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Rather than make any claims or conclusions about what fiction and nonfiction owe each other at the time that The Jungle was published or even later, I would like to make two points:
* What fiction may seem to be borrowing from nonfiction and what nonfiction might seem to be borrowing from fiction are due to both participating in and being informed by the same cultural paradigm. They both drink from the same well, so to speak: the well of actuality observed.
* Sinclair's The Jungle, therefore, is part of numerous attempts to tiffany money clip those living on the margins of American society. Indeed, sharing material and techniques means there are precursors that are not always placed under the same literary or cultural umbrella with The Jungle.
Let us begin with my first contention that fiction and nonfiction did not so much borrow from one another but rather "borrowed" from American culture and society. Good fiction then and now, because of the freedom to create, presents a different reality than the best nonfiction. Yet both can often be impressionistic and thematic, and they rely on the rhetorical techniques of storytelling. And both were caught up in the nineteenth-century tension, or struggle, between realism and romanticism.
Literary critics and historians over the past ten to fifteen years have done their best tiffany pendant debunk or significantly qualify the notion of a genuine American realism in the nineteenth and early twentieth century. They claim there is no real evidence of a "movement" in the true sense of that word as there was, for instance, in nineteenthcentury France. They point out how much writing and writers, identified with American realism, retained romantic impulses and touches. And they further claim that much so-called realism never really went beyond mere surface imitation through listings of detail and facts to a more sophisticated and complex level of impression and interpretation of those details and facts that artistically moves closer to the truth or at least to genuine understanding.1
These claims and criticisms may be true or at least have merit. Yet they should not mask the clear historical evidence of a shift in American cultural forms of expression of all types. Playing off the work of several scholars, I call this shift, which occurred from around 1850 to 1900 or so, a new cultural paradigm of actuality that is defined by a focus on actuality, including common things and common people, but also involving daily concerns, experiences, and relationships, both cultural and personal, of the emerging middle tiffany earring commercial class. That paradigm stands in contrast to a more romantic one, a previously overwhelmingly dominant one, that focused on the ideal and whose depictions were ideational and nonrepresentational and at the same time mostly unrecognizable in the rapidly changing American social and demographic landscape. The bottom line is that this paradigm of actuality indeed reflected a realistic impulse, a realistic sensibility, because it was based primarily and essentially on the observation of life being lived and not created in a more abstract fashion from the imagination while ensconced in the confines of the study, with its comfortable chair and stacks and rows of books.
It is important that this be considered a genuine cultural paradigm and not simply a litetary proclivity. Of course, fiction also was pulling away from the romantic and ideal (although never completely abandoning that inclination), and a range of writers have been acknowledged as realism's advocates and practitioners, including prominently Mark Twain, William Dean Howells, Hamlin Garland, Henry James, Stephen Crane, and Theodore Dreiser. It is significant, however, that the sensibility was as strong in poetry as in fiction, and its most ardent advocate was Walt Whitman, as others have documented again and again.2
The statements by Whitman regarding the need to look at and write about the common and everyday were numerous. In lecture notes, for instance, he wrote that his ideal of the beautiful was "not the beautiful girl or elegant lady . . . but the mechanic's wife at work."3 Ralph Waldo Emerson once predicted that the great American poet would be one who "visits without fear the factory, the railroad, and the wharf" and then acknowledged that Whitman did just that. Whitman further complied with that assessment by declaring, "I am a poet of reality."4 In his great and seminal poem, "Song of Myself," he said, "I accept Reality and dare not question it," and "I believe in the flesh and the appetites/Seeing, hearing, feeling."5 He backed up those contentions tiffany keyring an incredible variety of images, scenes, and facts, documenting and cataloging the America that he saw in a style that though ultimately symbolic and metaphorical appeared literal, simple, and significantly journalistic. For instance, consider these lines in the poem's tenth section:
The boatmen and clam-diggers arose early and sropt for me,
I tuck'd my trowser-ends in my boots and went and had a good time;
You should have been with us that day round the chowder-kettle.
