83
" I added pieces the same way I’d constructed my body, from the inside out: boy-cut panties first (lacy), bra (sheer), stockings (thigh high), knee-length leather skirt (black), lime green midriff-baring shirt (polyester). David leaned against the wall and watched this striptease-in-reverse with fabulously expressive eyebrows slowly climbing toward heaven, I finished it off with a pair of strappy lime green three-inch heels, something from the Manolo Blahnik spring collection that I’d seen two months ago in Vogue.
He looked me over, blinked behind the glasses, and asked, “You’re done?”
I took offense, “Yeah. You with the fashion police?”
“I don’t think I’d pass the entrance exam.” The eyebrows didn’t come down. “I never knew you were so…”
“Fashionable?”
“Not really the word I was thinking.”
I struck a pose and looked at him from under my supernaturally lustrous eyelashes. “Come on, you know it’s sexy.”
“And that’s sort of my point. "
― Rachel Caine , Heat Stroke (Weather Warden, #2)
84
" 1) Leopardskin is always a neutral.2) You can get away with nearly anything if you wear the thing with black opaque tights and boots.3) Contrary to popular opinion, a belt is often not a good friend to a lady. Indeed, in many circumstances, it acts merely as a visual aid to help the onlooker settle the question: " Which half is fatter - the bottom or the top?" 4) Bright red is a neutral.5) Sellotape is NOT strong enough to mend a hole in the crotch of a pair of tights.6) You should NOT buy an outfit if you have to strike a sexy pose in the changing-room mirror to make it look good. On the other hand, if you immediately start dancing the minute you put it on, buy it, however much it costs: unless it's lots, in which case, you can't, so don't. Fashion magazines will NEVER say, " Actually, don't buy it if you can't afford it." Neither will your friends. I am probably the only person who will EVER say it to you. You're welcome. "
89
" A late arrival had the impression of lots of loud people unnecessarily grouped within a smoke-blue space between two mirrors gorged with reflections. Because, I suppose, Cynthia wished to be the youngest in the room, the women she used to invite, married or single, were, at the best, in their precarious forties; some of them would bring from their homes, in dark taxis, intact vestiges of good looks, which, however, they lost as the party progressed. It has always amazed me - the capacity sociable weekend revelers have of finding almost at once, by a purely empiric but very precise method, a common denominator of drunkenness, to which everybody loyally sticks before descending, all together, to the next level. The rich friendliness of the matrons was marked by tomboyish overtones, while the fixed inward look of amiably tight men was like a sacrilegious parody of pregnancy. Although some of the guests were connected in one way or another with the arts, there was no inspired talk, no wreathed, elbow-propped heads, and of course no flute girls. From some vantage point where she had been sitting in a stranded mermaid pose on the pale carpet with one or two younger fellows, Cynthia, her face varnished with a film of beaming sweat, would creep up on her knees, a proffered plate of nuts in one hand, and crisply tap with the other the athletic leg of Cochran or Corcoran, an art dealer, ensconced, on a pearl-grey sofa, between two flushed, happily disintegrating ladies.At a further stage there would come spurts of more riotous gaiety. Corcoran or Coransky would grab Cynthia or some other wandering woman by the shoulder and lead her into a corner to confront her with a grinning imbroglio of private jokes and rumors, whereupon, with a laugh and a toss of her head, he would break away. And still later there would be flurries of intersexual chumminess, jocular reconciliations, a bare fleshy arm flung around another woman's husband (he standing very upright in the midst of a swaying room), or a sudden rush of flirtatious anger, of clumsy pursuit-and the quiet half smile of Bob Wheeler picking up glasses that grew like mushrooms in the shade of chairs. (" The Vane Sisters" ) "
94
" Both incest and the Holocaust have been subject to furious denial by perpetrators and other individuals and by highly organised groups such as the False Memory Syndrome Foundation and the Committee for Historical Review. Incest and the Holocaust are vulnerable to this kind of concerted denial because of their unfathomability, the unjustifiability, and the threat they pose to the politics of patriarchy and anti-Semitism respectively. Over and over, survivors of the Holocaust attest that they were warned of what was happening in Poland but could not believe it at the time, could not believe it later as it was happening to them, and still to this day cannot believe what they, at the same time, know to have occurred. For Holocaust deniers this is a felicitous twist, for their arguments denying the Holocaust and therefore the legitimacy of Israel as a Jewish state capitalize on the discrepancies of faded memory. In the case of incest, although post-traumatic stress disorder, amnesia, and dissociation represent some of the mind's strategies for comprehending the incomprehensible, incest deniers have taken advantage of inconsistencies to discredit survivor testimony. "
― , Trauma Cinema: Documenting Incest and the Holocaust