Bookmarker is a personal project by @dellsystem to help with retaining reading material. Source on GitHub.

topic/beauty

Jennifer Egan, Martin Amis, Graham Greene, Simone de Beauvoir, Merritt Tierce, Harold Brodkey, Lorelei Lee, Mary Gaitskill, Miranda July, Percival Everett

But to be clear, I had not, at any age, desired a specific male body in the way I did now. While all my boyfriends and crushes had been reasonably good-looking, my attraction hovered up near their face, where they kept their talent and power. Lusting for the whole length of a person, head to toe, was what body-rooted fuckers did, Jordi, and men. Now, for the first time, I understood what all the fuss was about. How something beautiful could strike your heart, move you, bring you down on your knees and then, somewhat perversely, you wanted to fuck that pure, beautiful thing. Sex was a way to have it, to not just look at it but to be with it. I suddenly understood all of classical art. The endless carved nudes, Venus in her shell, David. And sexy clothes. I had worn them without really understanding why, thinking of sexy as one of many styles, not realizing it was the only style. You should always be emerging from a shell if possible. Without knowing it, without really understanding it, I had been a body for other people but I had not gotten to have one myself. I had not participated in the infuriating pleasure of wanting a real and specific body on Earth. I lay in the center of the bed, unblinking.

—p.73 by Miranda July 1 year, 9 months ago

By the time I contacted Marion for an interview in 2003, I’d been a widow for long enough that I no longer feared meeting this first wife, though I cannot say I was looking forward to it. I will admit I was intimidated by Marion’s effortless grace—who wouldn’t be? She is a good deal younger than I am, not so much in years but in the way she carries them, and not only in the way she carries them physically but also in her bright and undiminished gaze, that of someone who seems to know no disappointment. You could argue, of course, that physical beauty indicates nothing of any depth about a person, yet few can avoid falling under its spell.

—p.279 Marion (278) by Catherine Lacey 2 years, 5 months ago

Emily wore a dark blue shirt with short sleeves and a pale yellow skirt; she had brown hair, and for over thirty years she had wanted a pretty face. For too long, as a girl and adolescent, then a young woman, she had believed her face was homely. Now she knew it was simply not pretty. Its parts were: her eyes, her nose, her mouth, her cheeks and jaw, and chin and brow; but, combined, they lacked the mysterious proportion of a pretty face during Emily’s womanhood in America. Often, looking at photographs of models and actresses, she thought how disfiguring an eighth of an inch could be, if a beautiful woman’s nose were moved laterally that distance, or an eye moved vertically. Her body had vigor, and beneath its skin were firm muscles, and for decades her female friends had told Emily they envied it. They admired her hair, too: it was thick and soft and fell in waves to her shoulders.

Believing she was homely as a girl and a young woman had deeply wounded her. She knew this affected her when she was with people, and she knew she could do nothing but feel it. She could not change. She also liked her face, even loved it; she had to: it held her eyes and nose and mouth and ears; they let her see and hear and smell and taste the world; and behind her face was her brain. Alone in her apartment, looking in the mirror above her dressing table, she saw her entire life, perhaps her entire self, in her face, and she could see it as it was when she was a child, a girl, a young woman. She knew now that most people’s faces were plain, that most women of forty, even if they had been lovely once, were plain. But she felt that her face was an injustice she had suffered, and no matter how hard she tried, she could not achieve some new clarity, could not see herself as an ordinary and attractive woman walking the earth within meeting radius of hundreds of men whose eyes she could draw, whose hearts she could inspire.

—p.195 Dancing After Hours (194) by Andre Dubus 8 months, 4 weeks ago

The real football reason, in all its inevitable real-reason banality, was that, over the course of weeks of dawns of watching the autosprinklers and the Pep Squad (which really did practice at dawn) practices, Orin had developed a horrible schoolboy-grade crush, complete with dilated pupils and weak knees, for a certain big-haired sophomore baton-twirler he watched twirl and strut from a distance through the diffracted spectrum of the plumed sprinklers, all the way across the field's dewy turf, a twirler who'd attended a few of the All-Athletic-Team mixers Orin and his strabismic B.U. doubles partner had gone to, and who danced the same way she twirled and invoked mass Pep, which is to say in a way that seemed to turn everything solid in Orin's body watery and distant and oddly refracted.

