Fashion Poses Quotes

It has become the fashion to talk about Mysticism, even to pose as Mystics, and—need it be said?—those who talk the most on such subjects are those who know the least.

And this, too, affords no small occasion for anxieties - if you are bent on assuming a pose and never reveal yourself to anyone frankly, in the fashion of many who live a false life that is all made up for show; for it is torturous to be constantly watching oneself and be fearful of being caught out of our usual role. And we are never free from concern if we think that every time anyone looks at us he is always taking-our measure; for many things happen that strip off our pretence against our will, and, though all this attention to self is successful, yet the life of those who live under a mask cannot be happy and without anxiety. But how much pleasure there is in simplicity that is pure, in itself unadorned, and veils no part of its character!{PlainDealer+} Yet even such a life as this does run some risk of scorn, if everything lies open to everybody; for there are those who disdain whatever has become too familiar. But neither does virtue run any risk of being despised when she is brought close to the eyes, and it is better to be scorned by reason of simplicity than tortured by perpetual pretence.

We live in a culture that has, for centuries now, cultivated the idea that the skeptical person is always smarter than the one who believes. You can be almost as stupid as a cabbage, as long as you doubt. The fashion of the age has identified mental sharpness with a pose, not with genuine intellectual method and character.

The test of character posed by the gentleness of God's approach to us is especially dangerous for those formed by the ideas that dominate our modern world. We live in a culture that has, for centuries now, cultivated the idea that the skeptical person is always smarter than one who believes. You can be almost as stupid as a cabbage, as long as you doubt. The fashion of the age has identified mental sharpness with a pose, not with genuine intellectual method and character. Only a very hardy individualist or social rebel -- or one desperate for another life -- therefore stands any chance of discovering the substantiality of the spiritual life today. Today it is the skeptics who are the social conformists, though because of powerful intellectual propaganda they continue to enjoy thinking of themselves as wildly individualistic and unbearably bright.

Here I am, struggling to banish any foolish imagined affections for you so that I can consummate this marriage of convenience in a proper businesslike fashion, as we agreed. And then you go and read a book?" While he was at it, why didn't he just bring her a basket of kittens, a bottle of champagne, and pose naked with a rose caught between his teeth?

The brick is neither here nor there,' interrupted the stranger in an imposing fashion, 'it never merely falls on someone's head from out of nowhere. In your case, I can assure you that a brick poses no threat whatsoever. You will die another kind of death." 'And you know just what that will be?' queried Berlioz with perfectly understandable irony, letting himself be drawn into a truly absurd conversation. 'And can you tell me what that is?' 'Gladly,' replied the stranger. He took Berlioz's measure as if intending to make him a suit and muttered something through his teeth that sounded like 'One, two.. Mercury in the Second House... the moon has set... six-misfortune...evening-seven...' Then he announced loudly and joyously, 'Your head will be cut off!

In previous centuries, the Church was the great controller, dictating morality, stifling free expression and posing as conservator of all great art and music. Instead we have TV, doing just as good a job at dictating fashions, thoughts, attitudes, objectives as did the Church, using many of the same techniques but doing it so palatably that no one notices. Instead of ‘sins’ to keep people in line, we have fears of being judged unacceptable by our peers (by not wearing the right shoes, not drinking the right kind of beer, or wearing the wrong kind of deodorant). Coupled with that fear is imposed insecurity concerning our own identities. All answers and solutions to these fears come through the television, and only through television. Only through exposure to TV can the new sins of alienation and ostracism be absolved.

A category of government activity which, today, not only requires the closest scrutiny, but which also poses a grave danger to our continued freedom, is the activity NOT within the proper sphere of government. No one has the authority to grant such powers, as welfare programs, schemes for re-distributing the wealth, and activities which coerce people into acting in accordance with a prescribed code of social planning. There is one simple test. Do I as an individual have a right to use force upon my neighbor to accomplish this goal? If I do have such a right, then I may delegate that power to my government to exercise on my behalf. If I do not have that right as an individual, then I cannot delegate it to government, and I cannot ask my government to perform the act for me…In reply to the argument that a little bit of socialism is good so long as it doesn't go too far, it is tempting to say that, in like fashion, just a little bit of theft or a little bit of cancer is all right, too! History proves that the growth of the welfare state is difficult to check before it comes to its full flower of dictatorship. But let us hope that this time around, the trend can be reversed. If not then we will see the inevitability of complete socialism, probably within our lifetime.

It does not take the striking pose of a high-fashion model or the strict stance of someone in uniform to earn respect and admiration.

One more comment from the heart: I’m old fashioned and think that reading books is the most glorious pastime that humankind has yet devised. Homo Ludens dances, sings, produces meaningful gestures, strikes poses, dresses up, revels and performs elaborate rituals. I don’t wish to diminish the significance of these distractions-without them human life would pass in unimaginable monotony and possibly dispersion and defeat. But these are group activities above which drifts a more or less perceptible whiff of collective gymnastics. Homo Ludens with a book is free. At least as free as he’s capable of being. He himself makes up the rules of the game, which are subject only to his own curiosity. He’s permitted to read intelligent books, from which he will benefit, as well as stupid ones, from which he may also learn something. He can stop before finishing one book, if he wishes, while starting another at the end and working his way back to the beginning. He may laugh in the wrong places or stop short at words he’ll keep for a life time. And finally, he’s free-and no other hobby can promise this-to eavesdrop on Montaigne’s arguments or take a quick dip in the Mesozoic.

Compared with that of a great artist, the friendliness of a great nobleman, however charming it may be, seems like play-acting, like simulation. Saint-Loup sought to please; Elstir loved to give, to give himself. Everything he possessed, ideas, works, and the rest which he counted for far less, he would have given gladly to anyone who understood him. But, for lack of congenial company, he lived in an unsociable isolation which fashionable people call pose and ill-breeding, the authorities a recalcitrant spirit, his neighbours madness, his family selfishness and pride.

Questions are not happenstance thoughts nor are questions common problems of today which one picks up from hearsay and booklearning and decks out with a gesture of profundity questions grow out of confrontation with the subject matter and the subject matter is there only where eyes are, it is in this manner that questions will be posed and all the more considering that questions that have today fallen out of fashion in the great industry of problems. One stands up for nothing more than the normal running of the industry. Philosophy interprets its corruption as the resurrection of metaphysics.

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.

Here was the real scandal of On Our Backs photography: We were women shooting other women — our names, faces, and bodies on the line — and we all brought our sexual agenda to the lens. Each pictorial was a memoir. That is quite the opposite of a fashion shoot at Vogue or Playboy, where the talent is a prop… When we began our magazine, female fashion and portrait models — all of them — were shot the same way kittens and puppies are photographed for holiday calendars: in fetching poses, with no intentions of their own.

