Indian Fashion And Textiles

Indian Fashion And Textiles Indian fashion is rich in tradition, vibrant in colour and beautiful. Bold colour and metallics created by the inventive drapes of these textile catches the imagination like no other contemporary clothing. Some Indian dress designers combine western trends with an Indian touch, creating garments which are outstanding. (www.wordiq.com) The Indian traditional fashion is vast and influential throughout the world. It is one of the richest cultures. The culture of India is an amalgamation of diverse sub-cultures like languages, textiles, crafts, dance, architects, food and customs. In Textile Surface Decoration, Margo Singer argues that, India has its own ancient tradition of silk weaving and can boast many indigenous silk moths. The country produces several types of silk. India became a major exporter of silk and is still the largest producer of silk after China. It also has a vibrant tradition of block printing (often using indigo), which dates back many centuries. Traditional techniques are still used today. Indian textiles have been exported since the 15th century; today the main textiles centres are Gujarat, Rajasthan and Andhra Pradesh, where block printing workshops still produce fabrics dyed with vegetable and chemical dyes for clothing, furnishing and fashion exports. British India 15th-16th century As written by Beverly Lemire and Giorgio Riello, the trade of textiles from India to European countries was seen in 12th and 13th century (Ottoman period) where silk was imported from Asian countries like India and China. Emergence of fashion in Europe was visible in the revolutionary commodities painted and printed Indian cotton textiles which came in seen towards the end of the 15th century. These textiles represented the Asian imports into Europe, showed the widespread consumption of Indian textiles and also worked as a source of inspiration for European manufacturers. By the early sixteenth century, imports increased which in turn attracted generations of Europeans due to the unmatched brilliance and fastness of colour and the striking designs of printed Indian cottons. European fashion in this century was not just created through the adoption and use of Indian goods but it was shaped by the Indian culture, motifs and techniques used. Ritu Kumara a famous Indian designer in her book Costumes and Textiles of Royal India stated that in 1601 that British East India company had established centres for trade in India in cities like Madras, Surat, Calcutta and Bombay. In this century British began to develop textiles for their own markets. They expanded and established factories in India and started exporting to other countries. They exported silk ikats, cotton pieces goods, indigo and fine embroideries from cities like Gujarat in western India and Bengal in eastern. According to her, England was not the only European country where Indian textiles were popular ,places like France were also charmed by the widespread heritage of India. (Costumes and Textiles of Royal India by Ritu Kumar,1999 pg.52,53 and 54) 17th-18th century Indian cotton textiles first started to appear in the first decade of the 17th century in the form of Chintz which refers to, any floral printed furnishing fabric, made of cotton or linen, and often glazed. It is often defined as Indian cloth on which a pattern has been produce by hand drawing with a bamboo pen (kalam) and dyeing with mordants and resists. They are originated from the south -east India, in the area that came to be known by European as the Coromandel Coast. Influence of chintz has been in the form of coverlet, quilt, hanging, plates, dress, overdress, petticoat and other form of garments which are present in the Victoria and Albert Museum. (Rosemary Crill,) As Ritu Kumar refers to the history and writes that the demand for Indian textiles had reached such heights in 17th century in the British and French culture which resulted in prohibition of anyone wearing or using any Indian textiles so as to promote their own silk and textiles. But these prohibitions were difficult to impose and failed and the trade continued. She also writes that, by the 18th century dresses made of Indian muslins and the woven shawls which were draped over them became fashionable. The Kashmir shawl was one of the most sought after luxuries in Europe by the end of the 18th century which was very expensive and was exported from northern India. Ritu Kumar stated that Forbes Watson acknowledged, that the intrinsic aesthetic refinement of Indias