I have a new website
It has a built in diary, and so I will be moving my writing there.
See you soon, I hope!
"I try to delight in the sunshine that will be when I shall never see it any more. And I think it is possible for this sort of impersonal life to attain great intensity,—possible for us to gain much more independence, than is usually believed, of the small bundle of acts that make our own personality." - George Eliot
I’m moving to San Francisco and will be available to see new friends/patrons starting 2/2 :)
When an interviewer asked her in later years as to what she had “lost”, as indicated in the title, Kael averred: “There are so many kinds of innocence to be lost at the movies.” It is the first in a series of titles of books that would have a deliberately erotic connotation, typifying the sensual relation Kael perceived herself as having with the movies, as opposed to the theoretical bent that some among her colleagues had.
Perhaps in another life ;) If you’ll allow me to indulge myself. It’s interesting history, anyway.
"Grisettes were in many ways female bohemians. They were integral and prominent participants in bohemian society; they fit perfectly into the lifestyle and spirit of bohemia and were also necessary to its survival. This is how Grisettes both embodied the essence of bohemia and supported bohemia:
Characteristics of a grisette’s life paralleled that of a bohemian in several ways. In addition, representations of Grisettes in popular literature established them as figures of subversion to mainstream Bourgeoisie values.
Grisettes provided romance, inspiration, and an audience for bohemians.
The woman represents the grisette because she is happy with her bohemian companion. From her proud bearing and the spatial proximity to her male companion, it is clear that these two are equals. Thus, she must be happy with the freedom of her life within bohemia.
Life: The word “grisette” refers to a cheap dress made of gray fabric, and later came to signify those young, lower class women who wore it. During the 19th century, the term came to embody not only the social status of the grisette, but also a certain archetypal character, namely a young, pretty, independent and flirtatious working woman. (Manchin, 2000)
Grisettes were young, working class women, usually in their twenties, who left their home and families in the countryside to find work in Paris. Grisettes were usually seamstresses; during the 19th century, cloth merchants would employ the labor of people in the country and city garrets. Much of Paris’s manufactured products required skill and precision, and women provided much of this type of labor. Grisettes lived on their own, supporting themselves, and sometimes their families with their work.
Parallels with Bohemia: In the 19th century, grisette became associated with the Latin Quarter and thus with bohemia. The housing there was cheap, and they found that they fit in well with the young men of this social and cultural group. Grisettes and bohemians were both urban figures, lacking the support of their families as well as supervision. (Manchin, 2000) They both represented a sort of middle ground between the upper and lower classes. …
Representations: A whole mythology of grisettes has developed through accounts and descriptions by such authors as Hugo, Murger, and others. They have tended to portray the grisette as young, pretty, and independent. She lives her life and carries out her relationships on her own terms, with her own agenda. She has no concern for formalities, customs or norms. (Manchin, 2000) She moves from lover to lover at whim, commands respect from her lovers, and becomes an equal partner with her male relations. In short, she has control over her romantic life. (Manchin, 2000) This is a stark contrast to the normal bourgeois ideals of womanhood. The daughters of the bourgeoisie were restricted, taught respectability, and spent their time waiting for suitors. (Seigel, 40)
Hugo’s representation of Fantine and her friends embody the grisette archetype. They are young, pretty women, all workers, all unmarried and unattached and living independently. They live carefree lives and become involved in love affairs with young students; they spend their days entertaining themselves, going on picnics, eating in restaurants, etc.
This image depicts Fantine and her four friends, as well as the four young students with whom they were romantically attached. The romantic encounters in this image are highly different from those of young bourgeoisie couples. The encounters in this image are very informal; a contrast to the rigid formality of bourgeois courtship. For example, a young bourgeoisie couple would be reserved, and there would be no physical contact. The young people in this scene have relaxed and playful postures, indicating informality. There is also significant physical contact; the youth helping the grisette into the boat has his arm around her in a seemingly suggestive manner. The couple in the upper right are leaning quite close together. This open display of sexuality was common to bohemians and grisettes.
Musetta is an example of a grisette, and from this picture, her fierce independence, flirtatious nature, and overt sexuality are evident. Musetta, both in Murger’s Scenes de La Vie de Boheme and Puccini’s opera, Musetta is a fickle character, leaving and taking lovers at her whim.
Supporting Bohemia: Author Joel Seigel describes how grisettes were figures of “romantic fantasy” for the men of bohemia. They were young, available, unfettered by “bourgeois morality”; as mistresses they satisfied the physical needs of the pleasure seeking bohemians. (Seigel, 40)
Grisettes also provided artistic inspiration; for example, one grisette named Jenny, from Janin’s “La Grisette,” modeled for artists. However, she only offered her services to one she considered to be a true genius. (Manchin, 2000) Grisettes were often portrayed as having good taste in art; they could thus support artists by contributing their opinions and perspectives. Grisettes provided literary inspiration; an example appears in the memoirs of Arsene Houssaye. He describes how one of his friends used his love Cydalise as his subject: “I can point to many of Theo’s poems that date from that love; while he produced them under the spell of her eyes, she, too, learned to make songs of love.” (Knepler, 41)
Grisettes provided a valuable audience for bohemians; they accompanied them to the cafes, joined their conversations, listened to poems and examined artwork inspired by and completed for them. By embodying and supporting bohemia, grisettes fortified and justified the rejection of the bourgeois that defined this counterculture.”
My favorite quote? It’s not something sexy and enticing I could put on the splash page of my website, but…
“But events have their own logic, even when human beings do not.” - Rosa Luxemburg
It seems like sharing your Myers-Briggs personality type is becoming en vogue among escorts. I think it’s kind of funny because people assume the test was created by or at least approved by Carl Jung when really it wasn’t. I think actual psychologists and academics in that field consider it more akin to horoscopes than a legitimate descriptor of personality types. But they’re still fun to think about. I am an INFJ by the way. Supposedly the rarest type, but there seem to be many on the internet?
"As an INFJ, your primary mode of living is focused internally, where you take things in primarily via intuition. Your secondary mode is external, where you deal with things according to how you feel about them, or how they fit with your personal value system.
INFJs are gentle, caring, complex and highly intuitive individuals. Artistic and creative, they live in a world of hidden meanings and possibilities. Only one percent of the population has an INFJ Personality Type, making it the most rare of all the types.”
This seems true to me, but who knows with the Forer effect? ;)