"Fractals" by Joanna Walsh: Short Story and Giveaway

When people ask me what I like to read, the first word out of my mouth is usually "nonfiction." My reasoning is simple: I like to read about what I like to write about, namely physical appearance and its intersection in women's lives. And the open-minded part of me cringes to admit this, but: I've tended to believe that fiction isn't the place for this. Sure, the occasional piece might illuminate an aspect of women's stories, but on the whole, I'll stick with my nonfiction shelf—Wolf, Berger, Sontag, Etcoff, Steinem, and so on.

Had Fractals, Joanna Walsh's new collection of short stories from 3:AM Publishing, been published earlier than this October, my answer would have changed earlier as well. I'd mistakenly conflated nonfiction with truth, entirely forgetting that fiction allows us to tell a different sort of truth—particularly about internal experiences. Like how, as with Walsh's characters, we might keep ourselves groomed for an absent beloved we privately know will never arrive, or how we make silent bargains about our looks ("The man with the steak looks at my legs which gives me permission to look at the message he is typing into his mobile phone. I cannot see it as the glass reflects. I feel cheated."). I knew from my first encounter with Walsh's work—an illustrated look at five female authors, and how their self-presentation plays into their reputation—that she was as intrigued by beauty as I was. Fractals expands her thoughts on the matter, with a direct focus on how the rituals of womanhood affect not only how we're seen by the world, but how we see ourselves. Her characters are keenly—sometimes painfully—aware of how they present themselves visually, treating clothing as a talisman, as a reaction to life events, as a confirmation of who they think they want to be.

When I asked the U.K.-based Walsh how she tailors her own choice of clothing to her state of mind, she had this to say: "I haven't, so far, done any sort of public appearance (and I love doing readings) in a skirt or dress. I feel more authoritative in androgynous clothes, which I know is not a very worthy feeling as it's got to be to do with kowtowing to the way I intuit 'feminine' and 'masculine'-looking people are perceived. But there's also an element (another anxiety) of making writing look like 'proper' work—manual work even. I occasionally wear a boiler suit to read, and I always feel very comfortable. I think of the Surrealists in their suits: artists and writers who refused to look 'bohemian', who refused to make the distinction between what they did and less 'artistic' jobs. So when working at home I rarely stay in pyjamas. However I do own, and wear, a variety of pretty dresses..."

Enjoy "Fin de Collection," one of the stories from Fractals, below—and leave a comment on this entry to enter to win a copy of the collection from 3:AM. Winner will be chosen by random number generator; leave a comment by 11:59 p.m. EST November 12 to enter.

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A friend told me to buy a red dress in Paris because I am leaving my husband.

The right teller can make any tale, the right dresser can make any dress look good. Listen to me carefully: I am not the right teller.

Even to be static in Saint Germain requires money. The white stone hotels charge so much a night just to stay still, just so as not to loose their moorings and roll down their slips into the Seine. So much is displayed in the windows in Saint Germain: so little bought and sold. No transactions are proposed that are not so weighty for buyer and seller as to be life-changing. But, for those who can afford them, they no longer seem to matter.

The women of the quarter are all over 40. They smell of new shoe leather. I walk the streets with them, licking the windows. Are we only funning that we could be what is on display? It is impossible to see what kind of women could inhabit those dresses but some do, some must. Nobody here is wearing them.

Amongst the women I am arrogant. I retain my figure without formal exercise. I retain my position as a wounded woman like something in stone, infinitely moving and just a little silly. In order to retain my position I must be wounded constantly. This is painful, but it is a position I have become used to.

We turn into Le Bon Marché department store, the women and I, Vogue heavy in our shoulder bags.

There is nothing like Le Bon Marché if you are rich and beautiful. But if you are not rich or beautiful, it doesn’t matter. The store has its own rules. It is divided into departments: fashion, food, home. It is possible to find yourself in the wrong department but nothing bad can happen here and, although you may be able to afford nothing, it costs nothing to look.

Le Bon Marché is always the same and always different, like those postcards where the Eiffel Tower is shown a hundred ways: in the sun, in fog, in sunsets, in snow. It may look different in Spring or Autumn, at Christmas or Easter, but the experience it delivers is always the same.

There are no postcards of the Eiffel Tower in the rain but it does rain in Paris, even in August. And when it rains, you can shelter in Le Bon Marché, running between the two ground-floor sections with one of its large orange paper bags suspended over your head (too short a dash to open an umbrella).

Inside is perpetual summer. Customers complaining of being too hot are forced to take off their coats beneath the stencils of artificial flowers that bloom across midwinter walls. The orange paper carrier bags are not made for real weather, either. Once wet their dye leaks onto hair, coats, and leaves orange stains on pale carpets, clothes, floorboards...

Fin de collection d’éte. In Le Bon Marché it is already Autumn. The new collections are in order. They do not privilege experience. With time they will deteriorate, unbalance, as each key piece sells out, leaving a skeleton leaf of basics, black and grey. One can commit too early of course. A key piece bought nearly in style will merely foreshadow the version available when the style is at its height.

In 35 degree heat, we bury our faces in wool and corduroy. We long for frost, we who have waited so long for summer. To change clothes is to take a plunge, to holiday. Who cares if we cannot afford to leave Paris. In the passerelle, the walkway between the store’s two buildings, a tape-loop breeze, the sound of water, photographs of a beach...

There is something about my face in the mirrors that catch it. Even at a distance it will never be right again, not even to a casual glance. Beauty: it’s the upkeep that costs, that’s what Balzac said, not the initial investment.

Je peux vous aider?

The salesgirl asks the fat woman with angel’s wings tattooed across her back. She mouths, Non, and walks, with her thin companion, into the passarelle, suspended.

The first effect of abroad is strangeness. It makes me strange to myself. I experience a transfer, a transparency. I do not look like these women. I want to project these women’s looks onto mine and with them all the history that has made these women look like themselves and not like me.

From time to time I change my mind and sell my clothes. I sell the striped ones and buy spotted ones. Then I sell the spotted ones and buy plaid. Does it get me any closer? At the checkout, the thin girl in her checked jacket looks more appropriate than me, though her clothes are cheaper. This makes me angry. How did her look slip by me? I was always too young. And now I am too old.

I cannot forgive them. I forgive only the beauties of past eras: the pasty flappers, the pointed New Look-ers. They are no longer beautiful. They cannot harm me now. These two are not even the beautiful people. It’s more that they’re so much less unbeautiful than everyone else. Please remember, we are in Le Bon Marché. Plunge into the metro if you want to encounter the underground of the norm.

Even your other women seemed tame until I saw them through your eyes, until I saw the attention you paid them. I no longer know the value of anything. And if you do not see me, I am nothing. From the outside I look together. I forget that I am really no worse than anyone else. But how can I go on with nobody, with no reflection? And how, and when, and where can I be inflamed by your glance? I can’t be friends with your friends. I can’t go to dinner with you, don’t even want to.

But why does the fat woman always travel with the thin woman? Why the one less beautiful with one more beautiful? Why do there have to two women, one always better than the other?

Je peux vous aider?

Non. There are no red dresses in Le Bon Marché. It isn’t the dress: it’s the woman in the dress. (Chanel. Or Yves Saint Laurent.) Parisiennes wear grey, summer and winter: they provide their own colour. I have learned to imitate them. Elegance is refusal. (Chanel. Or YSL. Or someone.) To leave empty-handed is a triumph.

In any case come December the first wisps of lace and chiffon will appear and with them bottomless skies reflected blue in mirror swimming pools.