Orin Incandenza, who like many children of raging alcoholics and OCD-sufferers had internal addictive-sexuality issues, had already drawn idle little sideways 8's on the postcoital flanks of a dozen B.U. coeds. But this was different. He'd been smitten before, but not decapitated. He lay on his bed in the autumn P.M.s during the tennis coach's required nap-time, squeezing a tennis ball and talking for hours about this twirling sprinkler-obscured sophomore while his doubles partner lay way on the other side of the huge bed looking simultaneously at Orin and at the N.E. leaves changing color in the trees outside the window. The schoolboy epithet they'd made up to refer to Orin's twirler was the P.G.O.A.T., for the Prettiest Girl Of All Time. It wasn't the entire attraction, but she really was almost grotesquely lovely. She made the Moms look like the sort of piece of fruit you think you want to take out of the bin and but then once you're right there over the bin you put back because from close up you can see a much fresher and less preserved-seeming piece of fruit elsewhere in the bin. [...] The big hair was red-gold and the skin peachy-tinged pale and arms freckled and zygomatics indescribable and her eyes an extra-natural HD green. He wouldn't learn till later that the almost pungently clean line-dried-laundry scent that hung about her was a special low-pH dandelion attar decocted special by her chemist Daddy in Shiny Prize KY.

—p.289 by David Foster Wallace 6 months, 4 weeks ago

As she spoke Nicola was looking, not at Keith, but at her bikini and what it framed. She rightly imagined that he was doing likewise. The interproximate breasts, concavities of throat and belly, white pyramid, the racing legs. Keith did not know, could not have guessed, would never have believed, that half an hour ago this body had stood naked before the bathroom mirror while its mistress wept - drenching the feet of the god of gravity. Beauty is in the eye of the beholder. Which is fun for the beholder; but what about the owner, the tenant? Nicola wondered whether she'd ever had a minute's pleasure from it. Even at sixteen, when you're excitedly realizing what you've got (and imagining it will last for ever), you're still noticing what you haven't got, and will never get. Beauty's hand is ever at its lips, bidding adieu. Yes, but bidding adieu in the mirror.

—p.127 by Martin Amis 1 year ago

Irene Maitlock was one of those women I found difficult to look at without imagining how much they would profit by dropping just a few pounds, wearing a less pointy bra, a minimum of makeup, and clothing that had, if not personality, at least some semblance of an identity. Because the raw material was there! She had thick light brown hair that begged for highlights, a decent figure, lovely blue eyes. She also wore a wedding band, and so, I gathered, was not exactly desperate for my help. But I was less troubled by Irene’s physical shortcomings than the annihilating side of my own personality that raged in the presence of women who invited the descriptive “mousy.” Fortunately, I’d had time to stop at Ardville Wines and Spirits on my way home.

this is enjoyable because it is firmly within her perspective and gives us a sense of how someone in her position ought to think

—p.93 by Jennifer Egan 4 years, 8 months ago

What these qualities meant, how they conjoined to form a human being who looked and moved a certain way, I had no idea. As a teenager, I first became aware of people’s eyes catching on me as I walked down Michigan Avenue with my mother and Grace during shopping trips to Chicago. They glanced, then looked—each time, I felt a prick of sensation within me. I knew how transistors worked; my father had shown me a picture of the very first one, at Bell Labs, a crusty, inauspicious-looking rock that had performed the revolutionary feat of transmitting and amplifying electrical current. The jabs of interest I provoked in strangers struck me as an unharnessed energy source; somehow, I would convert them into power.