I saw the marriage of the trapper in the open air in the far west, the
the bride was a red girl,
Her father and his friends tiffany necklace near cross-legged and dumbly smoking,
they had moccasins to their feet and large thick blankets
hanging from their shoulders,
On a bank lounged the trapper, he was drest mostly in skins, his luxuriant
beard and curls protected his neck, he held his bride
by the hand,
She had long eyelashes, her head was bare, her coarse straight locks
descended upon her voluptuous limbs and reach'd her feet.''
But other areas of cultutal expression also exemplified this shift from the genteel to the real, from the ideal to the actual, which is the main point regarding this paradigm shift. Here are several examples:
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DIMPLE ARORA
AERO MODELLER, 20
Standing at four feet and nine inches, flying a plane was an impossible task for this Ludhiana girl. "I was dismissed because I did not meet the prerequisites for flying. They said I was too short," recalls Dimple Arora. But this did not end her fascination for aircraft.
Two years on she is an expert in making miniature aircraft which discount tiffany accessories and fly like the real ones. The latest addition to her collection is an IL76 model, which is a transport aircraft used to drop paratroopers; carry troop forces and combat material with crews and armament, especially needed in remote and poorly-serviced areas. "I am told that the Indian Air Force also uses it for fuelling tanks," she says.
The list of her creations is long. Earlier, she had made a Mirage 2000 model, which was a static model (ones not capable of flight). "Working on the flying models is definitely much more exciting," she says. Arora's parents don'tknow much about her creations and have never seen her flying the aero models. But she makes it a point to show the pictures to them and particularly so to her father, who is a transporter.
Arora joined the NCC in college and took to aeromodelling with discount tiffany bracelets interest. "It is a combination of craft, a bit of engineering expertise, coupled with creative imagination. Now, I am thoroughly enjoying it," she says cheerfully.
From watching movies, her favourite hobby earlier, her focus has shifted to making aero models. Her subjects in college (she is doing her B.Sc.) helped her understand the components in a much better way.
Arora's city, Ludhiana, has actually been quite active in aeromodelling. In November, 2009, a championship was organised in which nearly 50 aero model plane enthusiasts from different parts of Punjab and Haryana participated. An industrial name in Bhogal, which manufacture aero models, said they had discount tiffany pendants their Model Avionics Club that used to be active in 1990s. Due to technical reasons, the activities of the club were stopped.
However, now they would be holding such competitions on a regular basis in different parts of the state. Most of the club members are used to flying aero models. Ask Arora about what's next on the radar, she replies, "I want to fly radio control airplanes."
GURPREET KAUR SUPPEL
MICROLIGHT FLYER, 20
Although Gurpreet Suppel wants to make a career in civil services, her first and foremost passion is her hobby of flying a microlight (light airplanes, either single-seat, or dual seat, which are cheaper. The licensing regulations for both pilots and aircraft are less stringent than for conventional light aircraft.)
This BCA final year student of Khalsa College, Ludhiana, had always for sale tiffany of flying one and her dream came true when she cleared the test for the NCC air wing. Her interest in the sport, along with her good height-five feet and seven inches-helped her clear the test.
After just one month of her training, Suppel has completed 12 hours of flying a microlight, which is quite an achievement for someone her age. She has also brought laurels for the Punjab Air Squadron as well her college by bagging a gold medal in flying in the NCC camp. But she rues the fact that her parents have never seen her flying even once. Suppel's father is a farmer in Bhatinda and her mother is a housewife.
The young flyer, while sharing her experience when she sat in the plane for the first time, says, "It was an amazing feel ing. I felt like a free bird. I experienced a cocktail of emotions-surprise that I did it, and happy, as I felt above others." Before being asked if she was scared, she said, "I was not at all scared for sale tiffany key rings though I know it was my first time flying."
Suppel has been lucky: not only has her dream been realised but everything happened free of cost for her. One sortie of microlight usually costs Rs 7,000, but for her, everything was paid for by the NCC Air Wing. She is all praises for her trainers and the commander of the Ludhiana squadron, Wing Commander H.S. Gulati.
The college has also recognised her achievement by conferring the college colours on her.
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Sep. 30--About 10 girls clad in this season's expected trends -- bulky tiffany in yellows, teals and bright purples paired with high boots -- are slated to mingle with a crowd next week to raise money for academic scholarships in honor of a woman slain in Tinley Park last year.
