Mary was so busy trying to play a role that she had forgotten what the role was. Other Prosecutors had created the role for her so that she would, under certain circumstances, be fooled into believing that she was a criminal. The term ‘criminal’ in this case, can be loosely defined as anyone who has ever:
- made a mistake
- revealed their feelings
- stolen a Wheely Bin
- slapped the face of a boy
- taken a piece of Nougat out of a friend’s lunchbox
- slipped on a banana skin
- slashed their wrists in fury
The precise element, which disturbed Mary the most, was the fact that the Prosecutors had committed far worse crimes themselves such as:
- having affairs with their pregnant mothers
- stealing diamond necklaces from jewellers
- pretending that they were someone else
- forcing their relatives to live on some remote island with only two Motown records for company (and no Gramophone)
- rejecting invitations to weddings
- flirting with warthogs
- accusing their tormentors of being ugly, weak, fat, two-faced or lonely
- stamping on the deformed stumps of amputees
Also, on reflection, Mary had realised only a week previously that her Prosecutor(s) had been (themselves even) reflecting on the level of passionate mind games that were afoot in this realm of the universe. They were kissing their children’s best friends. They thought they lived somewhere in the Deep South. They were planning and plotting ways of escape precisely five sessions ago. To move to Europe. They were preparing elaborate schema, all disguised in the form of ‘art’. You know, art in the sense of ‘how can we get on?’ The kind of art that only links hand in hand with the people who have jelly fish eyes in the world of ‘art’. The ones who have the ‘retail detail’ as it were. The other, so called art belonging to the victims, would only be glanced at during free time, usually once every three months. This would satisfy the regular customers and would boost the fragile egos of those not so disposed to ‘real art’. These artists, for all their efforts and struggles amongst the £5 an hour lot, subsisted on £2,000 p.a. Their steady, plodding personification and their desperate allure would only get them to the point where a glance was seen to be a good thing.
However, on closer inspection, the £2,000 p.a crowd could be forced forward at an alarming rate. Their work, not being ‘real art’ had no pretensions of being otherwise. The quiet, dignified workers, with their clean clothes and neat cupboards, scorned the Prosecutors. With their bourgeois idealism and their grants from the BFI, London Eye Awards, Petty BBC Journalism Bursaries, Loan from Pa. For writing only five words, I ask you.
The carefully constructed Myths were all too clever for Mary and the dignified workers. She would be far too stupid to notice what was happening. She would be far too gullible. Surely she would. Surely? She would not mind would she? She would just laugh it off. And anyway, she deserved it for being a (insert appropriate term here if it makes you feel any better).
Mary was ready to play into the Myth. The Prosecutors thought her too trite, too ‘personal’, too open. Mary was much more wise to the game than her Prosecutors could admit. She was far too introspective to trust them. She was far too willing to play the game to inform her inferior art. It was a fuel, this trust, built on nothing. It was a game, she knew, from the very first. All of the fakery and trickery and nothingness. Wasn’t Mary playing a game as well?