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- Herausgeber: Booksell-Verlag
- Kategorie: Gesellschafts- und Liebesromane
- Sprache: Englisch
- Veröffentlichungsjahr: 2019
In "Marge Askinforit," Barry Pain masterfully melds humor and social commentary in a narrative that probes the complexities of human relationships and societal expectations. Through a series of witty vignettes, Pain introduces us to Marge, a character emblematic of the early 20th-century British woman, grappling with the constraints of convention while yearning for personal autonomy. The book's prose is characterized by its sharp satire, reflective of the literary movements of the time, particularly the interwar period's exploration of identity and gender roles. Barry Pain, an esteemed writer and contemporary of authors like H.G. Wells, was known for his keen observational skills and a penchant for the absurd. Pain's own experiences in late Victorian and Edwardian society'Äîshaped by a rapidly changing social landscape'Äîprovided fertile ground for his exploration of personal versus societal desires. His unique lens allows for a poignant yet humorous critique of the period's mores, especially regarding women's independence. For readers seeking an insightful yet entertaining exploration of early feminist themes wrapped in humor, "Marge Askinforit" is a compelling choice. Pain's deft narrative not only entertains but also invites thoughtful reflection on the tensions between societal expectations and personal fulfillment, making it a timeless read.
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Marge Askinforit
Table of Contents
Author’s Note
This book was suggested by the reading of some extracts from the autobiography of a brilliant lady who had much to tell us about a number of interesting people. There was a quality in that autobiography which seemed to demand parody, and no doubt the autobiographer who cannot wait for posterity and perspective will pardon a little contemporary distortion.
In adding my humble wreath to the flatteries—in their sincerest form—which she has already received, I should like to point out that a parody of an autobiography should not be a caricature of the people biographed—some of whom must already have suffered enough. I have lowered the social key of the original considerably, not only to bring it within the compass of the executant, but also to make a distinction. I have increased the remoteness from real life—which was sometimes appreciable in the original—to such an extent that it should be impossible to suppose that any of the grotesques of the parody is intended for anybody in real life. Nobody in the parody is intended to be a representation, or even a misrepresentation, of any real person living or dead. For instance, Inmemorison is not intended to be a caricature of Tennyson, but the passage which deals with him is intended to parody some of the stuff that has been written about Tennyson.
No doubt the author of the original has opened to the public several doors through which it is not thinkable that a parodist would care to follow her. Apart from that, parody should be brief, just as autobiography should be long—ars brevis, vita longa.
Barry Pain.
October 8, 1920.
The quotations are from the articles which appeared in “The Sunday Times.” It does not of course follow that these passages will appear in the same form, or will appear at all, when the complete autobiography is published.
MARGE ASKINFORIT
First Extract
THE CATASTROPHIC FAMILY
I was christened Margarine, of course, but in my own circle I have always been known as Marge. The name is, I am informed, derived from the Latin word margo, meaning the limit. I have always tried to live right up to it.
We were a very numerous family, and I can find space for biographical details of only a few of the more important. I must keep room for myself.
My elder sister, Casein—Casey, as we always called her—was supposed to be the most like myself, and was less bucked about it than one would have expected. I never made any mistake myself as to which was which. I had not her beautiful lustrous eyes, but neither had she my wonderful cheek. She had not my intelligence. Nor had she my priceless gift for uttering an unimportant personal opinion as if it were the final verdict of posterity with the black cap on. We were devoted to one another, and many a time have I owed my position as temporary parlour-maid in an unsuspicious family to the excellent character that she had written for me.
She married Moses Morgenstein, a naturalized British subject, who showed his love for his adopted country by trading as Stanley Harcourt. He was a striking figure with his coal-black hair and nails, his drooping eye-lashes and under-lip, and the downward sweep of his ingratiating nose. The war found him burning with enthusiasm, and I give here one verse of a fine poem which he wrote and, as I will remember, recited in Mrs. Mopworth’s salon:
He was a man of diverse talents, and I used to regret that he gave to the tripe-dressing what was meant for the muses. Alas, he was, though indirectly, one of the many victims of the Great War. His scheme for the concealment of excess profits was elaborate and ingenious, and practised with assiduity. His simple mind could not apprehend that elemental honesty was in process of modification. “Vot I maig for myself, dat I keeb, nicht?” he often said to me. And then the blow fell.
However, he has earned the utmost remission to which good conduct could entitle him, and we are hoping that he will be out again by Christmas.
My next sister, Saccharine, was of a filmy and prismatic beauty that was sufficient evidence of her Cohltar origin—our mother, of course, was a Cohltar. I never thought her mind the equal of my own. Indeed, at the moment of going to press I have not yet met the mind that I thought the equal of my own. But about her beauty there was no doubt. In those days—I am speaking of the ’nineties—it was quite an ordinary event for my sister, inadvertently, to hold up an omnibus. The horses pulled up as soon as they saw her, and refused to move until they had drunk their fill of her astounding beauty. I well remember one occasion on which the horses in a West Kensington omnibus met her at Piccadilly Circus and refused to leave her until she reached Highgate, in spite of the whip of the driver, the blasphemy of the conductor, the more formal complaints of the passengers, and direct police intervention.
She was a sweet girl in those days, and I loved her. I never had any feelings of jealousy. How can one who is definitely assured of superiority to everybody be jealous of anybody?
She married a Russian, Alexis Chopitoff. He was a perfect artist in his own medium, which happened to be hair. It is to him that I owe what is my only beauty, and I am assured that it defies detection. At one time life’s greatest prizes seemed to be within his reach. During the war his skill in rendering the chevelure of noted pianists fit for military service attracted official attention, and if he had been made O.B.E. it would have come as no surprise to any of us. Unhappily his interest in the political affairs of his own country led him to annex at Waterloo a despatch-case which, pedantically speaking, did not belong to him. The case unfortunately happened to contain a diamond tiara, and this led to misunderstandings. Nothing could have exceeded the courage of dear Saccharine when she learned that at the end of his sentence he was to be deported.
“It will leave me,” she said, with perfect calm and in words that have since become historical, “in a position of greater freedom and less responsibility.”
But I knew how near she was to a nervous breakdown. Indeed, nervous breakdown was her successful defence when, a week later, she was arrested at Whiteridge’s with a tin of sardines, two cakes of super-cream toilet-soap, and a bound copy of Keble’s “Christian Year” in her muff. The malice and animosity that Whiteridge’s showed in the prosecution are but partly excused by the fact that dear Saccharine had pinched the muff first.
Another sister, Chlorine, in later years became well known as a medium. She communicated with the hereafter, or at the very least professed to do so, by telephonic wireless. It used to be rather weird to hear her ring up “Gehenna, 1 double 7, 6.” I have not the least doubt that she would have convinced a famous physicist who, curiously enough, is weak on facts, or a writer of detective stories who, equally curiously, is weak on imagination. I am sorry to say that she would never give me the winner of the next Derby, nor do I remember that she ever used this special and exclusive information for her own benefit. But, like other mediums, she could always give a plausible reason for avoiding any test that was really a test; and now that she has doubled her fees owing to the increased cost of labour and materials, she ought to do very well, particularly after the friendly boost that I have just given her.
