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Fado (Portuguese:destiny, fate) is a music genre which can be traced from the 1820s in Portugal, but probably with much earlier origins. In popular belief, fado is a form of music characterized by mournful tunes and lyrics, often about the sea or the life of the poor. However, in reality fado is simply a form of song which can be about anything, but must follow a certain structure.
Amália Rodrigues was a Portuguese singer and also actress. (1920 -1999)
She was known as the "Rainha do Fado" ("Queen of Fado") and was most influential in popularizing the Fado worldwide.
Rodrigues enjoyed an extensive international career between the 1950s and the 1970s.
Other well-known international fado artists such as Madredeus, Dulce Pontes and Mariza have come close, however.
Amalia is the best and I adore her so much.
Listen to her Canzone Per Te from 1970
Please view this on black, it will make a difference.
A rebozo is a long flat garment used by women in Mexico. It can be worn in various ways, usually folded or wrapped around the head and/or upper body to shade from the sun, provide warmth and as an accessory to an outfit. It is also used to carry babies and large bundles, especially among indigenous women.
Traditional rebozos are handwoven from cotton, wool, silk and rayon in various lengths but all have some kind of pattern (usually from the ikat method of dying) and have fringe, which can be finger weaved into complicated designs.
The garment is considered to be part of Mexican identity and nearly all Mexican women own at least one. It has been prominently worn by women such as Frida Kahlo, actress María Félix and former Mexican first lady Margarita Zavala . It is still popular in rural areas of the country, however its use has diminished in urban areas.
The models that I have photographed are talented models. Some of them have become famous and professional models.
The models that I have photographed are talented models. Some of them have become famous and professional models.
The models that I have photographed are talented models. Some of them have become famous and professional models.
[HD Sepia Wallpaper — Prints best within 67 x 38 cm / 26 x 15 inches]
By 1918, the number of feature films that either principally or in large part dealt with The First World War, either on the battlefield or as a homefront issue, surpassed 200 of the 845 features produced in the United States. Plots for the war-related films ran the gamut from homefront dramas, comedies and melodramas, to stirring battlefield or espionage adventures. In the comedy-drama Johanna Enlists, actress Mary Pickford, then the biggest female star in the world and known as "America's Sweetheart," portrayed a bored farm girl who becomes the center of attention when a regiment of soldiers camp on her family's property. Stolen Orders, released in the same year as Johanna Enlists, was a film typical of the convoluted espionage adventures popular at the time, with the addition of actual war footage and newsreels of U.S. President Woodrow Wilson delivering a speech.
The early 1910s was an era that produced a large number of melodramas, and the increasingly popular theme of the tragic circumstances endured by a soldier, nurse or innocent farmer were well-suited to the war film. The war provided a suitable backdrop for melodramas such as A Daughter of France and The Little American, the latter in which Pickford shows her typically American grit when facing a firing squad in France, just as her German-American sweetheart, who enlisted in the German army, sees the error of his ways and renounces the Kaiser.
In addition to the large number of fictional films that relied on nineteenth-century plot devices such as coincidence, complicated storylines and exaggerated emotion the public also saw, for the first time, significant numbers of documentaries and newsreels of actual battlefield experiences. Beginning in early 1915, such films as History of the Great European War brought the war more vividly into the lives of civilians. Although the US government did not play a large role in the production of war propaganda films (as it would later do prior to and during World War II), it did make a few documentaries about the war, including 1918's Pershing's Crusaders, billed as the first "United States Official War Film."
Codi von Richthofen,
The Red Baron Gallery :copyright:
Anita Page was an American film actress who reached stardom in the last years of the silent film era. Page became a highly popular young star, reportedly receiving the most fan mail of anyone on the MGM lot. Wikipedia
A rather pleasing bridge takes you across the River Yonne to the little village of Villeneuve-sur-Yonne. The reason to visit was if I am honest not architecture but food. La Lucarne aux Chouettes or The Owls' Nest restaurant is run by the film actress Leslie Caron, serving Burgundy specialities. The old dilapidated boathouse was bought by her in 1990 on the suggestion of Jean Renoir. I have to be honest i do not remember Leslie Carron but to my aged Father this was a big deal.