I wanted to assert my own style, which posed a problem, because I didn't really have any style. Grandma would shake her head at me and say, "Someday baby, you'll really understand how to dress. I'm just gonna pray on that for you.

Nature, fashioning him, had fashioned also a pedestal for him to stand and brood on, to pose and sing on. Off that pedestal he was lost.

The fashion today is to place God in court and give Him a trial. We have had such a lust for “debunking” every good and useful man in history that even God cannot escape. It is one of the unfortunate by-products of the quest for truth, plus an unlovely hunger in humanity for scandal. It is a species of jealousy. We dislike to believe that anybody else is quite as good as we are, not even God. As for me, I choose to stop following this current, to stop posing as the judge of the universe. If it brought any good results I might continue, but to date it has carried me out into the desert and left me there.

The uglier the fashions, the worse places we'd have to pose to make them look good. Junkyards. Slaughterhouses. Sewage treatment plants. It's the ugly bridesmaid tactic where you only look good by comparison.

Just for a moment it reminded not-Triss of drawings she had seen in magazines and on book jackets, of pastel-colored parties where languid, fashionable women slunk and posed, slim and elegant as fish, and gentlemen passed them flutes of fat-bubbled champagne. The impression did not last long, however. The scene around her was too jarringly and robustly real. The accents were all too Ellchester, and some of the girls had knobbly ankles.

In spite of this newly developed media literacy, however, I’ve also noticed that it is now an increasingly sexualized ideal that younger and younger girls are beginning to feel they must live up to. The notorious Calvin Klein ad campaigns eroticized sixteen-year-olds when I was a teenager, then eroticized fourteen-year-old models in the early nineties, then twelve-year-olds in the late nineties. GUESS Jeans ads now pose what look like nine-year-olds in provocative settings. And the latest fashions for seven- and eightyear- olds re-create the outfits of pop stars who dress like sex workers. Is this progress? I doubt it.

As a special branch of general philosophy, pathogenesis had never been explored. In my opinion it had never been approached in a strictly scientific fashion--that is to say, objectively, amorally, intellectually. All those who have written on the subject are filled with prejudice. Before searching out and examining the mechanism of causes of disease, they treat of 'disease as such', condemn it as an exceptional and harmful condition, and start out by detailing the thousand and one ways of combating it, disturbing it, destroying it; they define health, for this purpose, as a 'normal' condition that is absolute and immutable. Diseases ARE. We do not make or unmake them at will. We are not their masters. They make us, they form us. They may even have created us. They belong to this state of activity which we call life. They may be its main activity. They are one of the many manifestations of universal matter. They may be the principal manifestation of that matter which we will never be able to study except through the phenomena of relationships and analogies. Diseases are a transitory, intermediary, future state of health. It may be that they are health itself. Coming to a diagnosis is, in a way, casting a physiological horoscope. What convention calls health is, after all, no more than this or that passing aspect of a morbid condition, frozen into an abstraction, a special case already experienced, recognized, defined, finite, extracted and generalized for everybody's use. Just as a word only finds its way into the Dictionary Of The French Academy when it is well worn stripped of the freshness of its popular origin or of the elegance of its poetic value, often more than fifty years after its creation (the last edition of the learned Dictionary is dated 1878), just as the definition given preserves a word, embalms it in its decrepitude, but in a pose which is noble, hypocritical and arbitrary--a pose it never assumed in the days of its vogue, while it was still topical, living and meaningful--so it is that health, recognized as a public Good, is only the sad mimic of some illness which has grown unfashionable, ridiculous and static, a solemnly doddering phenomenon which manages somehow to stand on its feet between the helping hands of its admirers, smiling at them with its false teeth. A commonplace, a physiological cliche, it is a dead thing. And it may be that health is death itself. Epidemics, and even more diseases of the will or collective neuroses, mark off the different epochs of human evolution, just as tellurian cataclysms mark the history of our planet.

She held a scarlet sequin dress to her chest and posed in front of a mirror. Too hot. She put it back and took a black mini. Too dreary. Then a blue as pale as a whisper caught her eye. She took the dress. The material was silky and clinging. Perfect for a goddess. On the floor below the dress sat scrappy wraparound high-heeled sandals that matched the blue. She didn't understand why she needed to dress up to meet Stanton but the impulse to steal into the storage room had been rising in her since the sun set. She took the dress and sandals back to her room, then sat on the floor and painted her toenails and fingernails pale blue. She drew waves of eternal flames and spiral hearts in silver and blue around her ankles and up her legs with body paints. When she was done, she pressed a Q-tip into glitter eye shadow and spread sparkles on her lid and below her eye. With a sudden impulse she swirled the lines over her temple and into her hairline. She liked the look. She rolled blue mascara on her lashes, then brushed her hair and snapped crystals in the long blond strands. She squeezed glitter lotion into her palms and rubbed it on her shoulders and arms. Last she took the dress and stepped into it. She turned to the mirror on the closet door. A thrill ran through her. Her reflection astonished her. She looked otherworldly, a mystical creature... eyes large, skin glowing, eyelashes longer, thicker. Everything about her was more powerful and sleek and fairy tale. Surely this wasn't really happening. Maybe she would wake up and run to school and tell Catty about her crazy dreams. But another part of her knew this was real. She leaned to one side. The dress exposed too much thigh. "Good." Her audacity surprised her. Another time she would have changed her dress. But why should she?

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.

In the following pages I shall apply the term "poisonous pedagogy" to this very complex endeavor. It will be clear from the context in question which of its many facets I am emphasizing at the moment. The specific facets can be derived directly from the preceding quotations from child-rearing manuals. These passages teach us that: 1. Adults are the masters (not the servants!) of the dependent child. 2. They determine in godlike fashion what is right and what is wrong. 3. The child is held responsible for their anger. 4. The parents must always be shielded. 5. The child's life affirming feelings pose a threat to the autocratic adult. 6. The child's will must be "broken" as soon as possible. 7. All this must happen at a very early age, so the child "won't notice" and will therefore not be able to expose the adults. The methods that can be used to suppress vital spontaneity in the child are: laying traps, lying, duplicity, subterfuge, manipulation, "scare" tactics, withdrawal of love, isolation, distrust, humiliating and disgracing the child, scorn, ridicule, and coercion even to the point of torture.

Alice Miller has summed up these rules under the title “Poisonous Pedagogy” in her book For Your Own Good. These rules state: 1. Adults are the masters of the dependent child. 2. They determine in godlike fashion what is right and what is wrong. 3. The child is held responsible for the parents’ anger. 4. The parents must always be shielded. 5. The child’s life-affirming feelings pose a threat to the autocratic adult. 6. The child’s will must be “broken” as soon as possible. 7. All this must happen at a very early age so that the child “won’t notice” and will therefore not be able to expose the adult.