clothing required an understanding of oriental tastes which according to him would ensure a market in India for the same. His study advocated the sophistication of colour and form of Indias textiles in order that English manufacturers might achieve the sense of rhythm and harmony inherent in them. He explained that British manufacturers followed a rule of exporting or making things with an essence of British culture rather than taking its true Indian form which in turn failed as Indian manufacturers could do it best originally and the products value decreased when it lost its true essence. And thus realising the fact how a charm of an Indian product was with its true colour and not modified. In her book evidences of trade from the east to the west can be seen till the early 20th century in wardrobes of the royal British. (Costumes and Textiles of Royal India by Ritu Kumar,1999 pg.55,62 and 63) 1900-2000 Just like a painting, or a song, fashion also plays a main role in the fusion of different cultures and influences. Eastern and Western cultures engage in an important part in the Fashion trends of today. These two are fused in the fashion industry in many ways, the British borrowing from the Russians, India from the French, Japan and Germany, and the list continues. According to Priyanka Arora, Since 1890 till the present world fashion has seen tremendous influences from the Indian culture in the British fashion resulting from the artists and designers renowned interest in Art Nouveau. She believes that Indian textiles and work can be seen in any store or designer line. Eastern inspired clothing like embroidered tunics, beaded necklines on dresses and shirts, jewelled handbags in Sari fabrics, reminiscing different characteristics from the East have been influencing British designers . Pashminas, for example, are now an everyday basic item for most British women. Around the 1940s the Nehru jacket became a big trend and thanks to The Beatles and it is still an acclaimed collar style in shirts, coats and jackets. Even pagoda sleeves was an eastern trend which was incorporated in western fashion. The most noted designers according to her bidding on exotic eastern style in their creations are: Max Mara, exploring sexy necklines and strong fabrics ,A rmani, Jean Paul Gautier and Versace are only some of the top names reaching out to their masculine lines by including eastern elements to their creations, like pants made with fabrics, necklines, printed belts and sandals with the use of heavy silk. She also argues that the Boho Chic look, on the other hand is a representation of western influence on eastern culture. Thus concluding by saying that its a unique style where one can appreciate the fusion of both worlds with the modern and contemporary side of the western fashion and just a hint of eastern flair in the jewels and beading. Season to season, we see fashion face some radical changes, but the east and west mixture is inescapable, resulting always in a beautiful, artistic and also commercial masterpiece representing a multicultural society of designers and consumers. http://www.fibre2fashion.com/industry-article/11/1032/fashion-fusion-from-east-to-west-and-back-again1.asp Laura Jacob writes and depicts about work of renowned designers from all around the world in the book The Art of Haute Couture(SKREBNESKI) in which Christian Lacroix collection of 1990 shows a gown which has high end Indian embroidery with hand accessories influenced from India. (The Art of Haute Couture(SKREBNESKI)by Laura Jacob) Salvatore Ferragamos famous customers in the late 1930s was Indira Devi, the maharani of Cooch Behar. Ferragamo had designed about 100 shoes for her which were adorned with pearls, rubies, emeralds and diamonds which were sent from India by the maharani. These were reproduced for his collection in the year 2003 for an opening of a new store. As Laura McLean -Ferris has written about KENZO a world famous designer who evolved in 1970s that his designs are a combination of details which have been taken from all around the globe, creating a fusion of folklore styles that vibrate with a blend of fantasy and reality. Which brings out the importance of fusion of a cultures in her view of the designers work. It also talks about how KENZO used both east and west traditions together to create an aesthetic that is globally appealing. (fashioning fabric) 2000 and beyond As Elyssa da Cruz quoted for the Indian based designer Manish Arora who emerged on the London runway in late 2005.His work embodies western modishness and native Indian symbolism, all manifest in a lavish array of textiles. The opulence of his label derives from the textiles revived back in India and crafted into a contemporary western silhouettes. Ashish considered as a lead figure in the new generation of British fashion, his work is a blend of contrast of eastern and western cultures .His use of traditional and contemporary design with high quality textiles and Indian handcrafting techniques has marked its importance in the global fashion.