I did like the blue on the water
THANKS FOR YOUR VISIT HAVE A GREAT DAY
NEW YORK - 1994: Actress Melissa Joan Hart poses for a portrait in 1994 in New York City, New York. (Photo by Michael Ochs Archives/Getty Images)
[*] SPIC MACAY: Society for Promotion of Indian Classical Music And Culture Amongst Youth
SPIC MACAY is not an organization -- it is a movement. There is no formal membership of this society. If you believe that exposing our youth to the immense cultural heritage of our country is an important task for us, then you are a member of this movement. Educational institutes like ours have a very important role to play here -- besides imparting technical education to our students it is also our duty to teach them to respect the cultural values of our country.
[**] Odissi Dance: [ www.orissatourism.org/orissa-dance-and-music/odissi-dance... ] The Odissi dance of Odisha (Orissa) is one of the six acknowledged classical dance forms of India. Like all other Indian classical dances, it also has its initiation in religion and philosophy with an origin in the temples of Odisha (Orissa). The rhythm, Bhangis and Mudras used in Odissi dance have a distinct style of its own. The dance is performed mainly with the theme of Infinite love of Lord Krishna and Radha.
[***] Ileana Citaristi: en.wikipedia.org/wiki/Ileana_Citaristi Citaristi is from Bergamo in Italy. She spent five years as an actress in traditional and experimental theatre in Italy before deciding to learn Kathakali. She went to Kerala, where she spent three rigorous months studying Kathakali before she went to Orissa on the advice of her Kathakali guru, Krishnan Namboodari. Since 1979, she has been living in Orissa. She holds a Doctorate of Philosophy with a thesis on 'Psychoanalysis and Eastern Mythology'.
Citaristi studied Odissi under Guru Kelucharan Mohapatra and started her own school of dance in 1994. Citaristi is also an exponent of the Mayurbhanj Chhau, which she learnt under the tutelage of Guru Hari Nayak and holds the title of an acharya of Chhau from the Sangeet Mahavidyalya of Bhubaneswar. She founded the Art Vision Academi in 1996, which acts as a platform for sharing ideas between various artistic forms such as theatre, music, dance and painting. The Academi also conducts classes in Odissi and Chhau.
The brightness / contrast / colours have been adjusted on my laptop; they may look different on other monitors.
To see my portfolio quickly [recent-wise], click on : THIS
To see my portfolio quickly [interesting-wise], click on : THIS
Thanks for viewing, your comments, favs and invitations.
Camera: Nikon D300s; Lens: Tamron 18-270mm AF VC
Light: Simple Stage Light
Exposure: ISO 3200, 1/400s, f/6; Bias: 0.0EV; AF-S; AF-Continuous
Total number of shots taken: 5430 (a lot more will be uploaded as I find time)
This was, in fact, the first shot - a trial shot - and I messed it up beautifully !!!
Please ignore the digital noise, inevitable at iso-3200
:black_heart_suit: Moulin Rouge ~ The Movie
In 1900, Christian, an impoverished writer who has come from Scotland the year before, types his story: he arrived in Montmartre and fell in with Toulouse-Lautrec and Bohemians who believe in freedom, truth, beauty, and love. They want to sell a show to the Moulin Rouge, and its impresario wants a backer so he can build a proper theatre. He's plying a Duke, who wants exclusive access to the favors of Satine, the Moulin Rouge's consumptive star. She wants to be a proper actress, so the Duke's offer is fine - except that she and Christian fall in love. Can Satine keep the Duke at bay without losing his patronage? Will the Duke discover the lovers and kill Christian? Can love trump jealousy?