To other people, perhaps, I still look fresh: to people who have not yet seen this dress, these shoes, but to myself, to you, I can never re-present the glamour of a first glance.

To appear for the first time is magnificent.

______________________________________

Joanna Walsh is a writer, illustrator, and artist. She draws and writes for The Guardian, The Times, Metro, The Idler, FiveDials, 3:AM, Berfrois.com, Necessaryfiction.com, and The White Review, amongst others. She has created large-scale artworks for the Tate Modern and The Wellcome Institute and has developed immersive theatre/games events in collaboration with Hide and Seek and Coney Agencies, as well as games she runs herself. You can read her blog at Badaude, and follow her on Twitter here.

Photo: Wayne Thomas

Hi Honey, I'm Home: Makeup and Cohabitation

I only needed one of these to move my makeup collection, mkay?

So, yes, I moved recently; only days ago. Specifically, I moved not just apartments but living situations—my gentleman friend and I decided to move into a new apartment together. I’ve lived alone for 12 years, so while this was a decidedly positive development, there’s also an element of adjustment going on. I’m not used to having someone else in the space I call my own, except for specific, defined periods of time—dinner, drinks. Even a lazy afternoon is just that, an afternoon, not an indefinite stretch in which ever-elastic time is shared with another. That’s exactly why most of us move in with someone, actually—you want to spend more time with them, or you want your downtime to include more of them, or something like that.

But when we talk about moving in with someone, the words we use imply not time but space. And—news flash, folks—sharing a space with someone means...you have to share. I don’t have a problem with this on a theoretical level, but on a practical level it means recognizing that you can’t just use your space however you see fit; if your intended use of space encroaches upon what a reasonable roommate might call “their” space, you’ve gotta make concessions. And here I am talking about the bathroom.

I recognized early on that I’d have to pare down my beauty products (this after I’d done what I believed to be a “thorough purge” a couple of years ago, ha!); our new bathroom has somewhat less storage space than my old (and crammed) one, and my beauty-product : non-beauty-product ratio is roughly 8:1. As I went through my bathroom, I started asking myself on products I was waffling on, “How would I justify this to my boyfriend?” Not that he’d ask me to justify any of my stuff—it was more of a weeding technique. If I can’t justify any particular beauty product to the person whose space I am about to share, I probably don’t need it at all, right? Despite my best efforts, though, I’m guessing that 90% of the bathroom is full of my crap. His grooming accessories: two bottles of cologne, an electric razor, and a stick of deodorant. (And a shampoo three times as expensive as mine, thankyouverymuch.) Mine? Well, are we counting only the daily-use stuff on the cabinet shelves, or are we counting the “extras” stored beneath the sink, or are we going whole hog and counting things like the velcro curlers and glitter eye pencil I can’t make myself get rid of? 

Still, that’s just the concern of space. Truly, the adjustment that living together takes is indeed about time, or perhaps division of time. I’m used to time being clearly delineated: Time in public means time out of my home, time in private means time in my home. Sure, there are plenty of spaces that straddle the two—going to friends’ homes, for example—but maybe that example just illuminates how skewed my idea of public vs. private has become. Private time for me in the past 12 years has meant not just time out of the public sphere but time away from anyone except myself. Living with someone means an adjustment to that line of thinking.

Enter makeup: For me, one of the primary functions of makeup has been to delineate the public from the private. Virtually every time I leave the house, I’m wearing makeup, and if I’m not, it’s because the space I’m entering is something I consider a mental extension of “home”: the grocery store, for example (it’s just around the corner!), or the gym. And for the most part, that means that I’d be putting on makeup before seeing my boyfriend. I mean, he’s seen me plenty of times without makeup, but the default is certainly mascaraed. Despite the fact that he’s enough of a “home” for me to want to create a literal home with him, being with him still gave me enough of a toehold in the public sphere that I’d want to put on makeup, even if I was just having him over for the evening.

So now that one particular form of public-private life—my intimate life, my partnered life—is more fully anchored in the private sphere, makeup could fall by the wayside, according to the personal logic I believed I’d been applying. And yet there I am, every day before he comes home from work, dabbing it on, prettifying, beautifying, cosmetizing. (It could be more extreme, I suppose: I’ve heard tell of the woman who wakes up before her partner so she can scurry to the bathroom to get made-up.) Me being me, I’m sure I’ve put far too much thought into this, but there it is: I’m not fully comfortable admitting that I make a point to put on makeup before he comes home for the day, and I can’t help but wonder what it means that I’m using makeup in this manner. Is it a form not of delineating public from private but of delineating me from us—a way of making sure I don’t lose myself in the glory of The Couple?

There’s actually some shreds of evidence for that line of thought: Unmarried, cohabitating couples are more likely than married couples to have spaces in the home that are designated “alone” spaces. (Well, they were in 1974, and while cohabitation has drastically changed in social meaning since then, I do hear this concern more from unmarried friends who live with partners as opposed to married couples.) But we live in New York, and while our apartment is comfortable, the idea of “alone spaces” is nearly laughable. We have a room whose main purpose is for me to work in—still, one can technically be out of sight in a New York dwelling, but one can never be out of earshot, even olfactoryshot at times. My makeup collection is a way of carving out a physical space of designated “alone” time, sure, but it may also be a way of drawing a boundary of sorts around a mental space that’s wholly mine. Not for his benefit, but for mine: For as I write this, my boyfriend is at work, and I am without a drop of makeup, without shoes, without contact lenses. No music is playing; no other creature is in this space. When he gets home this evening, I may still be working and writing, but things will look different. I’ll be made up, glasses off, hair brushed; the sounds of his existence will flow through this space. His sounds aren’t distracting per se, but they are not sounds of the solitude I’m used to when I work. I wonder if the makeup serves as an external notification to myself: You are no longer alone. It will take time to learn how to not be alone, after more than a decade of being able to be wholly alone at any moment I choose, simply by going home. And as it has done for me before, makeup may help me through a personal transition.

I wonder how this will change as time goes by and living with someone else becomes my mental default, not a new playdate. And yes, I’m aware that for all my talk of boundaries and solitude, makeup also helps us look better, and I’m talking about my boyfriend, not a roommate—I want to look my best around him. Especially now, I admit—now, before the natural rough edges of cohabitation begin to reveal themselves. I’m not yet annoyed by any of the things that may annoy me a year from now: shoes laying about wherever he feels like taking them off, that sort of thing. And in turn, to my knowledge none of my little things have crept into his brain: inability to get anything totally clean, 12 different kinds of flours in the cupboard (down from 15, so it’s an improvement). He’s under no illusions that I’m perfect in any way, including looks-wise; it’s not like he believes my eyelashes blacken themselves. Maybe that’s exactly why I’m drawn to wearing makeup at home now, in his presence anyway: It’s not an illusion at all, but an expression, an articulation of my desire to start off this whole living-together thing at my personal best. Sometimes my personal best will mean a laser-like attention to other things (most notably work), and in those times makeup may well fall by the wayside. Right now, though, my personal best isn’t so lopsided. She writes, she edits, she exercises, she researches, she reads, she cleans. And right now, she does it looking the way she wants.

Jacqueline Madrano, Retired Homemaker and Volunteer, San Antonio

Jacqueline Madrano has served plenty of roles throughout her 80-plus years: homemaker, civic volunteer, church pianist, occasional secretary, “kitchen musician.” It’s this life experience, combined with her unique historic role as military wife in the post-WWII years—accompanying her husband, Col. Joseph Madrano, throughout his career, she raised three children in U.S. Army bases around the world—that made me want to interview her. 