(IC) Jennifer Trak has talked about designers Abujani Sandeep Khosla are synonymous with classic Indian style and elegantly draped silhouettes. Creative use of materials like sequin, pearls against lavish fabrics have made their garments the choice of numerous celebrities from Bollywood and Hollywood. Laura Mc Lean-Ferris has quoted about KENZOs 2005 collection which was called An English Garden in India autumn/winter 2005.this collection was inspired by heavy Indian embroideries, Indian silks and taffetas. EDC has shown glimpses of Christian Lacroix autumn/winter 2002 collection which shows multi coloured rustic paisley pattern embroidery which is a very famous Indian motif. Dries Van Noten a Avant garde designer has proven himself to be a visionary couturier whose multi-ethnic inspired designs have always been a hit in the fashion world. He believes in global perspective ,reinterpreting existing themes, motifs, traditional hand-crafting techniques from diverse locales such as northern Africa, India and Japan to create his designs. His work has been highly inspired by Indian textiles which can be seen in his collections of autumn/winter 2006 and 2007. (fashioning fabric) Shikha Chadha Bhatia expands about the Indian fashion and designers and states that India has been one of the developing international markets along with China. She feels with India Fashion happening twice a year, starting in 2003, local designers are recognising the need for collections with more of an international appeal. She unveils the collections and thoughts of Indian Designers as follows: Ravi Bajaj one of the leading fashion designer of India says that, The Indian fashion industry is on the brink of change. Not only are Indian designers increasingly staging catwalk shows abroad but, in an effort to appeal to an international market, they are creating alternatives to themes synonymous with Indian fashion such as heavy embroidery, loud colours and traditional motifs. Taking inspiration from other cultures, Indian designers are increasingly aiming for global appeal. Ritu Kumar, one of Indias most well-respected designers believes that, despite the changes, Indian fashion has kept its signature. For the last two years, embellishments on clothes are changing, silhouettes have an international look, but overall thematically the essence is Indian. She says Indias edge comes from its textile tradition as costly textile processes like stone-washing and tie dye are more affordable in India than in the west. Kumar also points out that textiles are more varied because manufacture is not fully mechanised and so allows for smaller runs and experimentation. Kiran Uttam Ghosh,Indian Designer his spring/summer 2003 collection has been inspired bohemian colour and the exuberance of pattern.it reveals 70s hippie look featuring patchwork, mismatched sleeve lengths and uneven hemlines. Tiered chiffon, hipsters, kaftans and tie dye shirts are key in a rainbow of colours including hot pink, acid yellow, coral, turquoise, blood red, ivory and black. http://www.wgsn.com/content/wgsn-ms/magazine/features/2002/nov/mm2002nov15_005478.html INDIAN HANBAGS GO GLOBAL by Cezca Chanelle Cezca Chanelle states about Indian handbags getting a global recognition in reference to the following designers like, Designer Judith Leiber the luxury American handbag brand collaborated with an Indian renowned designer Suneet Verma in 2008 to design a collection of couture handbags and clutches. Suneet Verma designed Ganesha bags that have been used as art deco pieces which were flaunted by style icons like Sex and the Citys Sarah Jessica Parker and the famous singer Jennifer Lopez on the red carpet. She states about Meera Mahadevia an handbag designer whose metal bags embellished with stones were showcased at the Vendome Luxury Exhibition in Paris earlier this year. Her couture collection retails in luxury stores like Neiman Marcus in the US and Selfridges in London. She also refers to another Mumbai-based handbag designer Nandini Mariwala whose clientele includes Hollywood stars like Lindsay