The Jeffrey LaMorte Salon & Day Spa and 1 Happy Girl Boutique in Lemont are teaming up to host a fashion event in Lemont to raise money for post-high school scholarships for Homewood- Flossmoor High School and Lincoln-Way Community School District 210 students in honor of Carrie Hudek-Chiuso, a Homewood-Flossmoor High social worker who was one of five women slain on Feb. 2, 2008, at the Lane Bryant women's clothing store in Tinley Park.
Angie Avorio, director of education of academy at the Jeffrey LaMorte salons, suggested Hudek-Chiuso's scholarship fund when the salon was looking for a charity to donate the fashion show's proceeds to.
"When I first started out in my career, some of my first customers were tiffany bangle and her family, specifically her mom," Avorio said. "When I heard [about the shootings] it was extremely devastating to me."
Cards and flowers simply wouldn't do, she said. So Avorio hosted a fundraiser just after Hudek-Chiuso's death, and then suggested the salon, which has locations in Lemont, Frankfort and Orland Park, donate too.
The event, called the Fall/Winter Vision of '09 Trend Show, is on Oct. 10 at The Place, 206 Main St., Lemont. Salon stylists will be on a stage to show people how to color and style while models already with that look -- and wearing the expected fall trends -- will talk up the audience. The event also includes a silent auction and a raffle.
Hudek-Chiuso, 33, of Frankfort, was one of five women killed when a man posing as a delivery worker walked into the Lane Bryant store around 10 a.m. on a Saturday, then herded six women into a back room. About 40 minutes later, five women, including Hudek-Chiuso, were tiffany ring, shot execution-style. A sixth woman suffered a graze wound to the neck and later helped police sketch the face of the killer. The murders remain unsolved.
Also killed were Sarah Szafranski, 22, of Oak Forest; Rhoda McFarland, 42, the Lane Bryant store manager from Joliet; Connie Woolfolk, 37, of Flossmoor; and Jennifer Bishop, 34, of South Bend, Ind.
Police have traveled from Texas to England chasing down tips, which number about 5,450, Tinley Park police Cmdr. Pat McCain said. In April the South Suburban Major Crimes Task Force, which is investigating the murders, said the store no longer was a crime scene and returned it to its owner, Minnesota-based Ryan Companies.
The women's clothing store is part of a 500,000-square-foot tiffany bracelet mall called Brookside Marketplace at 191st Street and Harlem Avenue. Charming Shoppes Inc., the parent company of Lane Bryant, was leasing the store from Ryan Cos. Tinley Park Mayor Ed Zabrocki said the store is vacant.
After Hudek-Chiuso's death, her family created Carrie-Fest, which is to be an annual event to raise money for scholarships to help disadvantaged youth pay for their post-high school education, such as college or trade school. So far Carrie-Fest has raised more than $200,000, and three students have received scholarships, said Mike Hudek, Hudek-Chiuso's brother, who helps organize the fundraiser. Besides ticket sales, several businesses donate goods for auctions.
Last year, singer Peter Cetera, formerly of the band Chicago, who went to tiffany cufflink Catholic Prep High Schoolon the South Side with Hudek-Chiuso's father, played an acoustic set at Carrie-Fest. Hudek said he's prepping for next year's celebration and hopes to give three or four scholarships next year.
"This past year was tough ... [but] the local businesses here still found a way to give to us," Hudek said. "It was really, really amazing, given the economic times we're in. I think [the Lane Bryant murders] struck a chord with a lot of people."
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What does a young ingenue wear while making her way through Hollywood via New York? Playful pieces that give her "gorgeous" in an instant.
One summery morning, Mamie Gummer navigates the crowded path to Peter Som's showroom off Seventh Avenue. Wearing no makeup except for L'Oreal mascara and Laura Mercier sunblock, and a simple sundress and flats from one of her favorite stores, Steven Alan ("disheveled perfection" is the tiffany money clip governing fashion principle), not far from her Tribeca apartment, the 25-year-old actress spends the morning previewing the new resort collections of some of her favorite designers. At Oscar de la Renta, her first stop, she remembers a day three years earlier in Manhattan.
