Word: pinks
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...meticulously-naturalistic chunks of narrative within which Naipaul describes this island, Roche's message is borne out. The only way to capture this world is to record the numberless pink hazes, scorched and wrinkled hills, red blankets of bauxite dust, and even the stained bedsheets--all changing from moment to moment. And by tirelessly splashing his colors upon human beings, too, Naipaul smears identities in a way that drives home the ambiguity of this place. A British white woman has a color not at all like that "of local white people"; when Peter Roche grins, his pleasant demeanor is destroyed...
...that at 30 I would know more about poetry than any man living." After he was fired from an instructor's job at Wabash College when a prostitute was found in his rooms, Pound showed up in London at 23 wearing a piratical red beard, green felt trousers, pink jacket, hand-painted Japanese tie, huge sombrero, one turquoise earring, and pince...
WELL INTO TOTS IN TINSELTOWN the pariah-to-parvenu actors and actresses--the tots in Hollywood--sit around a barren movie set, pink slips in their hands, pondering their impending return to poverty. Kitty Kaboodle, dancing wonder, naif from Moot Point, Montana, says she'll go home, give up the glamour. But Henna Hoofer, jaded and street-smart, tries to change Kitty's mind; she tells her she's got to keep on, then looks up into the lights in a mood of inspiration invoking the dream of the silver screen: "Everywhere," she says, "there are girls...
...when the first annual Hookers' Ball attracted nationwide notice. Frisco and the rest of the West mustered its most decadent and bizarre characters for the frivolous extravaganza which was marked by fantastic costumes and coyote yells and attended by transvestities, pimps, working women and the curious press. Hot-pink pasties, g-strings, sequins and nudity adorned the raucous proceedings--but the drag queens reportedly outdid the rest, leading one participant to comment, "Once again it's proven that...
...course, the face is familiar. Like the pink convexities of Rubens' child-wife Hélène Fourment, it is one of the obsessive human presences of 17th century painting: Philip IV of Spain, growing older in the long succession of Diego Velásquez's court portraits. This one was painted late in the monarch's life, around 1653. The King's features-the bulbed Habsburg lip, the forehead's waxy promontory, the thick ball of a chin, the upswept mustache that Salvador Dali would appropriate and vulgarize-must have been more familiar...