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She was a tallish woman, and big-boned, but she appeared slight, and even boyish. This was because of how she did her hair, which was a rough, streaky gold, cut like a boy’s; and because of her clothes, for which she had a great natural talent. She took pleasure in the various guises she could use: for instance, being a hoyden in lean trousers and sweaters, and then a siren, her large green eyes made-up, her cheekbones prominent, wearing a dress which made the most of her full breasts.
This was one of the private games she played with life, which Anna envied her; yet in moments of self-rebuke she would tell Anna she was ashamed of herself, she so much enjoyed the different roles: ‘It’s as if I were really different — don’t you see? I even feel a different person. And there’s something spiteful in it — that man, you know, I told you about him last week — he saw me the first time in my old slacks and my sloppy old jersey, and then I rolled into the restaurant, nothing less than a femme fatale, and he didn’t know how to have me, he couldn’t say a word all evening, and I enjoyed it. Well, Anna?’
‘But you do enjoy it,’ Anna would say, laughing.
But Anna was small, thin, dark, brittle, with large black always-on-guard eyes, and a fluffy haircut. She was, on the whole, satisfied with herself, but she was always the same. She envied Molly’s capacity to project her own changes of mood. Anna wore neat, delicate clothes, which tended to be either prim, or perhaps a little odd; and relied upon her delicate white hands, and her small, pointed white face to make an impression. But she was shy, unable to assert herself, and, she was convinced, easily overlooked.
When the two women went out together, Anna deliberately effaced herself and played to the dramatic Molly. When they were alone, she tended to take the lead. But this had by no means been true at the beginning of their friendship. Molly, abrupt, straightforward, tactless, had frankly domineered Anna. Slowly, and the offices of Mother Sugar had had a good deal to do with it, Anna learned to stand up for herself. Even now there were moments when she should challenge Molly when she did not. She admitted to herself she was a coward; she would always give in rather than have fights or scenes. A quarrel would lay Anna low for days, whereas Molly thrived on them. She would burst into exuberant tears, say unforgivable things, and have forgotten all about it half a day later. Meanwhile Anna would be limply recovering in her flat.
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Page 20
Naomi Alderman November 6th, 2008 at 10:59 pm
I’m interested in these women’s intense awareness of the ‘effect’ their looks produce. I wonder if it’s common to think about one’s own looks in this way. One of the things I love about starting to read a new novel is the number of shocks one gets; the way that the writer’s view of the world, the pair of eyes they look at things with is so different from my own. This is one of those moments for me; I always have to remind myself to include clothing details in my writing, because I rarely think about my own clothes (it probably shows).
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Helen Oyeyemi November 7th, 2008 at 6:06 pm
trest. do you think the details of Molly and Anna’s appearance might be set up as factors that they’re fighting against? the thing about describing people’s clothes and facial features &c is that you end up with an image of them sitting/standing completely still, in fact holding still so that they can be inspected like a kitchen counter or some other piece of homeware that’s on sale. And maybe in contrast Anna’s problem, and her eventual separation of her life into notebooks seems to be about being dynamic, in motion, and an ability to inhabit lots of different selves…
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