Rather, those are the reasons I’d want to interview her if I didn’t know her in the capacity I do. But it’s her role as my grandmother—my impeccably put-together grandmother, without whose influence this blog might not exist—that, obviously, has left the deeper imprint upon me. Not only has she led by example through being a fashion plate, she’s also given me morsels of wisdom on fashion, beauty, and self-presentation as long as I can remember. If you put powder over lipstick and then put on another coat, it’ll last all day, she told me when I was playing at her vanity table at age seven—my first-ever beauty tip, tucked away for years until I’d finally start wearing lipstick for real. Your hair is pretty, but it isn’t your best feature—let’s get you some bangs to show off your eyes, she said when taking me to get my first haircut that went beyond a basic trim. Every woman should have a little mad money, just for you, she said as she paid for that haircut by plucking a $20 bill from a hidden flap in her pocketbook. It wasn’t a beauty tip per se, but it was a signal to me that spending money on your appearance was a manner of self-care, a way to do something “just for you.” My mother—a beauty minimalist and second-wave feminist who sat me down with my first Barbie to show me the ways Barbie’s body and Mommy’s body were different—taught me one way to be a woman. Mimi taught me another.

That powder-over-lipstick trick is a keeper, and so are some of the other things we discussed: comfort versus beauty, vanity versus pride, and why the U.S. government cared what she wore when going bowling. In her own words:

Jacqueline Madrano and her husband, Joseph

On Fads and Comfort

I grew up very poor. I didn’t have a lot of clothes, but what clothes I did have I tried to make not the latest styles, but something that would last. As the years went on, we could afford a little more, but I’d learned what styles look best on me years earlier. So I just stayed with that style instead of whatever came in fads. I don’t care for the fads; I keep my clothes forever. Though I did have nice legs, so when the styles were short I wore them—not as short as a lot of them, some of the styles were just embarrassing! But since I knew what colors looked best on me, when I went to get new clothes, they’d go with what I already had in my closet. That really helped me in our traveling—I can take just one suitcase but have many different outfits.

I’ve had my colors done, but you really learn what works on you mostly by comments. When people would say, Oh, you really look nice today or That’s a good color for you, you pay attention. And you pay attention to what you’re comfortable in—I knew pastel shades worked for me because I was more comfortable in them. You do not have to sacrifice comfort for beauty. You have to know what is comfortable first, but then you can always fix it so it looks pretty too. I’ve heard people that you have to choose one or the other, but I’ve found it easy to do both. But the secret is knowing your style and your colors. And then if a fad works with that, well, that’s fine.

But some fads turn out not to be fads. Have you tried mineral makeup? I love it; that’s what I wear now. So much quicker, so much cleaner. It goes on so easily and you can just brush it off if you don’t get it on right the first time. I think it makes you look more like you. After 80 years you know who you are. You want to look like who you are. I don’t like to see a mature woman with a lot of makeup on. It makes me think they don’t like this age, that they want to look younger. And it makes them look the other way around.

On Pride

I took a ladies’ night out at a basketball game with our minister’s wife and my friend Carolyn. A handsome man—he wasn’t a young man but he wasn’t an old man either, tall, very handsome—came up to us and he put his arms around us and he says, “Ladies, don’t be frightened, but I just want to tell you that you are the best-looking women at the game tonight.” We weren’t dressed up, but we were neat. He said, “Most of the women here don’t even try to be neat, and to see somebody like you—I just had to tell you.” We felt honored because we were old women! Well, Carolyn’s not as old, but for him to stop and tell us that was really something. Then he just went on his way. He wasn’t trying to flirt or anything; he was just being honest.

But it’s true: People don’t care how they look anymore. It’s fine if you want to do that at home, but I think being neat when you go out shows that you’re proud, that you’re proud of living. And I think when you don’t make that effort, it means you don’t care. I’ve seen that more and more and it bothers me—people coming to church every Sunday and they’re not neat, their hair isn’t combed. It’s bothersome. I feel like it shows they’ve lost their pride. I look good, and I don’t want people to think I look good just to be looked at, or that I have to be looked at, but if it happens, it happens.

I probably have too much pride. I say that because so many women are happy without things I’m miserable without. I have to have a perm! Usually I’d go to the beauty shop once a week and get my hair fixed, and [my husband] Joe never complained about that. He complained about other things but he never complained about my going to the beauty shop. In fact, he said, Well, how are you going to work this? But when I was busy getting Joe well last year when he was ill, I hated to leave him so I couldn’t drive across town to have my hair fixed once a week. It got really bad. I didn’t let it bother me because I had to do these things, but after he got feeling better that’s the first thing I did, went out to get a perm, got myself looking a little better. It costs money, but I feel like it’s worth it, and Joe does too. It makes me behave better; I’m happier, so I’m not cross. And I don’t feel sorry for myself. But I’ve always been a little vain. Or maybe just proud—I do think of other people, maybe that’s the difference. 

Jacqueline and Col. Madrano, 1973

On Being a Military Wife

I think the military has a lot to do with my pride. When we were stationed overseas the first time, in Japan, not long after the war had ended, and the first time in Germany, there was military policy about how we could dress. If we went bowling, for instance, we could drive there in short short pants—we could get out of the car and bowl and get in the car and go home. But we could not stop on the way and get out of the car—they didn’t want us to be seen like that. The military wanted us to make a good impression on the people there—we wanted to show the Japanese that we were nice people after the war. And the same in Germany. But the second time we went to Germany it wasn’t like that. We were very fortunate to be in the States when Joe went over to Vietnam, because they didn’t live on a base where people really supported the troops. People would boo the wives. They had nothing to do with it; it was their husbands, but the wives still felt a lot of pain. But because we lived here we didn’t feel that as much. I never had anyone say anything to me. 

Joe was always the commander, and I felt that as his wife if I didn’t keep myself looking nice, how could we set an example? Not that the other girls had to look nice all the time, but I wanted—it’s nice when people care. I maybe felt a little pressure for that, but I enjoyed putting on a good front. I really did. I enjoyed being overseas and meeting people from overseas and seeing their style—it was all just so interesting. 

On How to Get Over Times of Feeling Unappealing

I grew up, that’s all! I’d think to myself, Okay, Jacq, this too shall pass. And it did.

Beauty Backfire and the Placebo Effect

That's me on the left.

Apologies for the spotty appearances as of late. I have a feeling that I’ll be beginning many a blog post with variations on that line until my book deadline this spring. In this case, however, there have been two factors that have complicated my blogging schedule even more than authorship: 1) I’m moving (apartments, not cities or even neighborhoods), and 2) a recent vacation spurred by the destination wedding of a dear friend (and faithful reader! Mazel tov, C!).

It’s item #2 that was on my mind beautywise much of last week (I’ll get around to the moving-and-beauty post soon enough, and yes, there’s much to say there). Not only was it a wedding and therefore already an occasion that calls for looking one’s best, it was also a wedding at which A) my boyfriend, the bride’s brother, was one of the groomsmen, so B) I’d therefore be meeting other members of my boyfriend’s family for the first time—plus, C) he’d be looking damn good and I wanted to “match," and D) a handful of college friends I hadn’t seen in years would be in attendance. So yeah, I wanted to amplify the effort I’d normally put into my appearance for any wedding.

(At this point I could loftily say something about how weddings are one of the last cultural rites we formally observe in American society, and how therefore a certain degree of effort isn’t just self-enhancing but actually serves as a sign of respect to the happy couple—indeed, a sign of respect to the tradition of marriage itself. And I’d be accurate in pointing this out, both generally and as far as how I treated the occasion, but I’d also be remiss if I didn’t mention that until the week before the wedding I’d mistakenly believed that The College Ex I Shed A Small River of Tears Over would be in attendance, and while that was literally half a lifetime ago, does it ever hurt to look your most smoldering in such a situation? No, it does not. As you were.)