:black_heart_suit: Moulin Rouge: Past and Present
The Moulin Rouge is today one of Montmartre’s landmarks. The neighborhood became a popular tourist site thanks to its village-like ambiance, street artists and incredible view on all of Paris. Yet the neighborhood didn’t always attract so many visitors nor is the creation of the Oller and Zidler Cabaret an insignificant event.
Even by today’s standards one can esteem that the Moulin Rouge’s architecture is original. For starters, why a mill? Well, at the time the Montmartre hill was covered with around 30 grain mills. Associating a mill with a cabaret is certainly an atypical choice but one that was perfectly in sync with the surrounding landscape. Above all, the Moulin Rouge set itself apart with its extravagant deco and completely illuminated facade.
:kiss: The Moulin Rouge’s Central Square:
Located level with the Place Blanche on Boulevard de Clichy, the Moulin Rouge is actually on the outskirts of the Montmartre neighborhood. The fact that it’s just next to the Place Pigalle and the Musée de l’Erotisme hasn’t helped smooth over its scandal-provoking reputation. And yet, thanks to the success of Féérie and its gastronomic restaurant ran by chef David Le Quellec, the cabaret has become a symbol of French refinement.
Moulin Rouge~Paris:notes: Click on link, enjoy the show:notes::dancers:
Monmatre, Paris: July 2017
:heart_eyes:Very late here in UK ... see you in n the morning dear friends xx
Cristiana Dell'Anna, italian celebrity, neapolitan actress of the popular tv series "Gomorrah", on a terrace for a press meeting during the Social World Film Festival 2016. from 500px ift.tt/2kuPSCB
THANK YOU everyone for your visits, comments and favs!
I appreciate your invites and awards very much!
:copyright: ALL RIGHTS RESERVED. Use without permission is illegal.
~ Ellen DeGeneres, The Funny Thing Is... ~ Ellen Lee DeGeneres (born January 26, 1958) is an American comedian, television host, actress, writer, and television producer.
Monarch Butterfly landed on our Milkweed flowers ~
Ellen DeGeneres ~
Ellen was the star in the popular sitcom "Ellen" from 1994 to 1998, and has hosted her syndicated talk show The Ellen DeGeneres Show since 2003.
Her stand up career started in the early 1980s, culminating in a 1986 appearance on "The Tonight Show Starring Johnny Carson", who likened her to Bob Newhart, and invited her for an onscreen chat after her set. She was the first comedienne invited by Johnny Carson to join him, a national, and the most influential endorsement available at the time for comics. As a film actress, she starred in Mr. Wrong (1996), appeared in EDtv(1999), and The Love Letter (1999), and provided the voice of Dory in the Pixar animated film "Finding Nemo" (2003), for which she was awarded the Saturn Award for Best Supporting Actress, the first time an actress won a Saturn Award for a voice performance. In 2010 she was a judge on "American Idol" for its ninth season.
She starred in two television sitcoms, Ellen from 1994 to 1998, and "The Ellen Show" from 2001 to 2002. During the fourth season of Ellen in 1997, she came out publicly as lesbian in an appearance on "The Oprah Winfrey Show". Shortly afterwards, her character, Ellen Morgan, also came out to a therapist played by Winfrey, and the series went on to explore various LGBT issues including the coming-out process. In 2008, she married her long-time girlfriend Portia de Rossi.
DeGeneres has hosted the Academy Awards, Grammy Awards, and the Prime time Emmy's. She has authored three books, and started her own record company, Eleveneleven. She has won 13 Emmy's, 14 People's Choice Awards, and numerous other awards for her work and charitable efforts.
She liked being reminded of butterflies.
She remembered being six or seven and crying over the fates of the butterflies in her yard after learning that they lived for only a few days.
Her mother had comforted her and told her not to be sad for the butterflies, that just because their lives were short didn't mean they were tragic.
Watching them flying in the warm sun among the daisies in their garden, her mother had said to her, see, they have a beautiful life.
Alice liked remembering that.