I'm struck by the difficulty I had in formulating it. When I think back now, I ask myself what else it was that I was talking about in Madness and Civilization or The Birth of the Clinic, but power? Yet I'm perfectly aware that I scarcely ever used the word and never had such a field of analyses at my disposal. I can say that this was an incapacity linked undoubtedly with the political situation in which we found ourselves. It is hard to see where, either on the Right or the Left, this problem of power could then have been posed. On the Right, it was posed only in terms of constitution, sovereignty, and so on, that is, in juridical terms; on the Marxist side, it was posed only in terms of the state apparatus. The way power was exercised - concretely, and in detail - with its specificity, its techniques and tactics, was something no one attempted to ascertain; they contented themselves with denouncing it in a polemical and global fashion as it existed among the "other," in the adversary camp. Where Soviet socialist power was in question, its opponents called it totalitarianism; power in Western capitalism was denounced by the Marxists as class domination; but the mechanics of power in themselves were never analyzed.

The sin of Book I is at first sight more obscure, but it is particularly significant. We have seen that there appear to be two very important episodes showing the Red-Crosse a prey to Despair. When we find, further, that of the three Paynim Brethren, Sansfoy, Sansloi and Sansjoy, it is the last who is the Red-Crosse's most formidable enemy, we are driven to assume that there is some special significance in this stressing of a tendency to melancholy. Such a tendency is not now regarded as a serious sin, but in mediaeval times melancholy leading to inertia and in extreme cases to suicide was under the name of accidie one of the recognized Deadly Sins. By Elizabeth's day the much less pregnant term Sloth had been substituted in the usual catalogue, and Spenser nowhere uses the word accidie. But the late sixteenth and early seventeenth centuries were much preoccupied with the subject. They regarded the sufferers from it as at once in a highly dangerous spiritual state and as intensely interesting. It was the favourite pose of fashionable young men. Hamlet is the supreme treatment of it in literature, but most of the dramatists of the day are interested in it. I suggest that the first Book of the original Faerie Queene treated of the sin of accidie.

Esperanza Impossible Sonnet 18 Clothes or the lack of it, don't make, A person obscene, only behavior does. Who are you to judge someone's expression, But, here there are plenty grey areas! Problem is, when obscenity becomes expression, Misbehavior is deemed declaration of independence. Too many people confuse attention with admiration, And a stunt as some wonderful achievement. Accepting obscenity as freedom of expression, Is like showing tolerance to intolerance. Posing butt naked on instagram, unless you're pornstar, Is like barging into capitol with a flag confederate. We must find a balance between comfort and conscience. Civilization falls apart when we can't tell the difference.

He lavished on me a friendliness which was as far above that of Saint-Loup as that was above the affability of a mere tradesman. Compared with that of a great artist, the friendliness of a great gentleman, charming as it may be, has the effect of an actor’s playing a part, of being feigned. Saint-Loup sought to please; Elstir loved to give, to give himself. Everything that he possessed, ideas, work, and the rest which he counted for far less, he would have given gladly to anyone who could understand him. But, failing society that was endurable, he lived in an isolation, with a savagery which fashionable people called pose and ill-breeding, public authorities a recalcitrant spirit, his neighbours madness, his family selfishness and pride. And no doubt at first he had thought, even in his solitude, with enjoyment that, thanks to his work, he was addressing, in spite of distance, he was giving a loftier idea of himself, to those who had misunderstood or hurt him. Perhaps, in those days, he lived alone not from indifference but from love of his fellows, and, just as I had renounced Gilberte to appear to her again one day in more attractive colours, dedicated his work to certain people as a way of approaching them again, by which without actually seeing him they would be made to love him, admire him, talk about him; a renunciation is not always complete from the start, when we decide upon it in our original frame of mind and before it has reacted upon us, whether it be the renunciation of an invalid, a monk, an artist or a hero. But if he had wished to produce with certain people in his mind, in producing he had lived for himself, remote from the society to which he had become indifferent; the practice of solitude had given him a love for it, as happens with every big thing which we have begun by fearing, because we knew it to be incompatible with smaller things to which we clung, and of which it does not so much deprive us as it detaches us from them. Before we experience it, our whole preoccupation is to know to what extent we can reconcile it with certain pleasures which cease to be pleasures as soon as we have experienced it.

The God of monotheism did not die, it only left the scene for a while in order to reappear as humanity—the human species dressed up as a collective agent, pursuing its self-realization in history. But, like the God of monotheism, humanity is a work of the imagination. The only observable reality is the multitudinous human animal, with its conflicting goals, values and ways of life. As an object of worship, this fractious species has some disadvantages. Old-fashioned monotheism had the merit of admitting that very little can be known of God. As far back as the prophet Isaiah, the faithful have allowed that the Deity may have withdrawn from the world. Awaiting some sign of a divine presence, they have encountered only deus absconditus—an absent God. The end result of trying to abolish monotheism is much the same. Generations of atheists have lived in expectation of the arrival of a truly human species: the communal workers of Marx, Mill’s autonomous individuals and Nietzsche’s absurd Übermensch, among many others. None of these fantastical creatures has been seen by human eyes. A truly human species remains as elusive as any Deity. Humanity is the deus absconditus of modern atheism. A free-thinking atheism would begin by questioning the prevailing faith in humanity. But there is little prospect of contemporary atheists giving up their reverence for this phantom. Without the faith that they stand at the head of an advancing species they could hardly go on. Only by immersing themselves in such nonsense can they make sense of their lives. Without it, they face panic and despair. According to the grandiose theories today’s atheists have inherited from Positivism, religion will wither away as science continues its advance. But while science is advancing more quickly than it has ever done, religion is thriving—at times violently. Secular believers say this is a blip—eventually, religion will decline and die away. But their angry bafflement at the re-emergence of traditional faiths shows they do not believe in their theories themselves. For them religion is as inexplicable as original sin. Atheists who demonize religion face a problem of evil as insoluble as that which faces Christianity. If you want to understand atheism and religion, you must forget the popular notion that they are opposites. If you can see what a millenarian theocracy in early sixteenth-century Münster has in common with Bolshevik Russia and Nazi Germany, you will have a clearer view of the modern scene. If you can see how theologies that affirm the ineffability of God and some types of atheism are not so far apart, you will learn something about the limits of human understanding. Contemporary atheism is a continuation of monotheism by other means. Hence the unending succession of God-surrogates, such as humanity and science, technology and the all-too-human visions of transhumanism. But there is no need for panic or despair. Belief and unbelief are poses the mind adopts in the face of an unimaginable reality. A godless world is as mysterious as one suffused with divinity, and the difference between the two may be less than you think.