Of course, even at my most high-maintenance I’m not that high-maintenance (though nobody ever thinks they’re high-maintenance, right?), so my extra effort basically meant that I was more careful than usual about what I ate beforehand so I wasn’t bloated, got a new dress for the occasion, and allotted plenty of time to make a nice updo. But I also engaged in two bits of beauty service I don’t normally do: I got a facial, and a gel manicure. And boy, did they backfire.

I mean, maybe backfire isn’t exactly the right word: My skin did indeed look particularly good two days after the facial as promised, and the gel manicure stayed neat and shiny longer than the manicurist had told me it would. Nor is it that I was expecting miracles; I knew that though my skin might look better than usual once it had healed from the extractions, no facial would turn me into Helen of Troy. But as for the facial, not only did I look hideous for 48 hours afterward—though this was to be expected, as whenever someone takes a lancet to your pores to get out all the goop there is to get, you’re going to look like hell for a bit—but I quickly broke out with an enormous zit right on my nose. True, I didn’t make it any better by fiddling with it to the point where it basically turned into an open wound. (The bride herself came to my rescue with a great beauty tip: Once it gets to that point, you should actually treat it like an open wound and use Neosporin on it. Worked like a charm!) And as far as the gel manicure, the nail polish bonded to the nail so thoroughly that when it caught a snag, the upper quarter-inch of the entire nail ripped. It didn’t tear off completely, thankfully—that is, thankfully for my “ick” threshold, not simply for vanity, as I wound up accessorizing my manicure with a waterproof Band-Aid—but it was troublesome for days, and it was nearly a week before the nail had grown out enough where I could safely clip it. (It still looks bad, but at least I’m not making myself shudder anymore.)

It all worked out fine in the end, in the sense that by the time the wedding rolled around I was able to cover the scar on my nose, and my torn fingernail failed to halt any of the festivities. (Not to mention the far more important sense of it working out fine: I was there to support the happy couple, so minor points aside, as long as I didn’t show up wearing a T-shirt with “ABANDON HOPE ALL YE WHO ENTER HERE” scribbled across it, the way I looked at their wedding didn’t really matter.) But the fact that I’d considered both of these beauty services special treats—and the ways in which they each led to appearance kerfuffles that I wouldn’t have had had I not “treated” myself to them—made me wonder what was actually in it for me. 

I’m embarrassed to admit how much the facial and its associated services (microdermabrasion, take-home glycolic acid treatment, tips for the facialist and her assistant) cost, but suffice to say it was about as much as the plane ticket to the actual wedding. (I figured if I was going to get a facial for the first time in a decade, I may as well go to the best—for research purposes only—so I went all fancy-lady and went to somewhere I read about in fancy-lady mag W when I freelanced there for a minute and a half a few years ago.) This is hardly a claim that I was somehow ripped off, though; nobody needs a facial, or a gel manicure. When it comes to extravagant services like a facial, it’s the ultimate placebo effect: You only get out of it what you think you’ll get out of it. Yeah, my skin looked great after it healed, but I expected it to look great; it’s wholly possible that the facial itself had nada to do with it, my hopes alone providing whatever glow I believe I saw.

But the placebo line of thinking makes me wonder whether there’s a part of me that was looking for some sort of backfiring, even punishment, for having been so extravagant in the first place. I mean, I don’t think I subconsciously made myself get a pimple or rip my fingernail. (Wouldn’t that be a great beauty article, though? “Think yourself into a breakout? Now think your way out!”) It’s just that as much as I argue for beauty work as a stand-in for so many other things—self-care, articulation of emotions and desires, creation of a public persona—there’s forever a part of me that feels a good deal of guilt about doing much appearance-wise beyond a basic clean-and-moisturize routine. There’s child starvation and obstetric fistula and Roe v. Wade is basically null in much of the United States and domestic violence and Syria and people rolling around limblessly on skateboards in Vietnam because of Agent Orange and I’m getting a fucking facial? Bitch, please. I’m descended from Puritans—many of us are in this country, if not literally—and though the strict moralism of that time has faded, its framework has proven sturdy enough to survive. Perhaps our collective fascination with and disdain of shamelessly vain people—the socialites who get those fancy-lady facials all the time and think nothing of it, the Kardashians of the world—is less about the vain part of the equation and more about the shameless part of it. Maybe I could only let myself indulge so heartily in the first place if I made some sort of connection—valid or not—between my indulgences and the fable-like postscripts I’ve attached to each.

In the end, I wound up laughing about the whole thing, and it is sort of funny in a moral-of-the-story kind of way: I’ve been skipping my monthly massages since May in order to pay for this one stupid facial, telling myself that I could exchange one form of self-care for another, when I full well knew better. A massage is truly therapeutic; a facial...well, I mean, I’ve had one before, and while it was nice, I also knew the its benefits wouldn’t equal what I receive from a massage. And as for the gel manicure, I’m still paying the price in the form of ridiculously dried-out nails from the acetone removal. (Why are gel manicures popular? They lead to ruin, I tell you! Ruin!) I don’t have any grand pronouncement here, other than to admit that I fell into the consumerist trap of believing that if I just spent the right amount of money and did the right amount of research and took the right amount of effort, something I don’t actually believe is worth the time/money/effort would somehow become worth the time/money/effort. I’d forgotten that the placebo effect only works if you believe it will. A sugar pill won’t get rid of your toothache if you know it’s a Tic-Tac all along.

You're Not Pretty Enough: Excerpt and Giveaway

The thing about You're Not Pretty Enough, storyteller Jennifer Tress's alternately hilarious and searing memoir, is that it's not really about being pretty. In fact, save for the argument with her then-husband that the book's title comes from—uttered unbelievably (except totally believably) in the midst of discussions about his inattentiveness and infidelity—prettiness doesn't make much of a star turn at all. Yet that's exactly why I found it valuable, because the thing about not feeling pretty enough is that...it's not really about being pretty either. It's about being enough. 

When Tress launched her website, she'd titled it You're Not Pretty Enough because of that stinging exchange with her then-husband. She soon noticed that search terms that landed people at her site were those of people looking for comfort in the midst of feeling...well, not pretty enough. And so in addition to compiling her personal tales, which showcase the best of what storytelling has to offer, she conceived a mission: Get women talking in a more thoughtful manner about appearance. (Lo and behold, that's exactly the mission I've got here! You see why I'm pleased to feature Tress.) I asked her to expand more on the "enough" part of "you're not pretty enough," and this is what she had to say:

"'Enough' is such a weird qualifier, isn’t it? But it’s one that we use a lot when describing our dissatisfaction with ourselves or with others. Whether it be good enough, smart enough, or pretty enough—it’s all about feeling 'enough.' That we’re whole, we’re valuable. It reminds me of that old skit from Saturday Night Live with (now Senator!) Al Franken as Stuart Smalley: I’m good enough, I’m smart enough, and doggone it…people like me!