~ Lisa Genova, "Still Alice" ~
You can call me Queen Sabine!
Italian postcard by Levibrom, Milano.
Italian film actress Maria Fiore (1935–2004) appeared in 50 films between 1952 and 1999. Throughout the 1950s and in the early 1960s, she played in a great number of romantic comedies and musicals, often set in Naples.
Maria Fiore was born Jolanda Di Fiore in Rome in 1935. She made an impressive film debut at the young age of 17 in the neo-realistic masterpiece Due soldi di speranza/Two Cents Worth of Hope (Renato Castellani, 1952). The film is the third in director Castellani's young love trilogy. The first two were Sotto il sole di Roma (1948) and È primavera...(1950). The story concerns the romance between the strong-willed and free-spirited Carmela (Fiore) and Antonio (Vincenzo Musolino). Hal Erickson at AllMovie: “The ardor is one-sided at first, but Carmela is a determined young woman, willing to scale and conquer any obstacle in pursuing her heart's desire. Once he's ‘hooked,’ Antonio scurries from job to job to prove his financial viability. Faced with the hostility of their parents, Carmela and Antonio symbolically shed themselves of all responsibilities to others in a climactic act of stark-naked bravado.” At the 1952 Cannes Film Festival, the film shared the Grand Prix with Orson Welles’ Othello (1952). Fiore then co-starred with Sophia Loren in the drama-comedy La domenica della buona gente/Good Folk’s Sunday (Anton Giulio Majano, 1953) and played the title role opposite Henri Vidal in Scampolo 53 (Giorgio Bianchi, 1953) one of the many film versions of the Dario Niccodemi play. The next year,he played an important supporting part inCarosello napoletano/Neapolitan Carousel (Ettore Giannini, 1954), the first major Italian musical of the postwar era. Léonide Massine starred as Antonio Petito, a notable Pulcinella performer, and an important figure of Neapolitan theater in the 19th century. The film was entered into the 1954 Cannes Film Festival. During the next decade, Fiore starred in a great number of romantic comedies and musicals, often set in Naples. Titles include Graziella (Giorgio Bianchi, 1955) with Jean-Pierre Mocky, I pappagalli/The Parrots (Bruno Paolinelli, 1955) starring Aldo Fabrizi and Alberto Sordi, Serenata a Maria/Serenade for Maria (Luigi Capuano, 1957), and Malafemmena (Armando Fizzarotti, 1957). These films were popular in Italy, but less known abroad. Later, when the Peplum genre became popular, she also appeared as Joan Simons in epics like Ercole l'invincibile/Hercules the Invincible (Alvaro Mancori, 1964).
Maria Fiore disappeared from the big screen in the mid-1960s to concentrate on the dubbing firm she had set up. She returned to popular success through hit TV mini-series such as Joe Petrosino (Daniele D'Anza, 1972) with Adolfo Celi, Accadde a Lisbona/It happened in Lisbon (Daniele D'Anza, 1974) with Paolo Stoppa, L'ultimo aereo per Venezia/The last plane to Venice (Daniele D'Anza, 1977) with Massimo Girotti, Quei 36 gradini/Those 36 steps (Luigi Perelli, 1984) with Gérard Blain, Little Roma (Francesco Massaro, 1988) and Pronto Soccorso/First Aid (Francesco Massaro, 1990-1992). In the cinema she could be seen in the anthology film Se permettete parliamo di donne/Let's Talk About Women (Ettore Scola, 1964) with Vittorio Gassman, and the crime film L'onorata famiglia - Uccidere è cosa nostra/The Big Family (Tonino Ricci, 1973). In 1975, Fiore played a supporting role in the Poliziotteschi film Il giustiziere sfida la città/Syndicate Sadists (Umberto Lenzi, 1975), starring Joseph Cotten and Tomas Milian. This film, also known as Rambo's Revenge and One Just Man, was one of director Lenzi's many efforts in the crime thriller genre. Tomas Milián plays Rambo, an ex-cop who seeks revenge against two powerful crime families who were responsible for the murder of his friend. The film predates Ted Kotcheff's First Blood, the film which introduced audiences to the John Rambo of author David Morrell by seven years. Milian happened to read David Morrell's novel while flying from the U.S. to Rome. Loving the story he tried to talk some Italian producers into making a film out of it, with him starring as John Rambo. Nothing came of this, but he was allowed to use the Rambo moniker in the next Poliziottesco he starred in. Fiore’s last film was E insieme vivremo tutte le stagioni/And together we will live all seasons (Gianni Minello, 1999), starring Franco Citti. In 2004, Maria Fiore died in Rome of lung cancer, aged 68.