In 1972, Sara Kapp had been living for some time at Karmê Chöling without daring to ask to speak to Chögyam Trungpa. But when a New York modeling agency wanted to sign her as a model, she decided to ask his advice. Posing in front of the camera all day did not seem appropriate for someone who was trying to cut through her ego. Chögyam Trungpa asked her why she wanted to become a model. She explained how she had experienced some difficulty in sticking to any one thing after finishing college. So she thought that maybe picking out something for a few years might be beneficial. If that is the reason, he replied, then there’s no problem. He encouraged her to follow her career, and as she continued to hesitate, he told her: “The only obstacle I can see is if you do this work hoping to earn lots of money or to be on the cover of Vogue. That would be sad, because you’d be losing youself in the future. It’s a real shame when people regret not having enough money, or having missed a career opportunity, because they are then fixing themselves in the past. It’s very, very sad.” Then staring into her eyes, he repeated: “It’s very, very, very sad because that way we miss out on the present, and the present is marvelous.” She went on to become one of the best-known runway models of her day. For a period of time, one could find mannequins of Sara Kapp in Saks and other epxensive department stores throughout the United States. Her last major modeling contract was as the first Princes Borghese for Revlon. She now works behind the scenes in the fashion industry in Milan.

Ione I. AH, yes, 't is sweet still to remember, Though 't were less painful to forget; For while my heart glows like an ember, Mine eyes with sorrow's drops are wet, And, oh, my heart is aching yet. It is a law of mortal pain That old wounds, long accounted well, Beneath the memory's potent spell, Will wake to life and bleed again. So 't is with me; it might be better If I should turn no look behind, — If I could curb my heart, and fetter From reminiscent gaze my mind, Or let my soul go blind — go blind! But would I do it if I could? Nay! ease at such a price were spurned; For, since my love was once returned, All that I suffer seemeth good. I know, I know it is the fashion, When love has left some heart distressed, To weight the air with wordful passion; But I am glad that in my breast I ever held so dear a guest. Love does not come at every nod, Or every voice that calleth 'hasten;' He seeketh out some heart to chasten, And whips it, wailing, up to God! Love is no random road wayfarer Who Where he may must sip his glass. Love is the King, the Purple-Wearer, Whose guard recks not of tree or grass To blaze the way that he may pass. What if my heart be in the blast That heralds his triumphant way; Shall I repine, shall I not say: 'Rejoice, my heart, the King has passed!' In life, each heart holds some sad story — The saddest ones are never told. I, too, have dreamed of fame and glory, And viewed the future bright with gold; But that is as a tale long told. Mine eyes have lost their youthful flash, My cunning hand has lost its art; I am not old, but in my heart The ember lies beneath the ash. I loved! Why not? My heart was youthful, My mind was filled with healthy thought. He doubts not whose own self is truthful, Doubt by dishonesty is taught; So loved! boldly, fearing naught. I did not walk this lowly earth; Mine was a newer, higher sphere, Where youth was long and life was dear, And all save love was little worth. Her likeness! Would that I might limn it, As Love did, with enduring art; Nor dust of days nor death may dim it, Where it lies graven on my heart, Of this sad fabric of my life a part. I would that I might paint her now As I beheld her in that day, Ere her first bloom had passed away, And left the lines upon her brow. A face serene that, beaming brightly, Disarmed the hot sun's glances bold. A foot that kissed the ground so lightly, He frowned in wrath and deemed her cold, But loved her still though he was old. A form where every maiden grace Bloomed to perfection's richest flower, — The statued pose of conscious power, Like lithe-limbed Dian's of the chase. Beneath a brow too fair for frowning, Like moon-lit deeps that glass the skies Till all the hosts above seem drowning, Looked forth her steadfast hazel eyes, With gaze serene and purely wise. And over all, her tresses rare, Which, when, with his desire grown weak, The Night bent down to kiss her cheek, Entrapped and held him captive there. This was Ione; a spirit finer Ne'er burned to ash its house of clay; A soul instinct with fire diviner Ne'er fled athwart the face of day, And tempted Time with earthly stay. Her loveliness was not alone Of face and form and tresses' hue; For aye a pure, high soul shone through Her every act: this was Ione.

Charles Manson was a run-of-the-mill cult leader who used old-fashioned misogyny and racism to indoctrinate his followers. Far from being a hippie himself, Manson posed as a spiritual father figure to lure flower children into his cult and kept them there by using classic abuse techniques of isolation, manipulation, punishment, and reward. A notorious celebrity, instantly recognizable by his wild eyes and the swastika carved into his forehead, Manson holds a place in the cultural consciousness as the leader of all the cult leaders. Yet there was nothing at all extraordinary about Charles Manson.

Dr. Harpe, glancing through her window, read purpose in his stride as he came down the street. Her green eyes took on the gleam of battle and to doubly fortify herself she wrenched open her desk drawer and filled a whiskey glass to the brim. When she had drained it without removing it from her lips she drew her shirtwaist sleeve across her mouth to dry it, in a fashion peculiarly her own. Then she tilted her desk chair at a comfortable angle and her crossed legs displayed a stocking wrinkled in its usual mosquetaire effect. She was without her jacket but wore a man's starched piqué waistcoat over her white shirtwaist, and from one pocket there dangled a man's watch-fob of braided leather. She threw an arm over the chair-back and toyed with a pencil on her desk, waiting in this studied pose of nonchalance the arrival of Symes. The

While the secret identity was a precious commodity for most male heroes, some were confident enough to share theirs with a special someone. Heroes like Dr. Fate, The Flash, and Sandman revealed their heroic identities to their girlfriends, who then became their assistants, or “helpmates.” Hawkman and his girlfriend Shiera were the reincarnations of an ancient Egyptian prince and princess. Shiera’s eagerness to help her winged boyfriend often got her into trouble. “I hope this will teach you to stay out of affairs that aren’t your concern,” Hawkman snaps after he has rescued his sweetheart from yet another scrape. But by 1941, Hawkman needs help, and Shiera is a prime candidate. Hawkman’s costume consisted of tights, mask, and wings that were attached to his bare chest by crisscrossing straps. After quickly making some modifications that would not violate any obscenity laws, Hawkman presents Shiera with a feminized version of his costume, now complete with discreet bikini top. “. . . you mean I’m going to pose as you . . . oboy! This is going to be fun . . .” gushes Shiera, as she slips on the green and red costume. Thus was Hawkgirl born, joining another club for 1940s heroines: the Partners.

They had to be morally avant-garde, able to articulate the luxury opinions fashionable at that exact moment. They had to perform all these inversions—rising to the social stratosphere by ostentatiously demonstrating their solidarity with the oppressed, securing their place atop the structures of power by striking radical poses, and pretending to support tearing those structures down.

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My guests never predicted nuclear boiling annihilation, otherwise they surely would have posed in more pretty-making fashions, chasing the ever-present ambition to be the most becoming of the dead.