Based on the work I’ve done through the You're Not Pretty Enough website, I’ve found that not feeling 'pretty enough' is often the entrée into self-esteem issues because it’s the easiest/laziest way we assess ourselves and others (which is reinforced by media and other cultural standards that we compare ourselves to). On the positive side, I also believe that beauty matters very little to most people, and to some, beauty doesn’t matter one bit. The key is for beauty to matter very little to ourselves. I want to share with you a message someone posted on the Facebook page that demonstrates this point. She says:

One statement you said has changed me. You said, "...It's the easiest and laziest way we assess ourselves." I had never thought about it this way before. I got up every morning to scrutinize my physical self. My state of mind would depend on how good I felt I looked. I'd obsess about it all day. And ultimately felt I didn't measure up, therefore I was unlovable. I was getting sick of myself. I started to walk by the mirror without looking. Then I watched the ABC story online. [Jennifer appeared on Good Morning America to talk about the "not enough" syndrome.] Never for a minute had I stopped to think to assess the things that make me, me. It does take time and effort to assess myself for other qualities and to become a better person. It's so simple. I wasn't ready, I guess. Or I was just being lazy. The next day after this mind-blowing revelation, I looked in the mirror. I saw me and I actually loved what I saw. I had been faking it for so long. I was brought to tears. Yesterday, the quality I reminded myself of is that I'm kind. Today, it's that I'm smart. In time and with some effort, from now on I will always love what I see in the mirror. 

Coming back to my own experience, I don’t think my ex was saying I wasn’t pretty, he was saying I wasn’t pretty enough. And the problem with that is I took that word 'enough' and ran with it: enough for who? For him? For society? It was the first time I really considered whether I was pretty “enough” and luckily—by simply focusing on things I like (reading, connecting with people who cared about me, doing a good job at the things I invested my time in like work, etc.)—I was able come out the other side and know: I’m more than enough.

Below is an excerpt from You're Not Pretty Enough (also available on Kindle and other outlets), and Tress is offering a signed copy to two readers. To enter, answer the same question I asked Jennifer in the comments by September 25 at 11:59 p.m.  EST, and we'll select two winners: What does the phrase "not pretty enough"—as opposed to "not pretty"—mean to you?

*     *     *     *     *

The background: When I was 16, I fell head over heels in love with Jon Bon Jovi based on seeing the “Shot Through The Heart” video. I didn’t know who this guy was, but I needed to find him and meet him because I was sure once we were face to face he’d feel the same way about me. As luck would have it, a huge radio station out of Cleveland, Ohio moved its broadcast operations to my small hometown and on a dare I went there one night to meet the DJ on hand and plant some serious seeds to get me closer to Jon. It worked. One day the DJ contacted me and offered to take me to the concert in a limo (with some contest winners) to meet the band back stage. I had 8 weeks to prepare…

Operation “Make Jon fall in love with me” included the following steps:

• Lose seven pounds to get to 125
• Find the perfect outfit
• Identify all the different scenarios that could occur
• Determine and practice a response to all scenarios identified

Step one would be easy: skip the cafeteria pizza and do some of my mom’s Jane Fonda tapes. Step two required an inventory of my closet. Nothing outfit-wise struck me as just right, but I did have a white leather jacket that fit me perfectly and a pair of low, but sexy white pumps. I just needed a dress. A trip to the mall would fix that, and I found a light pink sleeveless number that went down to my knees and hugged my curves. Done.

For the last two steps, I would need to imagine all the possible ways Jon would act. For instance, if he was cocky, I imagined myself saying, “Think of all the fans who support you. You would be nothing without us. NOTHING!”  I couldn’t really imagine him being anything but lovely, but one had to prepare. I practiced my responses in the mirror until I felt I was ready.

And then the day came.

I got dressed, teased my long, permed, and frosted hair to the sky, and stepped out to enter the limo as an eighties goddess. The contest winners were two female friends in their twenties who were as psyched as I was, and we were accompanied by Cat and another DJ, Rick Michaels. The mood was giddy as we jammed out to music on the thirty-minute ride to the Richfield Coliseum on a warm May day.

Several groupies were gathered around the area where the band buses and VIP guests pulled up. Suddenly, everyone in the limo took notice that from the waist up I looked exactly like Jon, especially with hair, leather jacket, and shades. Cat suggested that I pop out of the moon roof and give the groupies a show.

“You think it’ll work?”

“Try it.”  The girls in the limo egged me on.

“OK…”  I jumped up on the seat so that my top half was showing and raised my hand with my three middle fingers folded down and waved my pinky and thumb in the classic “Rock on!” sign. The groupies went crazy. When the limo parked and I got out—obviously no longer a man, they started shouting, “FUCK YOU!”  

Heh, I thought. I’m about to meet my soul mate, so fuck YOU!

We made our way through the melee near backstage—sound guys and wires were crisscrossing us—until we arrived in a large holding room with about fifty other radio station representatives and various guests. I could hardly deal. My skin was crackling with excitement, and I sat with my hands underneath my thighs to keep from biting my nails. 

We waited. For over an hour, we waited. I barely spoke to anyone because I was there for me, and I wanted to be inside my head preparing.

Cat, noticing my tension, said, “You know, I don’t want you to be disappointed if it’s just Tico who comes out.”  Now, I loved Bon Jovi for the sum of its parts, and one of those parts was the drummer, Tico Torres. But I had not come this far to just see TICO. No fucking way. As this thought bounced around my head, I became more anxious. But then I looked down the long hallway that led to the holding room, and there was Jon walking toward us. I grabbed my camera.

It sounds cliché, but it really felt like everyone disappeared, and it was just me and him, separated only by a hundred yards. No one had noticed him yet, and I watched him walk toward the room, as if in slow motion, dressed in tight leather pants and a cut-off shirt. He was smaller than I expected—maybe five-eight and thin—and he looked tired. I could feel tears well up, and I pinched myself on the thigh to get it together. 

When he entered the room, several handlers marshaled him over to us. Apparently, as the concert sponsors, our group got first dibs. Cat and the others stood up, but I remained seated, frozen, and he stopped right at the base of my chair, shaking their hands, looking down at me, and smiling. He started to tell a funny story that I can no longer remember, and I sat there, mute. All that practice down the drain! Cat, noticing my catatonic state, decided he should step in.

“This is my friend Jen.”

“Hey, Jen,” he said, smiling warmly and extending his hand to the one that was holding the camera. Instead of simply moving the camera from one hand to the other, I dropped it and shook his outstretched hand with my mouth wide open. I didn’t even say hi. He looked at me with an expression that read Am I crazy or does she look like me? and then one of the handlers told us it was time for Jon to move to the other groups, but not before pictures were taken.

“Anyone want me to take a photo with their camera?” asked the female handler, and I momentarily regained my consciousness to hand her mine.

We stood up in a group—the concert winners to his right and me to his left—and I felt him put his arm around my shoulder. I managed to wrap my arm around his waist and willed my molecules to remember his shape so I could replay it later.

The handler took some photos with other peoples’ cameras, and when she got to mine, she said “Honey, it’s not working.”

“Huh?”

“Your camera. It’s not working.”

“No, did, um, did you try…”

“Honey, I can’t make it work, sorry,” and then she gave it back and began to corral Jon to move to the next group. I looked at him, trying to think of something brilliant to say to make him stop and realize I was not just his female, mute doppelganger.

Who is who?

“Don’t worry,” he said over his shoulder as he walked away. “The station can get you a picture.”  And then he winked at me and walked on. I sat down on the chair again and watched the other groups as they showed off their gregariousness. Stupid talkers! Stupid me! 

Cat patted me on the shoulder in a way that said, “Buck up, kid,” and joined the other DJs. I slumped. When Jon made his way out, that was our cue to leave. Cat escorted me to the place I needed to go to get to my seat, and I turned to hug him. We stayed in touch for about a year, and even though I never got that photo, I’ll always think fondly of him.

When I got to my seat, the opening band was playing—I can’t remember if it was Cinderella or Tesla—and my mom and Margie were there. My mom’s face lit up immediately and then toned down slightly when she saw my face.