Lohan and Halle Berry as well as international royalty. Her current collection of day bags which is a limited edition are hand-knotted and embroidered which are sold via luxury store Harrods in London. She comments that, Maybe its time Louis Vuitton and Prada took a back seat now. http://luxpresso.com/news-couture/indian-handbags-go-global/2279 Spring 2009 Trend Reports for women fashion by style.com In the Marrakech Express theme based collections of Marc Jacobs, Reem Acra and Tibi influences of Indian silhouettes and work can be clearly seen which depicts the power of Indian fashion. http://www.style.com/trendsshopping/trendreport/011309/slideshow?loop=0HYPERLINK http://www.style.com/trendsshopping/trendreport/011309/slideshow?loop=0iphoto=75play=falsecnt=47HYPERLINK http://www.style.com/trendsshopping/trendreport/011309/slideshow?loop=0iphoto=75play=falsecnt=47iphoto=75HYPERLINK http://www.style.com/trendsshopping/trendreport/011309/slideshow?loop=0iphoto=75play=falsecnt=47HYPERLINK http://www.style.com/trendsshopping/trendreport/011309/slideshow?loop=0iphoto=75play=falsecnt=47play=falseHYPERLINK http://www.style.com/trendsshopping/trendreport/011309/slideshow?loop=0iphoto=75play=falsecnt=47HYPERLINK http://www.style.com/trendsshopping/trendreport/011309/slideshow?loop=0iphoto=75play=falsecnt=47cnt=47 Spring/Summer 2010 trends for interiors by WGSN The trend speaks about the glamour and eccentricity of staged entertainment, revel in a sense of drama and satirical humour. Embrace outrageous and unconventional decorative combinations from the East and West, old and new, to create a surreal, playful environment. The designs being Western but the inspiration of play of colours being Eastern has given this trend and collections an edge to the others. And as quoted by Elsa Schiaparelli, In difficult times fashion is always outrageous. I believe it justifies that different things or cultures can be put together even if one is different from the other to create something that is outrageous. http://www.wgsn.com/content/wgsn-ms/trends-info/features/ti0861/ti086120_index/ti086120_ou.html WGSN has aggressive plans for Indian fashion industry August 06, 2009 (India) WGSN, worlds leading fashion and style forecaster, in 2009 has updated for a partnership with the fast growing fashion retail market in India. They also announced their Global Trends Style Forecast for season 2010-2011.It will be focusing on the Fashion designers, manufacturers and retailers to partner and help them in moving up the value chain to tap opportunities in local and global fashion industry. This shows the importance and development of the Indian fashion market and its influence globally. As Juliet Warkentin, Head Content WGSN said, With a rich and diverse cultural history and huge talent base, we believe India has the potential to play a major role in global fashion Industry. With Indian companies across sectors making a global impact, its now turn for Indian fashion industry. And at WGSN we want to share our knowledge and experience to partner the Indian fashion industry in their quest to be world class players. http://www.fibre2fashion.com/news/fashion-news/newsdetails.aspx?news_id=75777 Role of Culture As Michel Klein (designer) quoted in the book Yves Saint Laurent (Forty Years of creation), without looking back to the past, without playing with disguise, he created a contemporary fashion with very cultural inspiration. For YSL the influence of culture in all its aspect is only a source of inspiration. http://www.fibre2fashion.com/industry-article/market-research-industry-reports/the-text-of-indian-text-styles.asp Consumer behaviour Consumer behavior is the study of when, why, how, and where people do or do not buy a product. It blends elements from psychology, sociology, social anthropology and economics. It attempts to understand the buyer decision making process, both individually and in groups. It studies characteristics of individual consumers such as demographics and behavioral variables in an attempt to understand peoples wants. It also tries to assess influences on the consumer from groups such as family, friends, reference groups, and society in general. (http://en.wikipedia.org/wiki/Consumer_behaviour) As Maria Costantino has explained consumer behaviour provides a number of concepts that help fashion marketers think about and understand their customers, and market research provides techniques for measuring those concepts. Understanding consumer and their buying behaviour draws heavily on psychology and anthropology as well cultural history.