January 28: Marilyn attends a March of Dimes fashion show at the Waldorf Astoria, held to benefit children with polio. She is photoraphed with several children, smiling and talking with them, as well as posing for the camera.

Despite the power of the office, the waiting room was done up in Early American Dentist. The carpet was threadbare. The furniture managed to be neither fashionable nor functional. There were a dozen different issues of Sports Illustrated on the table and nothing else. The walls seemed to plead for a paint job. They were stained and barren, except for the photographs of past U.S. attorneys, a remarkable lesson in what not to wear and how not to pose when taking a picture for posterity. No

Andy’s Message Around the time I received Arius’ email, Andy’s message arrived. He wrote: Young, I do remember Rick Samuels. I was at the seminar in the Bahriji when he came to lecture. Like you I was at once mesmerized by his style and beauty, which of course was a false image manufactured by the advertising agencies and sales promoters. I was surprised to hear your backroom story of him being gangbanged in the dungeon. We are not ones to judge since both of us had been down that negative road of self-loathing. This seems to be a common thread with people whom others considered good-looking or beautiful. In my opinion, it’s a fake image that handsome people know they cannot live up to. Instead of exterior beauty being an asset, it often becomes a psychological burden. During the years when I was with Toby, I delved in some fashion modeling work in New Zealand. I ventured into this business because it was my subconscious way of reminding me of the days we posed for Mario and Aziz. It was also my twisted way of hoping to meet another person like me, with the hope of building a loving long-term relationship. It was also a desperate attempt to break loose from Toby’s psychosomatic grip on my person. Ian was his name and he was a very attractive 24 year old architecture student. He modeled to earn some extra spending money. We became fast friends, but he had this foreboding nature which often came on unexpectedly. A sentence or a word could trigger his depression, sending the otherwise cheerful man into bouts of non-verbal communication. It was like a brightly lit light bulb suddenly being switched off in mid-sentence. We did have an affair while I was trying to patch things up with Toby. As delightful as our sexual liaisons were there was a hidden missing element, YOU! Much like my liaisons with Oscar, without your presence, our sexual communications took on a different dynamic which only you as the missing link could resolve. There were times during or after sex when Ian would abuse himself with negative thoughts and self-denigration. I tried to console him, yet I was deeply sorrowed about my own unresolved issues with Toby. It was like the blind leading the blind. I was gravely saddened when Ian took his own life. Heavily drugged on prescriptive anti-depressant and a stomach full of extensive alcohol consumption, he fell off his ten story apartment building. He died instantly. This was the straw that threw me into a nervous breakdown. Thank God I climbed out of my despondencies with the help of Ari and Aria. My dearest Young, I have a confession to make; you are the only person I have truly loved and will continue to love. All these years I’ve tried to forget you but I cannot. That said I am not trying to pry you away from Walter and have you return to me. We are just getting to know each other yet I feel your spirit has never left. Please make sure that Walter understands that I’m not jeopardizing your wonderful relationship. I am happy for the both of you. You had asked jokingly if I was interested in a triplet relationship. Maybe when the time and opportunity arises it may happen, but now I’m enjoying my own company after Albert’s passing. In a way it is nice to have my freedom after 8 years of building a life with Albert. I love you my darling boy and always will. As always, I await your cheerful emails. Andy. Xoxoxo

ONCE, IN A HOUSE ON EGYPT STREET, there lived a rabbit who was made almost entirely of china. He had china arms and china legs, china paws and a china head, a china torso and a china nose. His arms and legs were jointed and joined by wire so that his china elbows and china knees could be bent, giving him much freedom of movement. His ears were made of real rabbit fur, and beneath the fur, there were strong, bendable wires, which allowed the ears to be arranged into poses that reflected the rabbit’s mood — jaunty, tired, full of ennui. His tail, too, was made of real rabbit fur and was fluffy and soft and well shaped. The rabbit’s name was Edward Tulane, and he was tall. He measured almost three feet from the tip of his ears to the tip of his feet; his eyes were painted a penetrating and intelligent blue. In all, Edward Tulane felt himself to be an exceptional specimen. Only his whiskers gave him pause. They were long and elegant (as they should be), but they were of uncertain origin. Edward felt quite strongly that they were not the whiskers of a rabbit. Whom the whiskers had belonged to initially — what unsavory animal — was a question that Edward could not bear to consider for too long. And so he did not. He preferred, as a rule, not to think unpleasant thoughts. Edward’s mistress was a ten-year-old, dark-haired girl named Abilene Tulane, who thought almost as highly of Edward as Edward thought of himself. Each morning after she dressed herself for school, Abilene dressed Edward. The china rabbit was in possession of an extraordinary wardrobe composed of handmade silk suits, custom shoes fashioned from the finest leather and designed specifically for his rabbit feet, and a wide array of hats equipped with holes so that they could easily fit over Edward’s large and expressive ears. Each pair of well-cut pants had a small pocket for Edward’s gold pocket watch. Abilene wound this watch for him each morning.

Very well. Since you won’t divulge her location, answer me this. Why would Miss Plum turn down a respectable offer of marriage from a gentleman such as my Bram?” “Why is it that ladies seem to believe I enjoy discussing these types of personal matters?” Mr. Skukman countered. Iris continued as if Mr. Skukman had not spoken. “Bram is a wealthy, eligible, and influential gentleman who owns his own castle—not to mention his stellar good looks.” “You’re his mother. Of course you’re going to believe he has stellar good looks.” “You don’t believe my Bram is handsome?” “Yet another topic I’m not comfortable discussing, but . . . I suppose if I really consider the matter, yes . . . Mr. Haverstein’s features are adequately arranged, but Miss Plum is not a lady who is impressed by a handsome face.” “She’s an actress.” Mr. Skukman let out a bit of a growl, which had Lucetta immediately stepping from behind the curtain. “Thank you, Mr. Skukman, but I think it might be for the best if I take it from here.” “Were you hiding behind the curtains?” Iris demanded. “Obviously,” Lucetta said as she headed across the room, stepping in between Iris, who was looking indignant, and Mr. Skukman, who’d adopted his most intimidating pose—a pose that didn’t appear to intimidate Iris in the least. “Now then,” Lucetta began, sending Mr. Skukman a frown when he cracked his knuckles, “from what I overheard, you’re here, Mrs. Haverstein, to learn why I rejected Bram’s offer.” Iris lifted her chin. “That’s one of the reasons I’ve sought you out.” “Lovely, and before we address those other reasons, allow me to say that the reason I refused Bram’s proposal was because your son was offering to marry a woman who doesn’t exist. He simply has yet to realize that.” Iris narrowed her eyes. “Bram could provide you with everything.” “I’m fairly good at providing for myself, Mrs. Haverstein.” Iris’s eyes narrowed to mere slits. “What are you really playing at? Are you, by chance, hoping that because you turned him down, he’ll make you a better offer?” Lucetta’s brows drew together. “What else could he possibly offer me that would be more appealing than his name?” For a second, Iris looked a little taken aback, but she rallied quickly. “You may be the type of woman who prefers the freedom spinsterhood provides, so I would imagine you’re holding out for a nice place in the city, replete with all the fashionable amenities.” Even though Lucetta was well aware of the reputation most actresses were assumed to enjoy, and even though such insinuations normally never bothered her, a sliver of hurt wormed its way into her heart. Before she could summon up a suitable response, though, Abigail suddenly breezed into the room. “Lucetta is like a granddaughter to me, Iris, and as such, you will treat her accordingly, as well as apologize for your serious lack of manners,” Abigail said as she plunked her hands on her hips and scowled at her daughter. At first, it seemed that Iris wanted to argue the point, but then she blew out a breath and nodded Lucetta’s way. “My mother is quite right. That was unkind of me, and unfair. Forgive me.” Lucetta