Sources: Hal Erickson (AllMovie), Guy Bellinger (IMDb), Wikipedia (English and Italian), and IMDb.
Kevin Bacon and Kyra Sedgwick from the end of today's press conference at the Caledonian Hotel for Kyra's film, 'Story of a Girl'.
The film received its international premiere on Thursday, as part of the 2017 Edinburgh International Film Festival.
My thanks are due to my photographer friend, Armando Gallo (from the Hollywood Foreign Press Association), who is in town for the film festival. Kevin and Kyra were leaving the room and he (who knows them) kindly asked them to give me the opportunity to take this shot.
Armando took all the iconic shots of Genesis (my favourite band) back in the 1970s. I bought his illustrated history of the band, 'I Know What I Like', when I was going to university.
He has also photographed and interviewed almost any figure you can think of from popular culture, in the last fifty years (starting with The Beatles).
His work fired my imagination back then (before I had even picked up a camera with any serious intent) and he continues to be one of my greatest inspirations. It is a profound joy that he has also become a good friend. #MyLifeRocks :sunglasses:
La réalisation de ce passage est caractéristique des opérations immobilières spéculatives de la Restauration. En 1826, deux investisseurs, le charcutier Benoît Véro et le financier Dodat, firent édifier ce passage entre les rues du Bouloi et Jean-Jacques-Rousseau, entre le Palais-Royal et les Halles. Il offrait un raccourci plaisant entre ces deux lieux alors très fréquentés et fut rapidement adopté par le public (la rue du Colonel-Driant ne fut percée qu'en 1915).
De style néoclassique, la Galerie Véro-Dodat doit son animation et sa réputation à la présence des « Messageries Laffitte et Gaillard », situées à l’entrée du passage sur la rue Jean-Jacques-Rousseau. Les voyageurs qui attendaient leurs diligences allaient flâner parmi les magasins à la mode et contribuèrent pour une large part au succès de ce passage. Le marchand d'estampes Aubert, éditeur du Charivari et de La Caricature, s'y installa également et y exposa les plus célèbres caricaturistes de l'époque. Puis c'est la tragédienne Rachel qui occupa un appartement du passage de 1838 à 1842.
Le Second Empire et la disparition des « Messageries » amorcèrent le déclin de la galerie. Relativement boudée aujourd'hui, la galerie Véro-Dodat est pourtant une des plus charmantes de Paris et possède plusieurs attraits outre son architecture élégante, dont des galeries d'art contemporain ou des boutiques anciennes de décoration ou d'ameublement.
La galerie Véro-Dodat fait l'objet d'une inscription au titre des monuments historiques depuis le 9 juin 1965. Il a ensuite été proposé au classement, et malgré l'accord de la commission supérieure des monuments historiques le 18 mai 1998, la copropriété a refusé son classement. Elle fut entièrement restaurée en 1997.
Galerie Véro-Dodat was built by two charcutiers between the Rue Bouloi and Rue de Jean-Jacques Rousseau, between the Palais Royal and Les Halles, in 1826. This was during the Bourbon restoration dynasty in the early 1800s, when covered passages or galeries in Paris were growing quickly in popularity. They provided warm, dry places for the wealthy to shop and dine on rainy, muddy days. In a time before paved streets and sewers, the galeries’ billiards, bistros and public baths served as a grown-up playground for the emerging middle class. At the height of their popularity in the mid 19th century, there were more than 150 passages. However, with the advent of the department store around 1850, the galeries begin to decline. Today, eighteen passages remain.
