Andrew G. Kaufman, esquire, smiles and waves at his neighbor, who is walking her ridiculous/yappy/rat of a toy poodle, as he drives through the repetitive cycle of houses that make up his shitty suburban neighborhood. His eyes are on the road, but his head, his head is in the stars. He reminisces about his time performing for children at birthday parties and he reminisces about Elvis and he reminisces about magic and he reminisces about singing; he remembers his father telling him, “A smart, good, Jewish boy like you needs a career Andy, not these silly dreams and hullabaloo, go to school Andrew, be a doctor or a lawyer. Oy, would your mother love to have a doctor for a son.” His life is full of these types of regrets. Opportunities missed always play themselves out in his mind; he tries not to get too hung up on them. Besides, he knows his life is not all bad; his profession is respectable and his house is enviable and his wife is ... and his wife; he has many fine suits, and a very nice car. Yes, it is a life he knows others are jealous of. So while he may not be the famous star he once dreamed of, at least he is envied. Pulling into the driveway he, once again, marvels at its horseshoe shape, long enough that the house rests far enough back from the street to convey power, yet not so far that passersby would not be able to see their fountain and lion statues that bookend the entryway leading to their frontdoor. It is perfect. He sits in the car for a moment, still reminiscing, as he prepares himself for home. *** The door opens and her perfume creeps up his nose. She rises to greet him, and he is that boy in law school again. Hair, aglow, dancing on shoulders, smooth olive skin radiating a warmth felt from across the room, he... ... middle of paper ... ...ght into his heart a busty street-walker named Tonya ensnares him. She oozes sexuality. Her every movement a tantalizing call to bed. She struts up and down her block wrapped in a peach embroidered halter-top and mini-skirt, black thigh high fishnet stockings, and a cigarette dangles from her lips revealing a voice that is a cement mixers snarl. A man, glances around nervously and, almost as if propelled by the bulge in his pants, adjusts his crotch as he, approaches her. Kaufman watches as the tawdry discussion comes to resolution. And he watches as she takes him into an alley. And he watches as she drops to her knees. He feels the gravel get caught between his knees and stockings. And he feels the smooth hard dick of a strange man sliding in and out of his mouth. Andrew G. Kaufman may not have been a star, but at this moment Tonya Clifton is. Tank-you veddy much
Cullen, Frank, Florence Hackman, and Donald McNeilly. Vaudeville, Old & New: An Encyclopedia of Variety Performers in America. New York: Routledge, 2007. Print.
Once McMurphy attacks the nurse and exposes her breasts and thus her sexuality – which she has always tr...
From the cigarette they shared to the Ferrari ride, she risks her life to be with this so called “man”. “Silence. She was looking at Lenny’s legs, how white the exposed skin was. She was thinking that he brought his sick body to her, that he was bloated, enormous with pathology and bad history, with jails and demented resentments”(98). What she thinks of him represents what happened in the past and what will happen to her if she decides to continue her drug use. “Bad history” and “jails” are only two small snippets of her previous life that she tries to forget but cannot due to Lenny. By bringing “his sick body to her”, she will be relapse. His disgusting figure repulses her because she tries as hard as she can to resist temptation. The image in her head must be ugly so she does not fall back on old habits. The more time she spends with him the more handsome he becomes, pulling her in to using once more. For now he looks ugly because she does not want anything to do with drugs but in time they become more enticing and alluring. Her mind tricks her into thinking that Lenny will eventually stop but he does the exact opposite. He ceases to exist as a real human being and prevails solely in her mind. She thinks that his Ferrari, drugs, and mansion are real but they are not and he represents the drugs she takes. With how “white” his skin looks, it means that she has
a vaudevillian and appropriately enough was born into the theatre. As a child, the art of
...t we already know about female subjec- tivity under patriarchy, but also the film is as aesthetically ludicrous as the cake (which is why it’s often funny) and is en- tirely complicit in the production of its own symptomatology. Behind the spoonfed clichés is the specter of male narcis- sism, which is willing to take any form or do anything to seek satisfaction and prevent injury to itself (including dressing in drag and stuffing a bulimic with cake). Nothing is achieved by this film other than its own climax and it’s in this sense that it’s “autoerotic.” I don’t mean at all that it’s intended to titillate—the film satisfies itself in this regard and, in the process, leaves us as cold as the dirty old man on the subway or Duchamp’s perpetually grinding Machine Célibataire. Nina is nothing but the stain to be cleared up at the end.
