Word: goddesses
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...Harding loses, her victim is transported to the ether of celebrity as a plucky survivor of a vicious assault who goes on to bring back the gold for her country. In fact, human nature favors Kerrigan: Olympic judges, like Supreme Court Justices, read the election returns, and Kerrigan, the goddess of good, already enjoys a significant edge over Harding, the consort of thugs. On the other hand, if Kerrigan falls and Harding triple-Axels her way to victory, then what crueler punishment could be devised than for Harding to lose her medal if she is eventually found guilty...
...family is still dazed by this goddess of motion in their midst. The clan was 14 strong at her first national outing (novice division) in Kansas City, Missouri. At least two dozen will make their way to Lillehammer. But even now, when the money from Campbell's Soup and Reebok is starting to flow, the Kerrigans still pitch in, ironing their daughter's fancy dresses: Brenda, barely able to see, wields the iron, Dan guides her on where to place...
While the gals in data entry are discussing fascinating new possibilities for cutlery commercials, the feminist pundits are tripping over one another to show that none of them is, goddess forbid, a "man hater." And while the pundits are making obvious but prissy-sounding statements like "The fact that one has been a victim doesn't give one carte blanche to victimize others," the woman in the street is making V signs by raising two fingers and bringing them together with a snipping motion...
...relations in this generation. At times, however, her acuity yields to carelessness. This is most notable in her depiction of Charis, and her airy speculations on numerology; Charis relates that seven is "two threes and a one, which [she] prefers because threes are graceful pyramids as well as a goddess number." This characterization, as well as the descriptions of Roz's stereotyped homosexual assistant Bryce, might be crude or dull if it wasn't tempered with a whimsical compassion. Here Atwood's specialty is the grim glee she takes in detailing the disaster that Roz, Tony and Charis invite into...
Fellini once played God: he was the vagabond whom a peasant (Anna Magnani) mistakes for Jesus in Roberto Rossellini's The Miracle (1948). For Fellini, however, God was a goddess and woman was the world -- everything in the world that excites and frightens, forbids and enchants. To Marcello in La Dolce Vita, woman is "mother, sister, daughter, lover, angel, home." How small and sad and funny men are in comparison! At one end of the spectrum they are like the midget bluenose in Boccaccio 70 (1962) overwhelmed by Anita Ekberg as a sexual giantess -- it's the attack...