Iron Crowned Chapter 13

The journey back was uneventful, the most notable thing being the afterglow that now burned between Kiyo and me – something I now questioned the wisdom of. My words had been true: I'd never stopped caring about him. But he'd been right too: what had happened between us back in the glade had come from my own outrage and need to get back at Dorian. That wasn't really a good reason to start a relationship. It wasn't even a really good reason for casual sex, and honestly, I wasn't sure what my status was with Kiyo at the moment. Deanna reappeared and followed along so quietly and obediently that I finally broke the silence to reassure her I'd keep my part of the bargain. Her drab face lit up, and I had to give her credit for not pushing the matter until I settled my other business. Kiyo and I went straight to Dorian's, once we'd crossed back into more familiar territory. My plan was to deal with him first and then jump to the human world. I thought it would be safer to have the crown there. Dorian's guards met me with pleased grins, and while they were surprised to see Kiyo, most seemed to know I'd been off on some secret mission. Coming back alive was a good sign. As soon as we entered the castle, I ordered a messenger to go to Katrice and inform her that I now possessed the Iron Crown and that if she wanted to talk surrender, I was all ears. As Dorian's consort, I had the power to order around his staff – but I had a feeling that would end soon. Kiyo and I were admitted into Dorian's exalted presence out in a courtyard, where he was making a long-tormented courtier named Muran play the harp. I knew for a fact that Muran had had exactly one lesson, and Dorian seemed quite amused watching the guy struggle through. This kind of thing was one of Dorian's greatest pastimes, and usually, even though I felt bad for Muran, it provided me with a little amusement. Today I felt none. When we entered the courtyard, Dorian took one look at our faces and promptly ordered everyone away – even his guards. He still wore that small, carefree smile, but I'd seen a subtle shift in the lines of his face. He knew something was up. His astuteness was what made him such a good ruler. â€Å"Well, here you are,† he said, sitting back in the gentry equivalent of a lawn chair. Except, of course, I'd never seen Home Depot sell anything so ornate and gilded. Normally when I arrived, Dorian kissed me, but his wariness must have held him back. â€Å"As beautiful as ever, my dear, if a little beat up around the edges. I suppose this means you either succeeded or just barely escaped with your life?† â€Å"We succeeded,† I said. â€Å"I've got the crown.† Again – that smile didn't change, but an eager light flickered in Dorian's eyes. He leaned forward. â€Å"I knew it. I knew you could do it.† He studied me up and down, his gaze finally resting on the bag over my shoulder. â€Å"May I see it?† â€Å"No,† I said bluntly. â€Å"No one's going to see it. It's going to be hidden away where it can't be used to start eating up people's lands.† Dorian's eyebrows rose, and he began to speak. I could already imagine a hundred variations of what was going to come out of his mouth, something along the lines of, â€Å"Whatever are you talking about, my dear?† I stepped forward, my control snapping as I cut him off. â€Å"Don't start! Don't even start with some sugar-coated denial. You've known all along what the crown could do! You knew it'd scare Katrice because it meant I – and by default you – could take over her kingdom!† Dorian hesitated, and again, I could guess at the thoughts spinning in his head. Denial or backpedaling? He finally went with the latter. â€Å"And what better way to push her into peace?† he said at last. â€Å"The point of a war like this is to eventually march over and subdue someone anyway. Isn't it much simpler and faster to achieve that same end through another way?† â€Å"A way that rips her land from her!† I exclaimed. â€Å"And sticks me with another fucking kingdom!† I stepped forward and had to forcibly keep myself from getting closer. I was so, so angry. So angry that this man I cared about could do this to me. I was almost angrier at him than Katrice at the moment. From her, at least, I expected betrayal. â€Å"And that's what you would have wanted to do – not just scare her. You would have found some way, some justification for taking that drastic step, just like you got me to go after this in the first place.† Much of the humor had faded from Dorian's face now. â€Å"And would you have gone after it if you'd known?