Women show a submission to the power of men, even Blanche admits that maybe Stanley is what they need to ‘Mix with [their] blood’, whereas she treats Mitch with contempt, rolling her eyeballs when he can’t see and ridiculing him in ...
Coming from a musical background Terrence Mann most definitely lives up to his parents’ talent. He has formed a successful carreer around his talents. His career includes multiple appearances on Broadway, appearances in movies, and being a distinguished professor of musical theatre at Western Carolina. Today he passes on his passion for young people who hope to one day become as successful and well know as Terrence Mann.
The patient was more beautiful than she realized. If only she could see it for herself. The color from her dainty face had drained to a sickened green tint and her eyes widened in fear. The walls of the clinic exam room were ordained in calming colors, but offered the young woman no comfort. She continued to blink rapidly as if she would awaken from the nightmare; her long eyelashes could not fan the health worker’s words away. She thought it was harmless, just a night of fun. It made her feel valuable and attractive. Yet being desired now left her alone, crumpling to the floor screaming between sobs and desperately reaching to the empty air around her. She couldn’t grasp any security. Not only did that harmless night of fun result in her becoming
A woman is rethinking her experience from the night before and telling it through vivid description. It tells exactly how she feels and her thoughts. She describes what exactly love and lust feels like with a man she doesn 't know well. She starts out saying that she was afraid but goes deep into emotions of the sex between the two of them. The woman is describes each movement during the sexual innuendo. After the intercourse, she cuddles in his secured arms till they fall asleep.
With her usual wit, Margaret Atwood uses elements of humor to lighten the mood of "Rape Fantasies" at the same time introducing the seriousness of the topic. The reader is introduced to the first person narrator, a young woman by the name of Estelle, who works in the filing department of her company. From the beginning of the story, Estelle shows the reader just how difficult it is for women to laugh at themselves when they have been conditioned by society and mass media to fit into certain perceived stereotypes. She points out tha...
...e relationship with men, as nothing but tools she can sharpen and destroy, lives through lust and an uncanny ability to blend into any social class makes her unique. Her character is proven as an unreliable narrator as she exaggerates parts of the story and tries to explain that she is in fact not guilty of being a mistress, but a person caught in a crossfire between two others.
The vivid imagery utilized lends this story a great deal of depth as it brings Sugar’s encounters to life in the mind of the reader. Right from the start, Leach swiftly establishes Sugar as a sexually ambivalent woman as she illustrates the leopard-print bikini girl’s strong legs and braids “hang[ing] down her back cascading like a waterfall at mid...
...ith her charismatic brother who constantly looks out for her, supports her and believes in her when no one else does. This affects her attitude towards men positively. Years later, however, her mother’s boyfriend molests and rapes her thus changing her perspective of men or rather widening her understanding of them. She sees Mr. Freeman as a pedophile that he actually is. Nonetheless, while on the verge of adulthood, she develops curiosity towards men and at some point considers them as objects for her pleasure. She also grows to love and respect her mother’s husband to the point of trusting him while her mother is away on business.
When first reading this short story the character of an older woman comes to mind only to find later in an important passage “She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength (Clugston, 2010, sec 2.1). This passage finally gives the reader a detailing idea of the woman in this story and defines her as a younger woman rather than an older one. This may l...
Now this story probably stirred up many people because it is reasonably sound and shocking. However looking beyond the surface, one notices subtle innuendoes about females, males, and violence. In this urban legend, females are portrayed as weak, frightful, and naïve. Jane in seeking help from a male, suggest that she is weak and needed a man to protect her. This deceptive portrayal of females is typic...