“How was it?”

“It’s over. I met him and he didn’t fall in love me!” I howled.

“Oh, honey. Why don’t you just…you know…try and enjoy the show?”

I sat in my seat, disgusted with myself, and cried and cried and cried. I didn’t cry at school, but I cried at home. After a couple weeks, I had to move on.

*   *   *

In the early 2000s, some friends convinced me to go to a Bon Jovi concert for nostalgia’s sake. I demurred at first, but they told me to get over myself and come with them. Just before the band came on at the sold out area, I wondered, What am I doing here? I still like him. He seems like he’s a serious man. He does a lot for charity and is married with kids to his high school sweetheart. He’s hardly ever in the tabloids and has been able to maintain popularity and relevance over the span of nearly thirty years. In fact, I admire him. But really, What am I doing here?

And then the lights went down, a guitar started playing, and he walked out on stage flashing a perfect smile on that beautiful mug.

And I was sixteen again.

Trust in Me, Baby

Sometimes you've just gotta trust the hand you've got.

Promotional tie-in alert! I’ve got an essay up today on Medium.com’s new mind and body channel. It’s a revisiting of something I wrote years ago, before The Beheld had much of a readership, about my own complicity in what some people might call beauty privilege, but what really amounts to sexism (and not only because I am far too modest to own up to “beauty privilege,” kittens). Specifically: By playing the part of a young-enough, pretty-enough woman and putting up with a certain amount of comments about being that part, I expected a certain amount of privilege. (Not universally; it’s specific to a former landlord whom I let make semi-lewd comments to me in hopes that my apartment would receive prompt attention when need be. Oh, just read the story.)

It’s been interesting to revisit this; the events in the piece happened three years ago, and I wasn’t yet as in the habit of looking at secondary themes when looks-related situations arise. When I look back on this situation now that it’s long over (my current landlord, Tanya, has never eyeballed me once), what stands out to me is my distrust. My distrust in my then-landlord, for starters, which in this case was earned. But really, it’s my distrust in myself that I’m noticing here. Or maybe not myself exactly, but more a lack of trust in the way things should work. When I relayed this story to a friend, she sympathized, but then pointed out that what I thought was a “weak hand” in the power balance between us actually wasn’t. That is: I am a good tenant. I pay rent on time; I’m quiet and courteous; I came to that particular apartment with excellent references; I’m housebroken. My former landlord had been looking for the right tenant for two months—this is unheard of in New York City—before I moved in. For in his own words, “I want someone who will treat the place right,” and his instincts (and my references) told him that I was that person. My hand was strong. And yes, he gave me attitude about making repairs that he wasn’t legally obliged to make, but the point here is that he gave me attitude even though I played the part of flirty, easygoing lady tenant. My real, actual, legal hand here of being a good tenant and knowing that that was valuable to him was just fine. Hell, in the end, he even made the repair I asked for. In fact, there’s a chance I made my hand weaker by playing the part I thought he wanted me to play. Had I approached every encounter with him in a wholly straightforward manner—just business, just the facts, no giggles—he may well have taken my complaint more seriously.

I can’t help but wonder how often I make the same mistake or assumption—that I’d better make the most of my looks, because that’s what’s really going to get me out of a jam when the time comes—out of distrust of my actual hand in life. I mean, yeah, it’s hard not to, when there are messages everywhere telling us that women’s accomplishments aren’t worth a damn unless they look good (and then they probably just slept with someone to go places, right?). But I also know that there are plenty of messages counter to that. Loads. (Including one that’s purposefully counter: Beauty Redefined’s “You Are Capable of Much More Than Being Looked At” sticky notes—promotional tie-in #2!—now available for purchase.) I mean, half the time I’m aware of people denigrating the appearance of women in the public eye, I’m only aware of it because someone has called bullshit on it. And believe you me, I did not grow up believing my looks would get me anything in life. (I remember justifying to myself as early as age 9 that it was okay that I wasn’t pretty, because I was smart, and lordy knows being both was impossible.) So when did I begin to subconsciously rely on my “girlish charm”? I wonder if this phenomenon could only exist in complicity with women’s inordinate distrust in our own appeal that we hear so much about. The flipside of not trusting your own appeal is that you overemphasize its importance. I don’t mean to make myself out to be a total sad sack, but honestly, this is sort of a lose-lose situation.

But back to the idea of not trusting others: When I was 24, I took a trip to Italy with my then-boyfriend. Being in Italy with a male companion was an experience entirely different from being in Italy alone, which I’d done the year before. I hear the culture has radically shifted since then (I haven’t been back since I was 24), but at the time, if you were alone and female, you were bait. This was charming at times (a shopkeeper in Florence ran to the music store next door to find a copy of “Autumn in New York” to put on when I told him where I lived), frightening at others. I remember at one point literally having a trail of three men walking behind me for several blocks, until I ducked into a polizia station, where the officers told me I had no need to worry—“When they stop looking, that’s when you worry”—but schooled me on a few choice phrases anyway. I’d told my boyfriend all about my earlier adventures, and had rather condescendingly pointed out that it was unfortunate that he wouldn’t receive as warm a reception from the Italians.

Which he didn’t. That is: He wasn’t followed down the street, nobody in the grocery line put down money for his goods, no bottles of wine mysteriously appeared at our table. People, men, were polite, but not...gregarious/overbearing. And still: One morning in Palermo, we went to the market, dazed by a rocky night’s sleep on an overnight train, and he stood in front of an olive vendor selling more varieties of olives than either of us knew existed. I’d been doing most of the communicating for us—doing my best with hand gestures, guidebooks, and college French—but I was too tired to figure out how to ask for olives, and I didn’t care for olives anyway, so we just stood there, staring. The man took a piece of paper from behind his cart, whipped it into a cone of sorts, spooned a heap of olives into it, and handed it to my boyfriend, whose eyes lit up like a six-year-old’s at Dairy Queen. When he dug out his wallet to offer some lira to the olive vendor, the man waved him away—prego, prego—with a smile. Waved him away with a smile: him, not me; the young freckled American who clearly wanted olives and would take utter delight in them, not the pretty-enough woman by his side.

I think of that sometimes, when I catch myself consciously thinking that being nominally attractive might curry some sort of favor. I mean, we all know it can, and you don’t need to be a traffic-stopper to reap the sort of benefits I’m talking about here. But when I’ve slipped into that worldview too deeply, I’ve robbed myself of the expectancy of human goodness. It’s a cynical mind-set, one that winds up reinforcing the idea that women are meant to be decorative objects—something I don't believe of any woman, certainly not of myself. Perhaps I developed that cynicism as a defense mechanism against the smatterings of disappointments that can accompany womanhood if you approach it from a certain angle and squint. But fuck it: I know better now than to think my own offerings, and the offerings of others, are most abundant at the surface. 

Right?

