private decency compete like never before in this digital age. When anyone can publish, there is no subtle observational art in how writers write. We can publish at a moment’s notice and therefore it is as easy to assume that all observations are those of our closest acquaintance. And often it is.
There’s the truth of it – sometimes I do not write about you, but sometimes I do. Sometimes I cut away at the flesh of our very real, everyday lives until I hit the bone. Then, even then, sometimes I am tempted not to stop but to continue carving until I hit the marrow.
Then , once I have hit the bone and passed through to the marrow – I hope that I have struck the core of it.
I want my words to cut to the core of who we are, to the very deepest and sacred parts of us. I want us to be challenged. I am challenged when I think it and even more so to write these thoughts in ways sharp enough to penetrate but thoughtful enough that my good intentions are clear.
Sometimes when I feel my words are like the knife at your throat, I think about stopping, holding back. But these words ring in my ear ..
“The role of a writer is not to say what we can all say, but what we are unable to say.” – Anaïs Nin
I do not write to hurt you, rather to peel you back. To give you permission to live more exposed, more real, more true. To accept you as you are and as I am, all flaws exposed and not hidden. I write to carve you out, to tease you out until you have no choice but to show yourself unbound to the world.
Whatever those ideas of identity, belief, value, truth, sex, sensuality, spirituality and ambition are – I hope to use my words to bring them to life in you, willing you to come into the light. I want to know you. I want to experience you in the same fullness I offer myself to you.
As much as I am trying to carve you out, to really see you – I am exposing my own marrow and hoping you see me.
by tashmcgill | Aug 11, 2014 | Culture & Ideas, Monologue, Prose & Poetry
I am fascinated by how relationships transform as people move in and out of one anothers lives. I came across an old photograph and was struck by this idea: the story of a woman contemplating the changes in her life and how she will live always anticipating the death of someone who was once close to her but is now far removed. The digital age often means that though we are protracted from one another, we are never fully removed from the circles of relationship that connect us.
Sometimes I see your photograph and wonder how Death will come to you. Once, when we lived around each other I worried about what you ate and how you drank. I fussed over your posture and lack of concern for fibres. Fibres to keep you warm, woven to cover your skin from the elements. You never wore enough clothes in winter.
You had that one navy fishermans sweater, with look-a-like suede patches on your elbows. You wore it with those black jeans that swooped over your non-existent backside. It’s a trade-off, I suppose, for those long legs. Your toes, long and sparsely covered with hair, poking through the sandals you profusely expounded upon. You have always chosen the strangest idioms to be passionate about. You are still a curiosity in that way, I suspect. Ranting about finding the perfect fit, as if it was some revelation.
Oh, yes, that’s it. You have a gift for making the mundane into a revelation. That’s why I always enjoyed you, being around you even on the fringes of a conversation you were orchestrating.
It makes sense to think of you as a conductor, commanding the music by script and form with your movement and sheer presence; a force of will on the earth. I wonder about your body now as it ages, your shoulders that must fall even further forward. You always curved yourself in to type, or cut or do anything with your hands. You have always had this way of wrapping yourself entirely around an activity; until it lost your attention. I wonder if you have slowly suffocated your hips and lungs from fully functioning.
I see your face through other people’s eyes now. They capture you in fleeting splashes of light; in cities I once traveled before I knew you. They frame you walking those streets as if they are your own, but you don’t really care for possessions. I think even now, you probably care mostly for the objects you’ve made symbols of this new man you’ve become. A notebook and a beard are like weapons of war for you.
But I see you truly; the proud tilt of your hips tipping your belly forward. Sometimes I wonder if you are eating anything to sustain your endless body. It is long and lanky but when you stand still you make remarkable curves. There is nothing soft about you but you curl around the atmosphere and air you breathe. You are rebellious in your being; for the sake of it. Or, I should say – you were. I remember that you were.
I shouldn’t presume to know such things now. That body and those eyes I have stared at, fought with and known for a dozen years; I wonder how it will decay? I no longer observe you daily so each glimpse is like the passing of an age between, you change so much. You age before me and my reflection ages too, but the sight of myself does not shock or rattle me. I wonder now if our character can change as quickly as our exterior? We change so much when we are young and it leaves no mark upon us and then we collapse into middle age. Do our bodies simply begin to catch up with the people we have become?
How will Death come to you? I wonder what it will be like to walk past your coffin. Or will there be a plaque that signals where your ashes are spilled into the ocean or air? Air, I think although you professed to love the ocean so. If there is a funeral, I wonder where I will sit and how far back before I drift into the shadows.
Your wife, as beautiful then as now, will probably say carefully chosen words in her soft voice. Her tears will be fresh and new. Mine will be decades old and dry, they may not even fall. I’ve been wondering for such a long time how Death will find us, my grief already feels ages old. Oh, how I grieve you, bright light. You are a wonder to me still. I miss the smell of you in the room; leather and musk and determination.
I hope it’s quick. I don’t want to hear of your decay coming slowly by protracted illness. It’s all so ungraceful at our age, to go slowly from infection. No, I prefer to think of that hardened fat from late night burgers laden with bacon and extra cheese snapping at your arteries and taking you quickly. I always worried about how you ate. I hope that it comes to some good and spares you the indignity of hospitals and 16 pill-a-day regimens.