A person au fait with the millenarian edict of knowing oneself does not need a tattoo, pierced ear, or gaudy neck chains to declare who they are. Eccentricity for its own sake is simply a boring fashion statement and not a thoughtful statement of what comprises a wholesome self. A self-poised person does not need to own a luxury car to determine their degree of self-worth. Nor does a self-determined person need to idolize celebrities, hate other people whom they do not wish to exemplify, or live vicariously through other people’s admirable deeds. A person with unique and contented self-identify does not flip through fashion magazines or scan the headlines of gossip magazines when loitering in the supermarket checkout stand. A person who contemplates the meaningfulness of their existence is not fixated with posing in other people’s raiment or observing other people’s nakedness. A person who knows who they are and realizes how to accomplish all of their life goals does not dally by people watching or become distracted by envying other people.

under no circumstances ought we to fall into the error of posing the religious question in an abstract, idealistic fashion, as an “intellectual” question unconnected with the class struggle, as is not infrequently done by the radical-democrats from among the bourgeoisie. It would be stupid to think that, in a society based on the endless oppression and coarsening of the worker masses, religious prejudices could be dispelled by purely propaganda methods. It would be bourgeois narrow-mindedness to forget that the yoke of religion that weighs upon mankind is merely a product and reflection of the economic yoke within society. No number of pamphlets and no amount of preaching can enlighten the proletariat, if it is not enlightened by its own struggle against the dark forces of capitalism. Unity in this really revolutionary struggle of the oppressed class for the creation of a paradise on earth is more important to us than unity of proletarian opinion on paradise in heaven.

As a self-confessed Pre-Raphaelite - a term that by the 1880s was interchangeable with ‘Aesthete’ - Constance was carrying a torch whose flame had ben lit in the 1850s by a group of women associated with the founding Pre-Raphaelite Brotherhood painters. Women such as Elizabeth Siddal and Jane Morris, the wives respectively of the painter Dante Gabriel Rossetti and the poet, designer and socialist William Morris, had modelled for the Pre-Raphaelite artists, wearing loose, flowing gowns. But it was not just their depiction on canvas that sparked a new fashion among an intellectual elite. Off canvas these women also establised new liberties for women that some twenty years later were still only just being taken up by a wider female population. They pioneered new kinds of dresses, with sleeves either sewn on at the shoulder, rather than below it, or puffed and loose. While the rest of the female Victorian populace had to go about with their arms pinned to their bodies in tight, unmoving sheaths, the Pre-Raphaelite women could move their arms freely, to paint or pose or simply be comfortable. The Pre-Raphaelite girls also did away with the huge, bell-shaped crinoline skirts, held out by hoops and cages strapped on to the female undercarriage. They dispensed with tight corsets that pinched waists into hourglasses, as well as the bonnets and intricate hairstyles that added layer upon layer to a lady’s daily toilette. Their ‘Aesthetic’ dress, as it became known, was more than just a fashion; it was a statement. In seeking comfort for women it also spoke of a desire for liberation that went beyond physical ease. It was also a statement about female creative expression, which in itself was aligned to broader feminist issues. The original Pre-Raphaelite sisterhood lived unconventionally with artists, worked at their own artistic projects and became famous in the process. Those women who were Aesthetic dress in their wake tended to believe that women should have the right to a career and ultimately be enfranchised with the vote. […] And so Constance, with ‘her ugly dresses’, her schooling and her college friends, was already in some small degree a young woman going her own way. Moving away from the middle-class conventions of the past, where women were schooled by governesses at home, would dress in a particular manner and be chaperoned, Constance was already modern.

Step By Step Guide To Finding A Good Roofing Contractor The local roofing repair contractor you choose should always have a great reputation in the community and a track record of exceptional customer service. When you can't be on site, you need to know that your service provider is doing an excellent job. You also need to be sure that old-fashioned craftsmanship and quality materials are part of the roofing repair contractor's vision for his work. The following are methods to make sure that you hire the right roofing repair contractor. A reliable roofing repair contractor will make an effort to bring you the highest quality results. Well-regarded roofing repair contractors preserve their good reputations by always keeping their promises. Give your roofing repair contractor an appropriate timeline and do not interrupt his work unnecessarily. Discover how the contractual worker arrangements to handle any obligation issues. Once you start seeing bids, do not make the mistake of assuming that a low bid will lead to a similarly low work performance. Check the cost of the needed materials and compare them to the pricing of the low bid. In addition, it's important to think about all the labor costs. Construct a legal contract only when you have determined the price is within reason. Often when you are searching for a local roofing repair contractor with a great reputation and who will provide the very best work, this is usually one of the busier people in his field. If your local roofing repair contractor has a reputation for doing a great job, be prepared to wait to engage his services. There is a downside to roofing repair contractors who are in high demand as they might not be able to focus entirely on your project. The most vital thing in finding a local roofing repair contractor is to trust your instincts. Every time a roofing expert comes to you with a legal contract that requires your signature, read the legal agreement to really ensure all of your requests are present in the legal agreement and the roofing expert recognizes them. If you're taking the time to ensure the legal agreement has everything you and your service provider had agreed on and is put in clear terms, it'll save you much stress and money down the road. Ensure you have posed all questions and concerns to your service provider prior to signing an agreement. If there are any terms or conditions you do not understand, give the legal agreement to a lawyer for clarification. Roofing contractors with excellent reputations consider it good business practice to provide each client with a written quote before starting work on any job. If the info is needed, pronto, your roofing repair contractor might be willing to provide you with a quote over the phone. Inspect the schedule and qualifications of the roofing repair contractor to effectively ensure that the project will be finished exactly how and when you would like it and within your financial requirements. Make sure to ask any questions and address all concerns to your satisfaction before you employee a roofing repair contractor