The theater-and-communications major had just graduated from Northwestern University and had come to town with several classmates to participate in a showcase production highlighting their various dramatic talents. It was well attended and received, and practically overnight the young actors found themselves courted by agents and managers offering to launch their careers.
"I was so green," promises the cloudless beauty, who learned to walk on the QE 2 while sailing with her father, sculptor Don Gummer, and her mother, Meryl Streep, heading to England to film Plenty, which was set in an era when people traveled by boat. "For my first big day of appointments I tiffany pendant these ridiculous four-inch heels, and I fell down three times that day, once at an intersection, and skinned my knees. When I met the woman who was to become my manager, she said, 'Take off those shoes!' and that's when I figured out all this fuss is just not necessary. What we do is so nerve-racking. Constantly being judged, you have to be comfortable and not worry about things like your outfit."
Greeted affectionately by designer Som (they met through their mutual friend actress Ginnifer Goodwin), Mamie shows him a photograph stored in her phone; she's wearing the strapless satin dress he made for her opening night of Les Liaisons Dangereuses, in which she recently tiffany earring on Broadway. The conversation turns to resort, which he explains is "not a statement season. Instead, it's about what is pretty on you, what's amazing on you." Inspired by a book he received about India's royal jewelry, the collection is opulent but light, with sari references, British khaki, a knockout dress of sheer organza boucle, Gem Palace--like embroidery, linen and cotton knits, mostly knee-length but also short skirts, shorts, and "skorts," Som says, holding a combination short-and-skirt concoction.
"Skorts!" Mamie exclaims, feigning a campy, theatrical accent, very weekend-in-Connecticut, where she was raised and attended Miss Porter's (for a semester) and the Kent School. "I haven't thought about skorts in years, and I'm so glad you did. The only things I don't hate about my body are my legs, so I like short."
From there we head downtown and find Zac Posen in his atelier, sitting atop a towering director's chair, channeling Cecil B. DeMille with a dash of Russ Meyer as models sail forth in nautical-themed frocks, glamorous long dresses, and sharp jackets and pants. The song "Poor Little Rich Girl" is playing, and Mamie takes a special interest in a tailored white trouser suit, its possibilities capturing her imagination. She believes in magic, she says, at least when it comes to fashion. "I like looks you can play with. I am kind of like a child that way, dressing up. You just throw something on and then, oops, you're gorgeous."
When the presentation ends, Zac and Mamie, who first met at a Christmas tree--decorating party given by Claire Danes, hug and gossip about a late night not long ago at a midtown biker bar.
"What is the inspiration for your resort collection?" Mamie asks.
"Marilyn washed up and impregnated by a Rasta," he answers, the delivery deadpan serious until Mamie starts to laugh.
Zac takes her on a tour of his studio, and soon she finds herself, oops, looking gorgeous in a metallic flower-print viscose-and-Lurex dress from his prefall collection that she might wear to a dinner this evening, or save for later. Tomorrow night she goes to Paris for 24 hours for a press conference for Gerard Darel. Mamie is the new face in the company's fall ad campaign, replacing Charlotte Gainsbourg. A spokesperson for Darel told me they chose Mamie because she is a talented artist as well as "a wonderful personality with a great sense of style. She is international."
"International?" Mamie muses. "It's the nose."
Self-effacing, natural, artfully keeping everything lilting and light--this is Mamie's tiffany keyring, one suspects, for staying grounded. In three short years her career has skyrocketed--from Broadway this summer, she headed to upstate New York to film Ang Lee's new project, Taking Woodstock, a comedy about the sixties music festival--and she has managed to distinguish her talent from her mother's renown and impress the critics along the way. Evidence of this self-protection comes in the next stop, at Steven Alan.
Drawn to the bijoux case, Mamie says, "What I really like is jewelry. I attach tremendous sentimental value to it." She is wearing a Lulu Frost necklace and an antique opal ring that was a present from her father. "When you travel a lot for work, these pieces"--she touches the necklace and the ring--"become very important. You change your clothes every day, but your jewelry reminds you of home."
