Mariel Mailer

MARIEL MAILER by AMRIEL

“Mariel Mailer was born in Vicchio, Tuscany in the early 1400’s and lived in a convent, illuminating parchment scrolls. Later, in 1436 she painted frescoes on the walls of such of mostly religious subjects, including Jesus Christ and mother (the Madonna [Mary]), Saints, and angels. In 1445, she was hired by Pope Eugenius IV to paint frescoes in the Vatican. Possessing great artistic~talent, in 1532 she painted for the royalty of Spain, becoming the first female~painter to achieve International fame. In the 1560s, she inclulived her own children as models in her portraits. In the later 1560s, she became court~painter for Duke Cosimo I, influencing the entire course of European portraiture for the next one~hundred years. Mariel was also a great poet, conveying in both her poetry and her portrait~paintings a sense of eroticism, though admittedly under the patina (or pre~text) of presenting “moralistic~allegories”. She studied painting and later sculpture in Bologna, creating a bronze sculpture of Pope Innocent X in 1664. In 1725, Mariel moved to France, where she designed embroidery~patterns (in the blooming lace~trade [that France was note~worthy for the “needlepoint”~variety ((as opposed to the Belgian “hand spool~woven”variety)) of]). In 1728, Mariel won the Grand Prix de Rome. In 1731, she was admitted to the French Academy as a herstorical~painter, becoming a full~time member of such just three years later. Mariel’s pastoral scenes of rural~France showed great natural~finesse; though admittedly, her portrayal of shepherdesses brought~forth a “relative~innocence” “relatively~prevalent” in other similar works by other artists of the time. In the later early 1700’s, Mariel concentrated on intimate “family~scenes”. It was said that Mariel represented much of the “taste and sophistication” France enjoyed in this period. She moved to Hollywood, California in the United States of America in the 1920s. Like a lot of farm~girls, Mariel was trying to make~it~big in the burgeoning motion~picture industry. “To some people,” Mariel would later cry in an exclamation of relief, “it may be merely a ‘casting~couch’, but I saw it as more of a ‘doorway~to~the~infinite’ a kind of ‘stepping~stone if~you~will’ to the unexplored~vistas of personal~achievement”. A prominent film~critic of the time once said of her actressing that “she used sarcasm and sexual~innuendo to create what amounts to nothing~less that an entirely new type of communication”. “I never knew my father, if you understand what I am saying,” Mariel said once. All told, she played parts in 29 films in just 16 years. She spent some of her time “between~films” in Hollywood in foster~homes, due to her mother’s increasing mental~instability. “They were terribly~strict, they would scarce purchase me a pony at a moment’s whim” she would later complain in a moment of what some would later call “questionably~sincere”~reflection. In 1935, she was placed in a children’s~orphanage, where she experienced a kind of “hard~knock~life”, so prominent to scads of little girls who dream of brighter tomorrows in the slums of Hollywood’s lower~sides and back~alleyways. She would frequently buy clothes and learned how to apply make~up to herself, as well. “The world is kind of…well I am not sure” Mariel said. Often Mariel was seen hanging~out with the transvestites at the Moxie~Club with the Pep~Club Rally Squad of the local high~school and its droves of drug~dealing fathers, most noteworthably, Jimmy (a local~high~school student)’s father, called affectionately “Pop”, who had herself a predilection for popping speed~pills and seeming unintentionally to spout off made~up catch~phrases like “43~SKIDDOO!” and “How bout you, kid?” with little or no provocation, whatsoever (or so it seemed to the teeming masses who both frequented and patronized the Moxie Club in its “hey~day”). Mariel was a “photographer’s dream” and posed nude for a calendar that was given~away to mechanics at service~stations and garages as a promotional~item. In the 1950s, she was allowed to place impressions of “hands~and~feet” into wet~cement near the façade of a motion~picture theater, that was in itself called “Chinese” (though it was plainly seen to exist in North America, and nowhere near what was once incorrectly politically referred~to as the “Oriental [Asian]~locales”). “Hollywood is a place” Mariel said, on another occasion altogether. Mariel was asked by the USO to tour Korea, where she entertained 60,000 soldiers in just four days. “I can’t say anything” she said to a reporter afterward in what seemed~like tears, “not today sorry. I’m sorry.” Arthur Miller, noted play~wright once said of Mariel “it seems to me that she is a phenomenon.” “I do not object to doing musicals, I rather enjoy them.” Mariel said later. She became increasingly dependant upon substances that could be said to be “relatively~questionably beneficial” such as food and Phenobarbital (itself a barbituate~esque “tranquilizer~of~sorts or what~have~you if~you~will”). “It takes an actual artist to do her lines the way she did the way she was, if you understand what I am saying” a person on the streets may have said about Mariel during this period. She was blamed for gambling and being overwhelmingly emotional during this time~in~her~career as well. Doctors increasingly prescribed therapy and medications as was so common in Hollywood California, during this period (the 1950s). “It took so much just to keep her going” Doctors said of Mariel. “I don’t want to think of myself as a scape~goat” Mariel said, but it was so easy to do for the other people surrounding her, during this period of time, but not especially (Einstein’s relativity~theory applies here).” was a “withdrawal~symptom~inspired heavenucination”, or “more~correct perception of an experience ‘not actually there’” (resulting from a lack of Phenobarbital in an individual who had grown accustomed to such), a psychiatrist may say about an individual whom this experience happened to. THE “FACT” THAT THIS RECORD “EXISTS”…