Véro-Dodat was one of the first of Paris's passageways to get gas lighting in 1830, and one of the last to fall into decline. Its decline began during the Second Empire with the demise of the Messageries Laffitte et Gaillard. It was listed as a French historical landmark on June 9, 1965, and was restored in 1997 to its former nineteenth-century, neo-classical glory, complete with its elegant shops specializing in antiques, objets d’art, art books and fashion accessories.
It is said this is where French writer Gérard de Nerval would often drink at the restaurant Café de l'Époque, located on the Rue Croix-des-Petits-Champs entrance of the gallery, and that is where he took his last drink before committing suicide by hanging in Châtelet. The actress Rachel occupied an apartment in the passage of 1838 in 1842. The print-seller Gabriel Aubert, editor of Le Charivari and of La Caricature, also settled there and introduced the gallery to the most famous caricaturists of the time.
The Galerie is neoclassical in style, with marble columns, gold trim, frescoes, and a black and white tiled floor. The passage is arranged to give an illusion of depth, the diagonal grid of black and white tiles, the low height of the ceiling decorated with paintings of landscapes where it is not glass, for shops on the alignment of a strict horizontal plane. The entries in the gallery are ionic arcades closed by gates. Entries are crowned with a balcony. The façade of the gallery on the Rue Bouloi is decorated with two statues in niches representing Hermes with his winged helmet and a Caduceus hand, god of merchants, and Hercules dressed in the skin of Nemean lion.
Longueur focale16 mm (Minolta fisheye)
Détection du degré d'exposition+1.3 EV
Heather Tone, winner of the 2011 Poetry Contest
When he is dead, a man in a
bathing suit looks most like a little boy.
A woman in a bathing suit
looks like a woman, unless she is quite
thin, in which case she looks like a little boy.
A little girl in a sundress looks like a little boy
in a sundress. Her mouth is a cold oval, as cold
as a strawberry. When dead, a robin red-breast
looks like a little girl, while it goes without
saying that Robin Hood looks like a boy.
The snowfield cresting the mountain looks
like a little girl sleeping on the mountain.
The pines, boys right before they disappear
into men with cold faces who carry hatchets.
Just before it dies, a car looks like a teenager, but only
if it was built before the ’90s. After that, cars look like women.
Blooming asters on hillsides look like boys.
The boys look like stars breaking up.
When it is dead or just before, an ant looks like
a woman sunning herself on a beach.
Crabs look like little girls playing hopscotch.
Grasshoppers look like middle school boys
throwing bugs at girls in late summer.
Spoons are the eyes of women asleep behind rainstorms.
Their interlaced fingers look like two children afflicted with dwarfism.
The pint glass is a man preparing to dive off a tall building.
Paper planes look like little girls in skirts, real planes are women.
When it is dead, a fox has the eyes of a little girl.
A faun looks like a little boy, its bones like a courtyard full of children.
When it is alive the plant, which is called kinnikinnick,
looks like a woman. It covers the floors of forests, its berries
shining wetly like the eyes of a living fox.
When it is dead, it looks like an old man in rags sinking into the earth.
A stump looks like a tombstone out in the middle of the forest.
It’s easy: just close your eyes and think of a thing. Does it look
more like a little girl or a little boy?
Words look like dead prostitutes, twisted, thin: my subjective opinion.
If it is alive, a dog looks like a plump cloud or a stringy cloud.
If it is a different kind of dog it is a slightly worn shoe.
If it is a different kind of dog still, it is perhaps dead.
A bluebird looks like a woman frozen in water.
A hay bale looks like a king who died in his sleep one September.
A dried cornstalk, a dead prince.