I couldn’t bear to hear of you slowly fading from the earth. You should at least, in this one thing, be definitive. It always took you so long to commit to anything, you can do this for us, at least. Go quickly and follow through, don’t leave us wondering. Death may at last, be the one thing that unveils you and forces you to be true.
Yes, I wonder how Death will come to you, and then to Us. I have been waiting so patiently to say goodbye. You’re barely over the cusp of 40 years. The scales are about to tip, you know. By this time next year, you’ll have been gone from my side longer than you stayed. What a curious and puzzling thing. I do not think about your dying or your pain or your absence, but I wonder how, how will it come to be? Perhaps it is because we are a story; a book. Someone has crept in and torn out Chapter 19.
Chapter 20 is some lesson, some goodness or inheritance you leave behind. The meaning for those that will know you at the end, but I have known you up til now. I have not found the meaning yet. In death you’ll be revealed at last, but people are always too kind then. Still I want to know how it goes and what they say, when they know at last what I know.
Yet, sometimes I feel you curled around me – shoulders slumped forward, legs tilted into my hips and your hands close to my face, as if I am a thing that requires your entire attention. When I see your photograph, there is a moment of claustrophobia before I remember that you have unwrapped yourself. The bonds are cut so I breathe and regain myself. I remember what it was like to be the centre of all that chaos and energy in the world and what it is like to watch from a distance.
Your photograph sometimes changes, the streets a different version of the city you are in. Your countenance is the same. Your eyes still sharp, watching and anticipating. I see you hungry for what you will wrap yourself around next. I remember that look; I wonder how Death will come to you and if you will look Death in the eye before you wrap yourself around it, the sole focus of your attention; counting how you could make dying an achievement too.
by tashmcgill | Jun 20, 2012 | Monologue, Short Stories
She looks frazzled and tired, he looks frustrated but calm; trying to maintain patience. They’ve walked off a 21 hour flight to Australia to begin the adventure honeymoon of a lifetime. Their rings are glistening under fluorescent light and both are still fidgeting, getting used to the weight of warm metal against skin; twisting and admiring the statement it makes on each of their hands. Then the too-warm air of the airport arrivals terminal clouds in, the groaning luggage carousel clanks along and other passengers swarm in.
She pushes then pulls their luggage cart to a stop beside a queue of people pushing themselves towards the customs line. He tries to steal a kiss but she pushes him to one side and gestures to the carousel. He struggles his way through the crowd and back, one suitcase at a time. Now he’s made three trips and is torn between anxiously looking for the next bag and glancing back at his wife, tapping her foot and waiting for her iPhone to find signal. By the time he returns with the fourth bag, those over-packed full size suitcases perilously stacked on the cart, she’s done with the phone and marching through the lines towards fresh air.
Now it’s his turn to sigh and hustle, creeping closer to people slightly ahead of them in the queue.
Maybe he’s anxious to shower and change or just to get his wife into more comfortable surrounds but now it’s his frustration that claws at the atmosphere. Here’s where I learn their story – he’s from Oklahoma, she’s from Los Angeles. They’ll be here for two weeks. I look at the luggage, I look back to them. She explains one bag is shoes, and I laugh – embarrassed but amused at the easy cliche. Their itinerary is jam-packed, they’ll cover New South Wales, Victoria and Queensland, not to mention a flying visit to Uluru and she has a pair of shoes for every occasion. She pulls him close, looks up into his face with a moment of calm. I feel relieved; they were making me anxious but I run out of time to tell them why. I hit the security fast-track lane and leave with my hopes for them heavy in my head.
“Dear American Honeymooners,
Please slow down. You’re running the risk of missing each other in your rush not to miss a thing. Don’t fall into the trap of writing a to-do list that doesn’t leave you anytime to make memories of what it was like to be together in that place. Don’t set a pace for your life you can’t maintain. You’ll leave one another behind.
Please pack less. I’m not sure what you were planning on doing, but life just doesn’t need that much baggage. Love is only helped with great hair and nails, it isn’t made. Buy more lingerie and fewer pairs of jeans. Be light on your feet. We carry each other – learn not to be too heavy when you are expecting someone else to carry your bags.
I hope you have a wonderful time, see all sorts of things you’ve never imagined before and have your childlike wonder engaged with creativity, nature and breathing the air of the one you love. Love each other well – you deserve it. You came a long way to get here.
Oh – one last thought. I’m a big believer in shoes. They’re glamorous, enigmatic, practical, empowering and often necessary. But they’re also the difference between staying home and going out. A great shoe isn’t a personality that you put on, but it expresses something of your persona. Learn to wear your lover like one great pair of shoes. The ones that become an extension of who you are. The ones you can’t live without. The ones that make you feel strong enough to climb mountains and fast enough to run for cover. Warm like slippers and a fireplace, easy like Chucks you wear everywhere. And keep walking in them. Live in your love the way you live in your shoes. You’ll need less of them, you’ll take better care of them, you’ll nurture and protect them, you’ll take a lot of pride in them when they’re the only pair you’ve got.
Wishing you all the best,
T.”