† â€Å"No.† He shrugged. â€Å"Well, there you have it.† I was aghast. â€Å"That's it? How the hell can you be so lax about this? How can you act like it's okay to have tricked me from the beginning – you and that hag? How can you claim to love me and lie to me?† â€Å"I do love you,† he said. â€Å"More than you know. I did this for your own good.† â€Å"You did it for your own good,† I snapped. â€Å"I can't believe I fell for it again. You've done this before, and now I'm done. Done with you. Done with all of this. I don't need your help anymore. I'll finish this fucking war on my own.† â€Å"Eugenie,† warned Kiyo softly. He didn't contradict me, not in front of Dorian, but I understood the subtext. It was the point he'd made before: not to spurn Dorian's military help. Dorian scoffed, sharing that sentiment. â€Å"Of course you need me. If you can get past your hurt pride, you'll see that we're in this together. Use the crown however you want, but be reasonable so that the two of us can finally end this war.† My voice was low and dangerous when I spoke. I was furious that he could be so condescending, that he assumed he could just smooth this all over. â€Å"There is no more us.† â€Å"Now you're just overreacting,† he said. â€Å"We need to finish this war together, and we need to be together, period. We're meant to be.† â€Å"No,† I said. â€Å"We're done. It's over.† I could see from his face that he didn't take that seriously either. He didn't get it. His ego wouldn't allow him to. Before he could respond, Kiyo lightly touched my arm. â€Å"Be careful. Look what you're doing.† I glanced around. The wind was rising and falling, making the apple trees sway back and forth. Dark clouds began to gather above. It wasn't uncommon for my emotions to unconsciously affect the weather, but the fact that I could do it in a land under someone else's control was a sign of how much my power had grown. If Dorian had wanted sunny weather, it should have stayed that way. The realization of what I could do was heady. Nonetheless, I pushed back, calming the air and dissipating the storm clouds. But Dorian wasn't concerned about any of that. His attention had snapped to one small gesture: Kiyo's touch on my arm. I'm not sure how Dorian knew – maybe just the way Kiyo and I stood near each other – but in that moment, Dorian realized what had happened between Kiyo and me. And that, more than any of the arguments here, was what finally broke that laid-back attitude. His face turned to stone. â€Å"Oh,† he said to Kiyo, voice completely devoid of emotion. â€Å"I see. It's your turn again.† Outrage filled me at the insinuation that I could be passed around – a sentiment not unlike what Kiyo himself had expressed. Dorian allowed me no chance to counter. â€Å"Well, if that's how it's going to be, then that's how it's going to be. You may be right that there's no us, but we are still in this war together. My armies are too enmeshed, and I can hardly let Katrice think I'm backing down. Dareth!† Dorian's voice rang out, loudly enough that one of the guards behind the glass doors heard. He swiftly opened the doors and stepped outside. â€Å"Your Majesty?† â€Å"Please escort the Thorn Queen and her pet from the premises. They are denied hospitality. Do not admit them again. Should any of her household come, they may be allowed into my presence.† His eyes flicked to me. â€Å"Send Rurik as your proxy for all military matters. He was doing all the work anyway.† Dorian's attention went back to his guard. â€Å"You have your orders.† Dareth had trouble keeping the shock off his face. I had become a fixture around here, treated nearly the same as Dorian. After a few moments, Dareth composed his features, his loyalty to his king overriding any disbelief he might feel. He turned to me, expression formal. He gestured inside. â€Å"Your Majesty.† The respect was there, but the message was clear. I was being thrown out and could see Dareth practically praying I wouldn't resist. I didn't, and while a dozen parting retorts to Dorian filled my head, I shoved them aside. He thrived on that kind of attention. It would only make him feel more important, and I wanted it made clear that I really was done with him – even though the cold reality of what was happening made my heart break. Kiyo and I began to follow Dareth without comment, but then I paused. Reaching toward my neck, I ripped off the necklace I wore, the one with Dorian's ring. I tossed it at his feet, meeting his gaze with a message I hoped he understood. He did. His answered mine with green fury. â€Å"I said get out of here.