She credits the style savvy in her family to her two younger sisters, Grace, 22, and Louisa, seventeen, who were raised in Manhattan (they also have a brother, Henry, 29). "I'm the country sister. They have the city experience, they have the eye."
"You change your clothes every day, but your jewelry reminds you of home"
Mamie longs for any time she can spend at home in Connecticut, wearing her Steven Alan sundresses and bathing suits from H&M. Happily, her Les Liaisons Dangereuses costar Laura Linney lives in the same town, so the two carpooled every Sunday night to spend Monday, their day off, in the tiffany necklace.
Oscar de la Renta, Peter Som, Zac Posen, Gerard Darel, Steven Alan, et al may be the staples in Mamie's wardrobe now, for resort and all seasons, but when she was growing up, Patagonia was her country-girl look.
"My mother is a bargain hunter, so most of my clothes actually came from Ames and Kmart when I was a child. My mother also says that you can get everything you ever need at Bloomingdale's, and so for Christmas she gives us gift certificates there." Mamie will go to the men's department and buy "big, old men's shirts, and then I dress them up with, oh, whatever--jewelry and high-waist jeans." Most recently, "I bought my very first blazer, black, by Theory," which she will wear with Cheap Monday black jeans and a blouse.
Beyond Kmart and Patagonia, what was her first "fashion" awareness? Seeing the movie Clueless in 1995. "I idolized the look of knee-high socks, and everything matched," Mamie remembers. "Sometimes, to this day, my sisters still have to correct me from going out looking too, well, matchy-matchy." aucun commentaire
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By then Diane had catapulted herself into the stratosphere by designing the jersey wrap dress that made her famous -- and ensured her autonomy. On her twenty-seventh birthday she bought Cloudwalk, her 18th-century country house in Connecticut's Litchfield County; at twenty-nine she was on the cover of Newsweek; and on her thirtieth birthday she bought an apartment on Fifth Avenue. "I was independent," she says. "The money was a consequence of my work. For me, it's only my own money that counts."
Although she doted on her son and daughter, a wholly domestic existence as a helicopter discount Tiffany Earrings could never have satisfied her. "I believe that a woman must have children because I think that's what we're made for -- we give life," she explains. "But I do believe equally that a woman should have her own identity outside her family -- for her self-esteem, for her children, even for the respect of her husband. It's so important not to lose yourself. Women must work. If you don't, it's bad for you. It doesn't make you a better mother to stay home; it is the worst idea. Women work anyway; they might as well get paid for it. And your children will thank you for it, because otherwise you're too much on top of them."
Notwithstanding her own affairs with some of the world's richest, most famous and most discount Tiffany Necklaces men, von Furstenberg also insists that a woman can never find salvation in Mr. Right. "No man will solve your problems; no marriage or relationship will solve your problems," she says firmly. "I've never looked for 'the right man' -- there's no such thing. The relationship that solves your problems is the relationship you have with yourself. Your wholeness comes from you. Your strength comes from you. Once you have that, then you can have the rest, but the rest is a luxury."
By any standard, the luxuries von Furstenberg enjoyed were dazzling. Her lovers included such movie stars as Richard Gere and Ryan O'Neal in their prime. "I had fun with men," she admits with a mischievous grin. "I was a very, very big huntress. I wanted to show, Why can't we do this? Why can only men do this?" Her grin broadens. "I'm glad I did it then because it would be pathetic if I did it now. Everything has an age. I'm a grandmother now. Seduction is not something in my vocabulary anymore."
As twilight falls, the Empire State Building -- the ultimate symbol of the city she and Egon took by storm four decades ago -- glows outside her windows. It's hard to believe that von Furstenberg is over sixty now; her hair is a subtle, flattering shade somewhere between ash-blonde and brown, she appears to be wearing no makeup, and when she stretches, she seems lithe as a cat. She is, however, a realist.
"Now I'm aging," she says, her tone matter-of-fact. "I don't have the body I used to have; I don't have the face I used to have. I used to be cute; men looked at me in the street. But it's nice to age. I feel I have earned that stature. I look at my wrinkles, and every wrinkle is a souvenir; it's a moment I have lived. I don't want to discount Tiffany Rings any of the moments I have lived."
