Title : "She is standing slightly behind him, considerably more sombre. In buttoned-up black, her long, dark locks tumbling in abundant waves, she is Botticelli’s Venus as channelled by Elvira, Mistress of the Dark..."
link : "She is standing slightly behind him, considerably more sombre. In buttoned-up black, her long, dark locks tumbling in abundant waves, she is Botticelli’s Venus as channelled by Elvira, Mistress of the Dark..."
"She is standing slightly behind him, considerably more sombre. In buttoned-up black, her long, dark locks tumbling in abundant waves, she is Botticelli’s Venus as channelled by Elvira, Mistress of the Dark..."
"... an icon of the Calabasas Renaissance. Her pose is stiff, her jacket sleeves pushed up in a gesture of can-do, eighties-style power-dressing."A description of Kim Kardashian, in "Kim Kardashian Meeting Donald Trump in the Oval Office Is a Nightmare We Can’t Wake Up From" by Naomi Fry in The New Yorker.
I blogged that because when I read it I got a twinge of envy from the realization that if I'd wanted to write a description, I wouldn't have come up with those details.
Great meeting with @KimKardashian today, talked about prison reform and sentencing. pic.twitter.com/uOy4UJ41JF— Donald J. Trump (@realDonaldTrump) May 30, 2018
I mean, there's the photo. We can all see it, but can we string together words like that? And yet, what is it about those 2 sentences that makes me think other people are the writers — the writer writers?
1. "buttoned-up... tumbling... channelled... pushed up" — we're entertained with swirling action, even though it's a static, formal, boring posed photograph. How did Fry see all that stuff? How did she arrange it so it's up, down, around, and back up again.
2. We've got cultural references: Botticelli’s Venus (I know what that is) somehow merged with ("channelled by") Elvira, Mistress of the Dark (which I would have thought I knew who she was but the reference to the Calabasas Renaissance is telling me I am an idiot to think that).
3. Those sleeves! So much happening there: "her jacket sleeves pushed up in a gesture of can-do, eighties-style power-dressing." I would have thought the can-do gesture was rolling up your sleeves, and that bunchy push-up look was something casual that people did in the 80s because of Don Johnson on "Miami Vice" and that the power dressing of the 80s was something else, something more northeastern and businesslike, not a Floridian police-work fantasy.
4. Those "long, dark locks tumbling in abundant waves." I would not have dared to use all those words. Like Coco Chanel with her "Before you leave the house, look in the mirror and take one thing off," I'd have looked at that sentence and felt obliged to strike one word out. One or three or four. And I couldn't bring myself to call hair "locks." Especially near "waves." I'd get influenced by the wateriness of "waves" and think of the locks in canals.
5. Why are we talking like this about a woman? She's a real human being. Is it okay to make her into some sort of clusterfuck of female iconography? I'd get stalled in some vague ethical cogitation and not save my time for
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