The most beautiful of all photographs are those taken of savages in their natural surroundings. The savage is always confronting death, and he confronts the lens in exactly the same manner. He does not ham it up, nor is he indifferent. He always poses; he faces up to the camera. His achievement is to transform this technical operation into a face-to-face confrontation with death. This is what makes these pictures such powerful and intense photographic objects. As soon as the lens fails to capture this pose, this provocative obscenity of the object facing death, as soon as the subject begins to collude with the lens, and the photographer too becomes subjective, the 'great game' of photography is over. Exoticism is dead. Today it is very hard indeed to find a subject - or even an object - that does not collude with the camera lens. The only trick here, generally speaking, is to be ignorant of how one's subjects live. This gives them a certain aura of mystery, a savagery, which the successful picture captures. It also captures a gleam of ingenuity, of fatality, in their faces, betraying the fact that they do not know who they are or how they live. A glow of impotence and awe that is completely lacking in our tribes of worldly, devious, fashion-conscious and self-regarding people, always well-versed in the subject of themselves - and hence devoid of all mystery. For such people the camera is merciless.

The Advantage of Long Range Technique and Why Close Range Is Deadly Let's be clear: you always want to maintain distance. For the long stick, long range is the optimum strategy. At long range, the opponent must reach out with his hand to hit you. At the farthest range, he can only hit you with that hand: the other hand is too far back to touch you, and his feet are planted as he stretches. If he extends to kick you, his hands can't touch you, while his other foot is planted. In either case, at this longest range only one hand or foot threatens you. With the big stick, you want to maintain a range where you can blast him, but he can't touch you. This is the safest range. As the opponent gets closer he enters a range where he can hit you with both hands and kick you with both feet, so you now have four potential weapons to contend with. At even closer range he can hit with the hands, elbows, knees, head, so the number of threats grows larger still. At this range if he has a knife, he can use one hand to hold you while he stabs with the other, which is easily a fatal attack. At close range an opponent can bring a concealed gun or knife into play, and you may not see the weapon until it is too late. While long range is the desired range, you must realize that you can't always maintain that range, so you must be prepared to fight in close. You not only want to be able to hit at very close range, but be able to drive the opponent back out into the kill zone. Countering the Closing Opponent 1) Recognize the Danger Avoid overconfidence, the delusional thinking, “If anybody tries to tackle me I'll knock him out.” It's not that easy. As long as you're standing, running is always an option, but once an opponent has clinched or tackled you, you lose that option. If you get taken to the ground spectators can very easily kick you in the head, a very powerful, inconspicuous kick that is like kicking a football off a tee. Martial artist Geoff Thompson knew two men who were killed in just such a fashion. A gang tactic is to assign one member to tie you up, sacrificing himself if necessary, so that the rest of the gang can pick you off. Against multiple opponents your primary strategy is mobility, fleeing if possible, but once you're clutched or tackled you've lost that option. A clinching assailant with a knife is your worst nightmare, posing a highly lethal threat.

A progress of degradation with glowing phraseology, cajoleries and falsity. They put on exaggerated airs of mock-modesty, and assume a scornful pose before their admirers, all the time longing to be noticed. The old punctilious sense of honor have ceased to exist while finally the practices of the man of pleasure, the libertine modes, in full completeness, count at most only some forty years of life, – after which the reign of hypocrisy sets in. What is lighter than a feather? A woman. What is lighter than a woman? Nothing. Phrase found in a Latin satire. It means nothing more nothing less than this: women have always hated morality and seriousness, precise knowledge and deliberate wisdom, which in their eyes are merely silly and hypocritical pretensions that mark the class of professional phrase-mongers. Writers like Gorgias or Appolodorus, or orators like Hyperides, masters of the eloquence that thrills mankind. The Gown, whence springs the type of creatures that tear each other to pieces with tongue and pen. pg84 A kind o f a code of revenge, a guiding principle a point of honor that was held more sacred than life itself Vulsenade Pg94 Such extravagances were admitted by the principles of chivalry, an institution sane enough at its origins, but run mad before its end.” Dr Johannes Scheer, Society and Manners in Germany, Chivalry at Court Pg138 And many another indiscreet, prying teller of naughty tales, are far and away more instructive than formal history, which is either pedantic by convention or else dumb by constraint. In investigations of any kind details should be studied first, in order at a subsequent stage to elaborate the series of special observations made into a general survey of the subject. This is the only way to get good results pg154 A phrase well expressing an easiness of morals at once very frank and very French. Pg166 That treacherous gentleness women practice toward one another – every woman instinctively hates every other. pg164 A woman will allow herself to be told: you belong to a sex possessing a small brain and a half-developed organization; your disposition and instinctive are all disproportionate, inconsequent hypocritical, illogical and futile; your moral sense is deformed, your selfishness without a scruple and your vanity without a limit. All this will hardly so much as annoy her; but dare to say: you have short legs, and you have committed a dire offense woman’s nature can never forgive. Further on, Schopenhauer adds another curiously insulting passage: “The ancients,”he says, “would have laughed at our gallantry of the old French fashion and our stupid veneration for number two of the perfect realization of German-Christian silliness.” pg169 “A married woman’s first thought and care is to devise how to be a widow.” Brantley, Dames galantes, Fourth Discourse

In the rein of ignorance, the constant state of war which lasted for twenty years did not stop a certain amount of rationality that allowed this writings. pg200 And young men are accustomed from the first to idleness, effeminacy and frivolity, coming eventually to the business of life with empty heads and hearts crammed with false ideals…less credit and wealth, less dignity and prestige. They display vanity, but legitimate pride never. The men of pleasure are well received in society because they are light-hearted, gay, witty, dissipated, easy-going, amateurs of every pleasure. Pg224 The fair dames of the period resorted to every means to stimulate their sensibilities. They seek excitement in dissecting dead bodies. “The young Contesse de Coigny was so passionately fond of this dreadful study (Anatomy), that she would never start on a journey without taking in the boot of her traveling carriage a corpse to dissect, just as one takes with one a book to read.” – Mme. de Gengis, Mémoires, vol I. This mania for dissection was for some time extremely fashionable with ladies of quality. Pg226 On these ridiculous types was built up the whole school of impotent and despairing lovers, who under a nauseous pretence of being so romantic and interesting, prolonged for half a century longer the silly affectation of sentimental melancholy, in other words, a green-sickness of skepticism complicated with pulmonary consumption! Pg227 A familiar axiom of economic science declares that “every vicious act is followed by diminution of force.” Pg229 The Mousquetaires had began by displaying a most laudable zeal, but it was soon discovered that these gentlemen were better at noise than real work. Pg230 “The deterioration of type among noble families,” says Moreau de Tours, “is noted in numerous writers; Pope remarks to Spencer on the sorry looks of members of the English aristocracy in his day; and in the same way physiologists had even earlier noted the short stature of the Spanish grandees at the court of Philip V.” As for Frenchmen, long before 1789, they were amongst the poorest specimens of humanity, according to the testimony of many witnesses. Pg237 The practices of the man of pleasure, the libertine modes, in full completeness, count at most only some forty years of life, – after which the reign of hypocrisy sets in. Thus ends the Sword. A progress of degradation with glowing phraseology, cajoleries and falsity. They put on exaggerated airs of mock-modesty, and assume a scornful pose before their admirers, all the time longing to be noticed. The old punctilious sense of honor have ceased to exist while finally the practices of the man of pleasure, the libertine modes, in full completeness, count at most only some forty years of life, – after which the reign of hypocrisy sets in.

the middle of 2015, it was time to commit. Trump organized an announcement event at his own Trump Tower. In typical Trump fashion, he hired a room full of extras to pose as “supporters” from a New York modeling agency (Extra Mile) who were paid $50 to attend the event.