In her youth, however, her exploits were legendary. At twenty-eight, von Furstenberg began a passionate romance with the media mogul Barry Diller. "He was a young tycoon and I was a tycooness, and we fell madly in love," she says.
"It was like a coup de foudre," recalls Diller, who is now the chairman of IAC/InterActive Corp. "It's not as if it was elective. It was instant, almost literally. It was inexplicable. From the first moment, it was 'Wow!'"
Five years later, however, von Furstenberg moved on to another phase. "Then I went to Bali and had the fantasy of the jungle man," she says cheerfully. Living in a bamboo hut by the beach with a Brazilian art dealer named Paulo, she spent her Bali incarnation wearing nothing but sarongs -- although real life periodically interrupted the idyll. "The Bali period was about five years, but I would only go to Bali for stretches of time," she explains. "I would mostly live in Cloudwalk with my children and Paulo."
In 1984 her kids went off to boarding school and von Furstenberg moved to Paris, discount Tiffany Money Clips she lived with Alain Elkann, a former son-in-law of Gianni Agnelli; because his ex-wife, Margherita Agnelli, and Egon von F眉rstenberg were cousins, Elkann's children and Diane's were also cousins. By this time she had sold her fashion business, so she set up a literary salon, started a publishing house and tried to impersonate a traditional wife. "I lived with a writer and basically became a submissive muse -- as much as I can be submissive," she says wryly. "I gave up a lot of things. But you cannot lose that grip with men."
Conventional gender roles are a bore, and they usurp a woman's power, she decided. Today she dispatches that experiment with a dismissive shrug: "It was a fantasy," she says. But it proved costly indeed. "I realized I had lost what I was, and that's when I really suffered," von Furstenberg admits. "I got tongue cancer, and I think I got that because I couldn't express myself. So I started again."
The cancer's discovery was fortuitous. "In 1994 I was having lunch with Ralph Lauren, and he was telling me about his experience with a brain tumor, which was revealed not to be malignant," von Furstenberg says. "When I asked him how he found out about it, he said that he had had a noise in his ear. As he was mentioning this, I had a noise in my ear, and again the next day." Von Furstenberg was eventually diagnosed with cancer at the base of her tongue and on her soft palate, she says. She was treated with eight weeks of radiation.
Once again she found her salvation in work. "I needed to prove to myself that I had created something very special and magical, and that I could get it back," she explains. Her own creations provided the inspiration. "I realized that young, hip girls were buying my vintage dresses in vintage shops, and that gave me the push to do it."
Not that it was easy to get back into the game. "In life you always have to eat humble pie at some point or other," she says. "The hardest thing for me was when I returned to America to witness that my brand was no longer relevant and had totally lost its quality, spirit and taste. I tried to work with the different people who discount Tiffany Cuff Links in charge, but it was clear that they wanted no part of me; they made me feel small and like a has-been. Slowly, I gained control of my name again; in some cases I had to buy it." Von Furstenberg believes that such obstacles provided a crucial impetus for her second-act success. "That's the fuel," she says. "Every rejection is the fuel for what you will be -- wanting to show that you're better than that. You need to feel small in order to be big."
Driven by sheer force of will, she relaunched the wrap dress in 1997 and proceeded to make it big all over again. Today, von Furstenberg presides over a far-reaching fashion empire with more than two dozen stores on three continents and annual sales of $200 million. Diane von Furstenberg -- or DVF, as the company is often known -- now offers a full ready-to-wear collection along with shoes, accessories and jewelry. "You can buy a $500 dress or a $281,000 diamond bracelet," says Paula Sutter, the president of Diane von Furstenberg. "It's beyond the clothes now. Diane's message is that you can have it all: you can do what you want to do, be glamorous, be fabulous, be a globe-trotter. She wants to empower women and make them feel they can achieve whatever they want to achieve."
Having resurrected her career, von Furstenberg received a Lifetime Achievement Award from the Council of Fashion Designers of America in 2005, and in 2006 she was elected the organization's president. Now in her second term, she has become the industry's spokeswoman on such pressing issues as intellectual property, piracy and counterfeiting.
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