The country church looks like a little boy.
The city school looks like a pyramid of boys.
Driving by it reminds me of the House of Windsor.
A computer looks like a man killed in his prime
by a heart attack. A chair looks like a shy little
girl made of blue plastic. The stuffed red dog looks
like a little boy. The “Welcome” sign looks like a grave.
The novels look like fat babies, broken teeth.
The lamps look like young women of fashion.
Paperclips look like little boys. Staples look like
little boys. Rubber bands look like boys.
Some citizens of some countries never have enough
to eat. Scissors look like teenage boys, while knives
always are treasonous queens. Framed photographs look
like old women with plates of cookies. Calendars
with pictures of beautiful insects look like little girls.
Boys of a certain age look like parts are missing.
The window is a woman’s eye measuring a certain horizon.
The man working at the restaurant looks like
a little girl in a pinafore. He has that androgynous
look that is popular right now. A wine glass
looks like a woman. The chalkboard with
specials looks like a teenage girl, looks like
how she is when she wears red lip gloss out
to see a band. The drummer looks
like a little girl wasting away. The key
lime pie looks like a man. The man travels
to Florida in a pastel-colored polo shirt.
Croissants are women wrapped in gauze
sitting for paintings. Peach pie
is a little girl in a pinafore. The painter
tries to infuse the dead with life, much
like vodka may be infused with roses or bacon.
A vase of asters looks like a vase of little boys.
The entrees look like women waiting to be taken.
All you have to do is consider where you
would be without other people. The green
lawn would become a man. If you are a man,
the swimming pool will become a woman,
cool and perfumed, with blonde highlights in her
hair. The swimming pool, in fact, looks like a
woman now, reflects several of them so that
the cool, blue women are drowned. When
drowned, such women resemble little boys.
The maple tree looks like a woman. The cotton-
wood looks like an old man. When all the trees
are saplings, they look like little boys
gone fishing. At a certain point, it would
be wise to ask yourself why you’re doing
this. The man who walks under the cottonwoods
looks like an older version of himself:
long years have sanded him down to sinewy
essentials. That is to say that it will not
be much of an absence in space when he
disappears. The sun where he walks looks like
melted children. His white shirt looks like a woman
flinging out a handkerchief to pause the game.
An eagle looks like an old man. A flamingo
looks like a little girl with a crooked leg.
A parakeet looks like a woman on her way
to a luncheon, or looks like the decorative touch
to the woman’s hat. A goose looks like a little boy.
A duck looks like a little boy. The duck is an
obstreperous fellow among crumbs, while the goose is a
boy savant, flying high and cold in perfect
Vs of thought. The goose is more machine
than boy, I think. The bluebird looks like a
woman frozen in water. The sparrows
bouncing around the bread look like little
girls in braids and uniforms. The nuthatch looks lost,
like a little girl. All of the birds look alive, for the
time being. The flicker looks like an old carpenter
who drinks a few at the bar at the end of each day.
Most fairy tales are populated by little girls
and little boys. Little girls get stuck in towers
or turned to trees and little boys must use
their knives. Such delineations understand
the mind of the writer, to a degree. Rupunzel
looks like a little girl. Blue Beard’s bride, a girl
with her smile knifed upon her. Snow White, however,
looks like a little boy, the center point around
which apples fall and arrows miss. (Arrows look
like boys sledding, while apples are women casting
off crowns of leaves.) Cinderella, too, looks like a little boy,
one on the cusp of self-sufficiency, her smock the color
of pepper. Her gloves look like the dirt wherein
she has dug. The garden around appears to be reaching
its hands toward her. Afternoon light lengthens
this lesson. A child turning pages has the look of a child.
The actor looks like a little boy. The actress
looks like a little boy. A candle looks like a
little girl with her arms held high in the milk-
light. Moths come near the light, as they do.
The moths look like 5th Avenue, where women
look like moths and moths look like
white gloves and gloves look like star
light eating up all the children’s arms.