A Quote by Joan Didion

The clothes chosen for me as a child had a strong element of the Pre-Raphaelite, muted greens and ivories, dusty rose, what seems in retrospect an eccentric amount of black.
Visually Agincourt is a pre-Raphaelite, perhaps better a Medici Gallery print battle - a composition of strong verticals and horizontals and a conflict of rich dark reds and Lincoln greens against fishscale greys and arctic blues.
I'm a big fan of the Pre-Raphaelites. Millais, Edward Burne-Jones, and I realised recently that my music is Pre-Raphaelite in a certain way, in that it reinvents an older era and romanticises it, puts it in this gilded frame.
If anyone out there wants me to play a Pre-Raphaelite character, I'd do it in a flash. That's what is so curious about my playing a modern doctor. It's not the sort of part I saw for myself when I began acting.
The term 'Pre-Raphaelite' is in danger of becoming one of the most misused tags in art history
Dimitri: "Rose, I'm seven years older than you. In ten years, that won't mean so much, but for now, it's huge. I'm an adult. You're a child.โ€ Rose: "You didn't seem to think I was a child when you were all over me.โ€ - Rose Hathaway & Dimitri Belikov (Vampire Academy)
There is a documentary element in my films, a very strong documentary element, but by documentary element, I mean an element that's out of control, that's not controlled by me. And that element is the words, the language that people use, what they say in an interview. They're not written, not rehearsed. It's spontaneous, extemporaneous material. People
Even the pallid daughters of Albion forget for a moment their Pre-Raphaelite poses by burying themselves in the sonorous sortilege of the Antilles.
Women are important in the Pre-Raphaelite movement. But while their faces are seen everywhere- in oil paintings, watercolours, drawings, - their voices are never heard.
When I was a child, I used to go wandering - disused railway-lines, old barns, dry-stone walls, strangely Pre-Raphaelite copses - it's much more fun to wander than to be guided, and you could do it in those days with freedom and without paranoia. In similar fashion, I try to allow the reader room to wander, even to meander, to almost lose themselves and their grip of the narrative.
Adults who loved and knew me, on many occasions sat me down and told me that I was black. As you could imagine, this had a profound impact on me and soon became my truth. Every friend I had was black; my girlfriends were black. I was seen as black, treated as black, and endured constant overt racism as a young black teenager.
When seen in retrospect, fashions seem to express their era. Although it is more difficult to draw conclusions from contemporary clothes, the same principles which hold for the clothes of the past must hold for clothes of the present and the future.
I have a strong antipathy to everything connected with gardens, gardening and gardeners. . . . Gardening seems to me a kind of admission of defeat. . . . Man was made for better things than pruning his rose trees. The state of mind of the confirmed gardener seems to me as reprehensible as that of the confirmed alcoholic. Both have capitulated to the world. Both have become lotus eaters and drifters.
The element of fashion I'd like to see more often? Clothes that fit people well. For me it's not so much about the clothes.
Was it the act of giving birth that made you a mother? Did you lose that label when you relinquished your child? If people were measured by their deeds, on the one hand, I had a woman who had chosen to give me up; on the other, I had a woman who'd sat up with me at night when I was sick as a child, who'd cried with me over boyfriends, who'd clapped fiercely at my law school graduation. Which acts made you more of a mother? Both, I realized. Being a parent wasn't just about bearing a child. It was about bearing witness to its life.
In Gypsy [Rose Lee] the musical, her mother, 'Mama Rose', is portrayed as a slightly eccentric, pushy, ambitious stage mother, but that version doesn't come close to the truth.
If something produces an undue amount of pleasure or undue amount of displeasure, it's going to be judged differently and it's going to be introduced in your narrative with a different size, with a different development. So that is the next element to superimpose on the sequencing element. And in fact, that element is so powerful that very often it can trump the sequencing event, that the sequencing aspect.
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