Eyes of Laura Mars (1978)—This New York-set thriller operates on mood and atmosphere and moves so fast, with such delicate changes of rhythm, that its excitement has a subterranean sexiness. Faye Dunaway, with long, thick, dark-red hair, is Laura Mars, a celebrity fashion photographer who specializes in the chic and pungency of sadism; the pictures she shoots have a furtive charge—we can see why they sell. Directed by Irvin Kershner, the film has a few shocking fast cuts, but it also has scabrous elegance and a surprising amount of humor. Laura’s scruffy, wild-eyed driver (Brad Dourif) epitomizes New York’s crazed, hostile flunkies; he’s so wound up he seems to have the tensions of the whole city in his gut. Her manager (René Auberjonois) is tense and ambivalent about Laura—about everything. Her models (Lisa Taylor and Dar-lanne Fluegel), who in their poses look wickedly decadent, are really just fun-loving dingalings.

An hour later Tianna was walking toward Planet Bang, wearing a sweater shell with sequins and an ankle-grazing skirt slit up the sides to the top of her thighs. She glanced at the waning moon and stopped. There was something important she had to do before the moon turned dark and it was in some way connected to Justin and Mason, but what? She stared at the sky as she continued, hoping the memory would come to her the way soccer and skateboarding had. When she rounded the corner, the music grew louder. A neon sign throbbed pink, blue, green, and orange lights over the kids waiting to go inside. She recognized some of them. It seemed as if everyone had come with a friend or friends. Their heads turned and watched her as she walked to the end of the line. She spread her hands through her hair and arched her back. As long as they were going to stare, she might as well give them a show. She twisted her body and stuck one long leg out from the slit in her skirt. Guys smiled back at her as she stretched her arms in a sexy pose. The girls mostly turned away, pretending they hadn't been checking out their competition.

Berne A remarkable discovery today in the window of a toyshop. Not only lead soldiers of all sizes and poses—but also a large number of tanks. Some of them are quite realistic, with machine guns in the turret and wheels encircled with tracks. Locomotives are no longer in fashion today, in children’s toys—not even in Switzerland.

The greatest danger, I argued, was posed by the very encounter of Westerners with Tantric doctrine, a doctrine which is, apparently, highly congenial to die Western character. In this respect, I must confess that in writing the original conclusion to Man as Potency , I did not take the necessary precautions ; for, in this first conclusion, I praised the vision of Tantric initiates in almost Nietzschean terms, particularly by contrasting it with that of Christianity. [...] What I have just described reveals the chief (albeit extraneous and contingent) limit of this work of mine. Were Western man — who is the person less qualified (from an existential, if not intellectual point of view) to pursue certain disciplines - to embrace Tantrism directly in other than a purely theoretical fashion, he would almost inevitably fall victim to a destructive short-circuit, of madness or self-annihilation. It is in such terms I hat I personally interpreted the lives of Nietzsche, Michelstaedter and Weinmger (among others), although these individuals had been far from accepting the most radical consequences implied by certain truths.

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For the first time, I felt that I had found something really better than myself, and was happy,” Mead later remembered. At Barnard she had friends by choice rather than by chance, a circle of ten or so young women who included the future U.S. poet laureate Léonie Adams. Each year they would adopt a derogatory name as a badge of honor, perhaps something hurled at them by West Side townies or by a professor outraged at some boneheaded behavior or radical political pose. The one that really stuck was the Ash Can Cats, a good label for a group of freethinking, adventurous women, disheveled but intellectually fashionable, half of them Jewish, and all equally acquainted with Bolshevism and the poetry of Edna St. Vincent Millay—bluestockings with bobs. The group apartment on West 116th Street was abuzz with impromptu aphorisms, the tinkle of overturned gin bottles, and campus gossip about affairs with older men and, sometimes, older women. By the summer of 1921, Mead informed the Philadelphia Daily Vacation Bible School that she would no longer be able to serve as director for Bible studies during the long vacation.

Big-city government is today nothing more than little-city government which has been stretched and adapted in quite conservative fashion to handle bigger jobs. This has had strange results, and ultimately destructive results, because big cities pose operational problems that are innately different from those posed by little cities.

It’s one thing to battle oppression from the outside, but what do you do when the ideas that are attacking you are your own? As with all forms of oppression, sizeism doesn't exist in a vacuum. It interacts with and impacts other forms of oppression, including ableism. For those of us with disabilities where extra weight can make moving around that much harder, the threat of losing what mobility we have can loom over our heads. Ableism tells us that we must walk and become as “independent” as possible; sizeism blackmails us into making sure we stay that way. They both reinforce the man-made idea of an ideal body, one that everyone should aspire to have. Both feed into the capitalist idea that we must pull ourselves up by our own bootstraps, that we must fend for ourselves, that we must not be a burden on anyone else. The two work in tandem with sexism as well – a female body should be Barbie doll skinny, sleek and sophisticated, and anything else is just gross. Our culture's standard definition of beautiful depends on preconceived notions about how the perfect body should be, notions that rely on various forms of oppression to legitimize them. A model body should ideally be white or white-passing, slim and nondisabled. Is it any wonder we don’t see fat, visibly disabled people of color posing on the covers of fashion magazines?" -Cara Liebowitz, "Palsy Skinny: A Mixed Up, Muddled Journey into Size and Disability," Criptiques, 2014.

No scientific theory, including evolution, can pose any threat to religion—for these two great tools of human understanding operate in complementary (not contrary) fashion in their totally separate realms: science as an inquiry about the factual state of the natural world, religion as a search for spiritual meaning and ethical values. STEPHEN JAY GOULD

He’d changed out of his scrubs, and his pose, combined with his tousled dark hair and new outfit—navy blue cashmere sweater with the sleeves pushed up, watch glinting on his wrist—made him look like he was posing for a men’s fashion magazine.

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