† I turned away, letting Dareth take us to the castle's front doors. As soon as we were outside, I heard him giving instructions about the revoking of our hospitality. I imagined the other guards shared his shock, but I walked on without looking back. Once Kiyo and I had traveled far enough that the land shifted and put us in Maiwenn's kingdom, he turned to look at me. â€Å"Are you okay?† he asked, worry in those dark eyes. â€Å"Fine,† I said flatly. I was confident my anger was justified †¦ but leaving Dorian still hurt. He'd dismissed me so easily, once he'd realized I'd slept with Kiyo. I'd expected something †¦ something more emotional, I guess. Some sign that I'd meant more to him than a useful consort. I should have known better. â€Å"Let's go back to Tucson.† I'd kept Volusian and Deanna away while we'd met with Dorian but brought them both back now. I told Deanna to come to my home tomorrow and that we'd start working on her problem then. To Volusian, I gave orders to return to the Thorn Land. He would tell Rurik to go to Dorian and then wait until word came back from Katrice. I had no doubt that word of my being banned from Dorian's would spread around quickly enough; I didn't want to see the reactions of my people when that happened. Kiyo and I crossed back to Arizona at a nearby gateway, going to his place instead of mine so that he could redo my stitches. He was as good as any ‘real' doctor, and I didn't want to have to explain my new cuts and bruises to someone else. A slew of cats and dogs greeted me when I entered his apartment, making me feel oddly nostalgic. â€Å"Are you sure you're okay?† Kiyo asked later. I was lying stomach-down on his bed while his needle went to work on the cut. My cheek rested on a pillow, my only view being his dresser as I tried to stay still. â€Å"Fine.† â€Å"You keep saying that, but what went down was pretty serious.† I could imagine the frown on his face. â€Å"I didn't expect him to pull hospitality.† â€Å"He knows we slept together,† I said. â€Å"Guys get upset when their girlfriends do that.† I'd broken up with Dorian in my head the instant I found out about the deception, but as far as he was concerned, I'd cheated on him. Maybe I had. But betraying someone who'd deceived you didn't seem like that much of a betrayal. â€Å"Yes,† said Kiyo. â€Å"Yes, they do.† He tied off his thread and re-bandaged it all. â€Å"Please, please do not pull these out again. The fact that this isn't infected is a miracle.† â€Å"I won't,† I said, sitting up and carefully putting my shirt back on. â€Å"I don't plan on getting in any fights for a while. I'm staying out of the Otherworld until they really need me, and investigating Deanna's murder should only involve questions. Actually, I'm hoping to pass it off on someone else.† â€Å"She won't like that,† he said. â€Å"It'll get it done,† I said. â€Å"And she'll like that. Probably even faster than if I did it.† I started to stand, but Kiyo caught hold of my hand and kept me down. His expression turned sly. â€Å"You want to stay for a while?† I shook my head, smiling faintly. â€Å"I've got some things to do. Besides, just because we did what we did doesn't mean †¦ well, it doesn't mean things are the same again.† His mischievous smile faded. â€Å"You're right. A lot kind of got rushed. I suppose we should †¦ I don't know. Do you want to go on a date?† â€Å"A date?† I laughed in spite of myself. It seemed so out of place after what we'd been through these last few days. Too ordinary. â€Å"Dinner and a movie?† â€Å"Something like that. I could pick you up later, after your errands are done. Or tomorrow if you need a little more time.† A little more time? Maybe I needed a lot more time. I really didn't know. I might have jumped into bed – figuratively speaking – right after my relationship with Dorian had crumbled, but as I'd said, that didn't mean I was ready to establish something committed with Kiyo again. I'd had sex with Kiyo in the throes of my anger; I had more to think about now that I'd cooled down – and seen Dorian's face. My head told me we were through, but my heart already missed him. â€Å"Tomorrow,† I said. Kiyo nodded. â€Å"Fair enough. I should probably check in at the clinic anyway.