Nicole Kristal, Writer and Bisexual Advocate, Los Angeles

Picking a title to introduce Nicole Kristal was probably the most challenging part of this interview. Screenwriter, sure—her short film, Do You Have a Cat?, has been screened at LGBT festivals internationally. (You can rent it for $2 at BuskFilms.com, and I suggest you do exactly that.) Author, yes—her (hilarious) book, The Bisexual’s Guide to the Universe, cowritten with Mike Szymanski, won a Lambda Literary Award. Songstress, check—her rock-folk CD manages to be warm yet biting, melancholy yet upbeat. Blogger, mais oui—you may have come across her piece "Watching a Friend Die on Facebook," which went viral last year, from her grief blog. And as it happens, her skills extend to my arena too: She edited the first piece I ever wrote about beauty, published in our college magazine. But it’s her expertise in one of her work’s recurring themes—bisexuality—that made me want to interview her here. We talked about what hair length has to do with sexuality, navigating the line between showing interest in women and objectifying them, and why bisexuals are terrible dressers. In her own words:

On Signals

You can't pass someone on the street, look at their clothes and say, "That person's bi.” You can do that sometimes with a gay man or a butch lesbian, though I like to avoid assuming someone's sexuality based on fashion and mannerisms—there are too many exceptions. In the 1920s didn’t men wear a red necktie or something like that to signal that they were gay? It would be great if bisexuals had something like that. But say bisexuals had a uniform and they could just walk around and people would know—that still might not help that much because I wouldn’t know what type of bisexual you were. You might be a disjunctive bisexual woman who sleeps with women but doesn’t fall in love with them. There’s just this extra element of sleuthing for bisexuals to figure out if what you have with someone is viable, and in what way.

But there seems to be a standard uniform for female bisexuals in the media: prominent boots—usually leather—tight skirts, also usually leather, and low-cut, revealing tops. Whether it's Catherine Zeta-Jones in The Haunting or Kalinda Sharma in The Good Wife, they’re effeminate, sexually aggressive and often narcissistic or mysterious—keeping their hearts at a distance and never falling in love. And this seductivity and emotional distance comes across in their clothes. But in real life, we don't wear this uniform. Many of us struggle to reconcile the male and female energies inside us, and it comes out in a sort of mish-mash androgynous look that is not quite effeminate and not quite masculine, which is why I joke that bisexuals can be terrible dressers. This probably doesn’t apply to bisexual women with a preference for men—their style tends to be more characteristically straight—but the bisexuals like me who lean more toward the queer side can sometimes resist fashion trends, to their detriment. 

For my film, we had an incredibly hard time casting the lead character. None of the actresses seemed bisexual to me—not their style or their manner. We didn't want to fulfill the stereotype but we didn't want to ignore it entirely either. We finally just chose the best actress we could find as the lead and hoped we could style her into a believable bisexual. On her date with a man, we went more girly in a black top with a simple silver necklace; we chose a gold hoodie for when she meets a potential female love interest for the first time. We threw in a black and red checkered scarf for her second encounter with the woman—an item that can read straight or gay. I think some bisexuals do that in real-life—we dress more masculine when attending gay events or going on dates with women, and we femme it up when we go out with our straight friends and guys. Whatever we did worked because people left the film thinking the actress, Samantha Sloyan, was bisexual when in fact she's straight. Then again, most of that can probably be attributed to the fact that Sam’s an amazing actress rather than to her clothes.

On the Male Gaze

I feel like I have to wear just as much makeup going to a lesbian bar than I would going out on a date with a guy. In fact, I might get away with less makeup with the guy, because I’m usually so sure that a guy wants to have sex. I don’t have to work too hard. But with women you can say one wrong thing and they lose interest. I really think women can look at your shoes and lose interest. I’m serious! I remember reading in Lori Gottlieb’s Marry Him about a study that there are really only a handful of reasons a guy wouldn’t go on a second date with a woman, but there are hundreds of reasons why a woman wouldn’t go on a second date with a guy. That pickiness applies to women dating women too, so that factors into my appearance: I don’t want the way I look to be one of the reasons a woman wouldn’t want to go out with me. So yeah, when I go to a lesbian club I’ll wear my high-heel black leather boots or whatever. 

I don’t think I cater to the male gaze. I almost rebel against doing that, because I don’t think it’s necessary. When you’re bisexual, it can be easier to have a detachment from straight men without doing it as a game. I’ve seen straight women play that game with guys, acting disinterested so he’ll be more interested—bisexual women might be more genuine about that. It’s like, “Yeah, we had sex, that was fun,” and then we’ll go hang out with our lesbian friends, if you’re the kind of bisexual woman who is more on the queer side. It changes the whole paradigm. I can be like, “I’m wearing makeup today, I might not be wearing makeup tomorrow. Deal with it.” You’re not asking permission.


On Hair

The thing with the queer community here in L.A. is that you have to choose a look. You have to be like, I’m butch, or I’m soft butch but am masculine-identified or whatever. And then if you’re femme you really rock the femme look and wear heels or some other sort of really girly shit. I wasn’t really enough of either of those—I wasn’t great at being super-effeminate, and I wasn’t amazing at being a tomboy or butch, so I sort of fell through the cracks. Until I figured that out I wasn’t really having much success meeting women. I remember a bisexual friend telling me that she wasn’t getting women when her hair was long. So she cut off her hair, and it started happening. She said, “If you want to get pussy, cut your hair off.” Because then you don’t just get all the gay women who are comfortable dating someone who looks gay, you also get straight women wanting to experiment, because they want to choose someone who’s “really” gay to do that with. But then, women I know who have gone for the androgynous look have a fuck of a time dating guys, getting guys to not see them as lesbians.

I’m dating this woman who’s got short hair and looks kind of butch, so for the first time I’m sort of like, “Okay, we look gay, and I have to deal with this.” I took her to the same restaurant where I’d been on dates with men and everyone was looking at us—she eventually took her glasses off because she got tired of people looking at her to figure out if she was a girl or a boy. It’s funny, actually: I’d dated this same woman before, years ago, and she had long hair then. And I don’t know if I would have dated her then if she’d had short hair. I was less comfortable with being queer, so I didn’t want to go out in public and be like, “Hi, we’re the gay couple.” I wanted people to think we were best friends. Now I don’t really care. And in a way I like that her hair is short now—she looks so different than she did with long hair. It was the woman with long hair who broke my heart, so it’s almost like she’s someone else now.

On The City of Angels

I think each region has their own thing as far as a queer look. The scene is very effeminate here in L.A.; there are very few women with short hair. There’s such a pressure to be femme that sometimes you’ll even have these butch women who have long hair but are otherwise so masculine. Honestly, I think what happened is that The L Word came out and it influenced the scene. There was this impact of, This is how you should be as a queer woman. Being a lesbian was seen as this hot thing where two effeminate women are together and everyone wants to fuck them. It kind of left butch women in the lurch. I mean, it’s Hollywood, you can be gay, but there’s this pressure to appear fuckable to men even if you’re a lesbian. And if you’re bisexual, you’re supposed to be double fuckable. You’re supposed to be this hypersexualized persona. At the same time, people in San Francisco, where things aren’t as shallow, aren’t necessarily groomed to the level of L.A. people, so L.A. can kind of ruin you for that. Like, pluck those hairs in your ears or whatever! Get your eyebrows done. I found myself getting kind of turned off by stuff like that in a shallow way after I’d lived here for a while.

These two butch women from San Francisco went with me to a gay night at a club here, and there was this game where you’d throw these sandbags trying to knock over Barbies. If you knocked over a certain number of Barbies you’d win a shot. And these two women were like, “This shit would not fly in San Francisco—literally knocking over women? It’s so offensive.” And then they were like, “Let’s do it!” They were excited that they could do this silly game and not be persecuted for it like they would be in San Francisco. Down here in L.A. people aren’t as offended by stuff that actually is offensive, as far as the objectification of women, because there’s such a high premium on being fuckable. I mean, I’m coming from the ’90s so I’m politically aware of objectification—and it can be hard for me, looking at other women sexually. I’m aware of how it feels to be objectified so I don’t want to do that, but I want to show that I’m still interested in women sexually. But when there’s this group behavior around objectification it’s like that becomes what’s expected.

