MARGINS — Summary

The text is fixed: it’s about God, or someone’s philosophy, the history of dead kings, perhaps, lists of what they ruled. But the margins are loose; I can doodle what I like:

see the peculiar animals among the leaves, the tiny women sickling corn. There are flowers here, all the ones I know from mornings in the meadows. And there, and there, a company around the table, a chorus singing Gilbert and Sullivan. Just there, in a corner,

if you look carefully, you can maybe make out the woman giving birth under a tree. She is quite alone, and her hair is white. Notice the baby’s white hair, too: my little joke.

The text drones on in miniscule, all the same, but the margins are mine: detail of lapis, carnelian, of gold.

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The speaker pictures an old illuminated manuscript, where the main text is rigid, solemn and dull: God, philosophy, lists of dead kings and what they owned. The margins, though, are open space, and the speaker fills them with whatever she likes. Animals, tiny harvesters, meadow flowers, and a group singing Gilbert and Sullivan crowd in, which is a funny, anachronistic touch.

The most striking image sits in a corner: a woman giving birth alone under a tree, her hair white, and the baby's hair white too. The speaker calls it "my little joke," but it feels quietly serious, as if ordinary, female, bodily life is being slipped in where official history leaves it out. The tone is playful and a little defiant. While the main text "drones on," the speaker claims the margins as "mine" and decorates them with lapis, carnelian and gold, treating her own small world as the real treasure.

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