Dear Patrick, :: Creative Writing Letter Essays

Dear Patrick,I wake in the morning. I clothes khakis, black tank top, denim jacket. Leather belt reprieve low on the hips. A pink scarf around the screw for a feminine touch. on that point is an exhibit at the Met Ive been wanting to check out Extreme Beauty The Body Transformed. I go, because Im drawn to it, drawn to how we shed altered our bodies throughout the centuries with fashion, flashing charwomanhood like a northeast sign. How we have created ourselves through dress, over and over again.There is atomic number 53 human in particular that catches my attention, a long gown sewn with scales and feathers, myriad, iridescent, with the physical structure sculpted as a snakes belly. I dont know what to make of it. There is something in me that resists. I can non identify myself with her. Its like looking into the mirror, that moment of confusion. Thats not me. There was a distance between me as a woman and the creature in the dress, even though I knew that under that dress she was just as solid as I am, just as warm. She was othered by that dress. Woman and not-woman, snake and Eve, both at once. Monstrous.You come by later to visit, and we sit down with the compile and look. When I show you the submit of the snake dress, you say, Thats dead sexy.I was offended, initially. Confused. Looking at the photograph now, though, the catalog spread open on my desk, I can see what you mean. On a mannequin, as it was at the exhibit, the dress was just a curiosity, something by P.T. Barnum. The Incredible Snake Lady. On a real woman, it is transformative. She is exotic, terrible, powerful. Sexy. Sexy because she is powerful, because she stands with much(prenominal) command and ease. I want to beher, alien as she is, to own that interpersonal chemistry of sex and authority.alchemy Pronunciation Key ( l k -m ) n.1. A medieval chemical philosophy having as its asserted aims the transmutation of infantry metals into gold. . .Alchemists saw in matter something ind iscrete, something without boundaries. Substances were implicated in each other, irreducible. The conflict between gold and iron was simply a matter of scale, one easily able to shift into another.In Mary Shelleys Frankenstein, her protagonist canvass alchemy before creating his monster. The monster itself is a creation of alchemy, a phantasm, in the words of Mary Shelley, caught between worlds both living and dead, man and machine.