—p.168 by Jennifer Egan 4 years, 8 months ago

And that was basically that, although it took several more years before I was truly a catalogue girl with no prestige whatsoever. Just how many years I wasn’t sure, exactly, because at that point, the point at which my acceleration began to reverse, time started running together—there was no more arc of ascension by which to measure it. The years began passing in clumps, so that one day I was twenty-three (to the world) standing at the threshold of the mirrored room, and the next, ten years had passed and I was twenty-eight and a professional beauty, by which I mean a person in possession of phone numbers of sumptuous homes around the world where she (or he) will be welcome, a person adept at packing on a half-hour’s notice for a trip to Bali or a sailing cruise off Turkey’s southern coast, a person who will never have to pay for her dinner as long as she doesn’t expect to choose the company. Indeed, understanding how much she can reasonably expect is key to the professional beauty’s continued circulation, and requires the use of an obscure algorithm involving the variables of how good she looks, how easy she is to be around, and what, exactly, she’s willing to give in return. As the years go on and one’s looks and novelty wear off, one had better start cultivating some other skills. Of course, the professional beauty’s existence was generally an anteroom to some more permanent arrangement, and the ones with any sense married well as expeditiously as possible, while their stock was high. Such transactions weren’t necessarily base or grotesque; there were plenty of stops on the road to trading looks for cash before you arrived at the old carp at the end of the line whose breathing was audible at dinner and whose daughters were nearer your mother’s age than your own. In my case, marriage to money would certainly have been the prudent route, and yet I couldn’t seem to do it. Having forgone a marriage of love, how could I promise those very same things out of mere practicality? It seemed dull and frightening. Try as I might to interest myself permanently in the real estate owners I met, owners of yachts and islands and seventeenth-century castles, of Bonnards and Picassos and Rothkos and vintage cars and zoo animals, private screening rooms and fleets of chestnut horses, my concentration always broke; my mind wandered, another man came along, and the prior one fell away or married someone else or simply vanished.

—p.178 by Jennifer Egan 4 years, 8 months ago

Back on Broome Street, I walked without knowing where I went. I stared through boutique windows at couches, at vases of blown glass, letting the cold air clear my head. It’s over, I told myself repeatedly, not knowing quite what this meant. I turned up West Broadway, a lunchtime murmur roiling behind the windows of restaurants. The models were out in force, their spindly doe’s legs splayed beneath short winter coats. They looked so young—younger than I’d ever felt in my life. I noticed one with short, raven-colored hair who looked not unlike myself (we are interchangeable—the first lesson one learns as a professional beauty). She and I reached the corner of Houston at the same time, but I let her go ahead. From behind, I noticed people glance at her as she passed them crossing the street, their eyes holding her an extra moment, then reluctantly pulling away. The girl pretended not to see them, just as I used to do, but she felt the power I remembered feeling—I saw it in her walk, the way she held her head, a self-consciousness that made her every move look studied.

But was that really power? I wondered, following behind as she turned left, onto the north side of Houston. Or did it only feel like power? She made her way along, eyes straight ahead, the shape of her portfolio visible in her small backpack, and hovering around her, something only I could see: the nimbus of her faith that she had earned an extraordinary life, and would have one. No, I thought, it was wrong—there was no such thing as the power of beauty. Only the power to surround yourself with it.

—p.189 by Jennifer Egan 4 years, 8 months ago

The three others: I mentioned one so sleazy. Maybe in the end he wasn’t as bad as the other two. I say that because he was uglier, and an ugly man may learn to compensate for his face with some kindness. Perhaps his entire career was compensation for his ugliness—a path to money that could pay women to ignore the way he looked. Pale pink, fat, he reminded me of a hairless mole we’d seen at the zoo. There is no point in asking what the attraction was—that’s the wrong question. Clearly what has gone on in the world of my past can answer only other questions. Like why does a man want to pretend a woman likes him? What does anyone get from pretending? I did the ugly one first. Went to a bar in his neighborhood, drank some whiskey with him.

—p.2 by Merritt Tierce 3 years ago