On Women’s Bodies

My sister always gives me shit for this, but I always end up with big-breasted women. It’s not intentional! I just think there’s something when you have smaller boobs like I do, you like to date women with the opposite of what you have. I’m not really interested in women with the same body type as me—I’m disinterested in skinny women, so I always end up dating women that are kind of voluptuous. They hold you in their arms and they’re soft, and I just prefer that to some skinny chick like me. But my body tends to make that kind of woman insecure. They say stuff like, “Oh, I’m going to start going to the gym more.” I’m like, “Why? I don’t give a shit about that, just be healthy.” I like the way women put on weight. There are some shallow lesbians who would never date a fat woman, and they’re missing out, because there’s so much more to do. There’s so much more to explore.

I watched this friend of mine pick up woman after woman, and I was jealous because I couldn’t. I finally said, “How do you get so many women?” She was like, “I just figure out what they’re most insecure about, and I tell them I love that the most.” I feel like that’s dishonest—but this woman I’m dating now, she’s like, “I’m going to lose some weight,” and I’ve started doing that a little, telling her how much I love her body. And yeah, I think her body’s amazing, but when I tell her, “Your body is amazing, I think about it all the time,” that’s a bullshit line. Sometimes that’s what girls need to hear to feel comfortable, so I finally started saying these things to build a comfort level. I do love her body, I’m not lying, but do I sit around thinking about it every second? No. But it was funny because I said that to her—“I think about your body all the time”—and she goes, “Even when you’re pooping?” We cracked up. I mean, the main thing we have in common is our sense of humor. But that was her kind of calling bullshit on my line too.

Fairest of Them All: Excerpt and Giveaway

Some might say that novelist Carolyn Turgeon's books tell the hidden side of fairy tales. That's true enough, but I'd put it differently: Her books tell of the ways women relate to one another through beauty. The idea behind Carolyn's latest, The Fairest of Them All, is deceptively simple: What if Rapunzel were Snow White's "evil stepmother"? That is, what if we saw the evolution of how a sympathetic woman renowned for her beauty became so obsessed with another person's loveliness that she'd order her death? It's a variation on a theme Carolyn explored in Mermaid, which spotlights the relationship between the mermaid and the princess of the classic fairy tale: "They're both beautiful, but they are literally different species, and I wanted to explore that complicated relationship." I asked her about the ways the heroines of The Fairest of Them All relate to beauty:

"In fairy tales, women like Rapunzel and Snow White tend to be valued for their beauty above anything else. I mean, they can be stuck in a tower or lying dead in a coffin in the forest and the most eligible bachelors will still fall in love with them instantly, that is how hot they are. I’m not sure that anyone’s falling in love with anyone because of their great hearts or their mutual love of The Smiths, if you know what I mean. In that context, how’s a dazzler like Rapunzel or Snow White—or any other woman who believes that her only value or power comes from her beauty—going to deal with getting older? The evil queen’s obsession with her mirror and hatred of Snow White seem like an understandable reaction to me, when it comes down to it. That kind of privileging of youth and beauty of course creates plenty of anxiety and rivalry among women—though in real life they might not eat each other’s hearts—which I personally try to address and find some way out of in my books.

"I think part of what makes Snow White so lovable and so marriageable is that she’s not only stunning but totally humble; there she is hanging out with birds and squirrels, oblivious to the fact that she’s so hot that men are falling all over themselves to get with her. Armed with youth, good genes, and a fairy gift or two, she can afford to be. The evil queen doesn’t really have that luxury, not anymore. There she is, off to the side, still beautiful but no longer getting any of that attention that’s now being lavished on Snow White. We like women who are beautiful but don’t know they are; we like those ladies in the Dove ads who are stunned and delighted to discover that they’re lovely. I think part of what makes the queen so evil is that she’s not being bashful or humble about the fact that she’s beautiful. She’s fully aware of her beauty and the power it once gave her but isn’t really giving her anymore. And she’s pissed! She knows full well what youth and beauty will bring Snow White: marriage, love, the potential for riding off into a happily ever after…until she gets that first gray hair, anyway."

Enjoy the excerpt below that expands on this idea—and leave a comment to be entered to win a signed paperback copy of The Fairest of Them All. The novel is written for adults but also has great young adult crossover appeal. Giveaway open through 11:59 p.m. ET August 19, 2013. And hey, New York readers: Join me tonight at 6 p.m. at the Tribeca Barnes & Noble to hear Carolyn read from the book! More events nationwide listed here.

*     *     *

I was the girl with the long long hair, trapped in the tower. You have no doubt heard of me. As a young woman I was very famous for those tresses, even though I lived in the middle of the woods and had never even been to court, not for a feast or a wedding or a matter of law.

My hair was like threads of gold flowing down my back and past the floor. If I didn’t tie it up, it would sweep across the stone and collect dust like a broom. I could lean out my tower window and it would fall out like an avalanche, gleaming like the sun hitting the water. It was as bright as sunflowers or daisies, softer than fur, stronger than an iron chain.

Every night I took horsetail and aloe from the garden, spoke words over them, and boiled them and mashed them into a thin pulp, which I then combed through my locks to make them strong and healthy and almost impossible to break. I would sing, and inhale the rich scent, to make the work go faster. To this day I love that feeling, of fingers running through my hair, the weight of it as it falls on my back.

Poets and troubadours sang of my beauty then.

It was sorcery, that hair. Sometimes now I wonder if things would have been different, had I been plain.

It is a hard thing, not being that girl any longer. Even as I sit here, I cannot help but turn toward the mirror and ask the question I have asked a thousand times before:

“Who is the fairest of them all?”

The mirror shifts. The glass moves back and forth, like water. And then my image disappears, until a voice, like a memory, or something from my bones and skin, gives me the same answer it always does now:

She is.
I turn back to the parchment in front of me and try to ignore the ache inside. The apple waits on the table next to me, gleaming with poison. All that’s left to do is write it down, everything that happened, so that there will still be some record in this world.

Beauty Blogosphere Hiatus

Regular readers may have noticed that I haven't done my links roundup for a couple of weeks. I'd intended to just take a brief break, but when I started putting together this week's collection, I realized exactly why I wanted a break: Reading all that can be exhausting! And right now I'm trying to focus my reading energies on larger pieces, i.e. books, to give myself a solid background to draw from in writing my own book. (Plus, I'm still figuring out how to write a book and blog at the same time without growing roots at my computer.)

So the Beauty Blogosphere is on hiatus for a bit longer. It will return—I love finding and curating these links, and it's a fun departure from the other kind of posts I have on here—but not for a couple of months. In the meantime, if you're seriously jonesing for some beauty news, here are a few options:

• Follow me on Twitter! I still find plenty of articles and tweet them out there.

• Subscribe to any of these beauty-related blogs, all of which have great roundups:
   —Wild Beauty (Beauty Bytes, most Fridays)
   —Makeup Museum (Curator's Corner, most Saturdays)
   —Already Pretty (Lovely Links, Fridays)
 
• And if you read Beauty Blogosphere more for its non-beauty aspects, either its style or its politics or other influences, you might enjoy these:
   —Shines Like Gold (Triple Decker Weekly, weekends, eclectic right-brain awesomeness)
   —Fritinancy (Linkfest, monthly, word- and naming-oriented)
   —Becky's Kaleidoscope (Link Love, often daily, eclectic)
   —Aaron Bady (Sunday Reading, Sundays, eclectic)  
   —Tits and Sass (The Week in Links, Fridays, sex work)
   —Jessica Stanley (Read. Look. Think., Fridays, eclectic)

Other suggestions welcome in comments!