Today, I'd like to spotlight a thoroughly magical piece by the Irish poet Mary O'Malley, which draws on old Celtic legends of the otter woman (or otter wife). This is a classic "animal bride" figure, similar to seal maidens, swan maidens, crane wives and other half-animal/half-human creatures, trapped into marriage by mortal men who steal their animal skin sor cloak of feathers. Such stories usually end when the skin is found again, releasing her back into wild....
He never asked why she always walked
By the shore, what she craved
Why she never cried when every wave
Crescendoed like an orchestra of bones.
She stood again on the low bridge
The night of the full moon.
One sweet, deep breath and she slipped in
Where the river fills the sea.
She saw him clearly in the street light -- his puzzlement.
Rid of him she let out one low, strange cry. . .
The lovely painting above is by Kate O'Hara, an illustrator based in Reno, Nevada. The otter sculpture is by Ian Edwards, based here in the West Country. (He's best known for his figurative work, but you can see more of his animal sculptures here.) The otter photograph above is by Mark Hamblin, a fine nature photographer based in Scotland. The photograph below comes from a news article on otters, and was, alas, uncredited.
If you'd like to know more about "animal bride" legends go here. For more about shape-shifting otters go here. And for more about Mary O'Malley's beautiful work, you can listen to a good interview with the poet on American public radio here.
"The Otter Woman" by Mary O'Malley first appeared in The Southern Review (Autumn 1995). O'Malley's poetry collections include A Consideration of Silk, Where the Rocks Float, The Knife in the Wave, Asylum Road, The Boning Hall, A Perfect V, and Valparaiso; highly recommended. All rights to the text & imagery above reserved by the author and artists.