† I honestly didn't understand the terms of Kiyo's employment. With his constant visits to the Otherworld, he didn't seem to have any regular schedule with the emergency vet clinic he worked at. He just seemed to show up whenever he wanted. It was more convenient than my own job for maintaining a dual existence between worlds. Confused feelings or not, I let him kiss me good-bye before I left. There was a part of me that wished I could just stay with him, hiding out in his bed and avoiding the rest of the world. Worlds, even. But I had too much to do. The first thing was to get home and change into clean clothes. I arrived to what initially appeared to be an empty house, but the cars in the driveway tipped me off. Sure enough, a minute or so after I walked inside, I heard Tim's bedroom door open. He emerged, wearing only jeans, his black hair standing in all directions. â€Å"Hey, Eug. Didn't expect to see you back.† â€Å"Apparently not. I take it Lara's in there?† He had the grace to look sheepish. â€Å"Ah, well – â€Å" â€Å"Hi, Eugenie.† Lara appeared in the kitchen beside him, her hair as messed up as his. Her clothes – including Tim's â€Å"West Coast Powwow 2002† T-shirt – showed signs of hasty assembly. She was blushing, but her embarrassment turned to surprise as she eyed my appearance. She still wasn't used to seeing me in real life. â€Å"Rough day?† â€Å"Days,† I said. â€Å"Oh †¦ I don't suppose †¦ I don't suppose you'd be interested in hearing about some job offers?† It was the first time she'd been hesitant to bring up work. I think she was finally starting to understand the grueling nature of my life and that back-to-back jobs weren't as easy as checking items off a list. â€Å"Not really. Not for a few days.† â€Å"A few – † She bit off her protest and meekly nodded. I walked around them, heading for my room. â€Å"I've got things to do,† I called back to them. â€Å"So you can go back to †¦ whatever it is you were doing.† Truthfully, I didn't want to do the task hanging before me. I wanted to find whatever baked goods Tim had squirreled away in the kitchen and then take that nap I'd longed for at Kiyo's. But, no. I'd made a promise to Deanna, one I had to honor, no matter how messed up the rest of my life was. So, after cleaning up and changing, I sat on the edge of my bed and picked up my cell phone. I stared at it for a long time, running my fingers along its edges as I procrastinated. Finally, I dialed a memorized number and waited. There was a good chance that no one would answer. I was calling my mom's cell phone, though, which gave me better odds than if I'd called her house number. I knew Roland had asked her to keep her distance from me, but after seeing me at the hospital, my mom would likely resist any directives like that – if only out of fear that I'd lost a limb or something. â€Å"Hello?† My breath caught, and I almost couldn't speak. Just that one word †¦ the sound of her voice. It sent a flood of emotions through me, and I forced myself to remember my mission here. â€Å"Mom?† â€Å"Genie? Are you okay?† she asked promptly. As suspected, she feared limb loss. â€Å"Yeah, yeah, fine. How are you?† â€Å"Fine. Worried about you – like always.† â€Å"I'm okay,† I said. â€Å"Really. But I need †¦ I, um, need to talk to Roland.† Long silence. â€Å"Eugenie – â€Å" â€Å"I know, I know. But I need his help with something. It won't take long. Just one question. Please.† She sighed. â€Å"Oh, baby. I wish I could, but he's made it clear †¦ You know how he feels about everything†¦.† â€Å"It's a human thing,† I said, only partially lying. â€Å"A job in this world. Please, Mom. Just ask him if he'll talk to me for a minute?† More silence, then another sigh. â€Å"Hang on.† I waited, nervously twisting the fabric of my bed's duvet. What would happen? The two most likely options were that either my mom would relay his refusal or they would simply hang up on me. But, no. It was Roland's voice I heard next. â€Å"Yes?† Cold. Wary. After everything that had just happened to me in the Otherworld, hearing his voice nearly broke me. I wanted to sob and beg him to forgive me. Beg him to love me again. My mom had undoubtedly done a fair share of that already, though. She'd clearly had no luck. I had no reason to believe I'd fare any better, so I made my tone match his as I swallowed back tears. Just business here. â€Å"I need a referral,† I said brusquely. â€Å"To a private investigator. One who isn't going to be freaked out by the stuff we deal with. I figured you must know someone.† â€Å"You need a P.I. to deal with some monster?† he asked harshly. â€Å"No, no. It actually should be pretty mundane – all human stuff. But considering what we do †¦ Well, I thought I should have someone prepared in case things get weird.† I didn't have any reason for Deanna to interact directly with a P.I. – or for me even to mention her – but I wanted to be safe. â€Å"Well,† said Roland. â€Å"Let's make it clear: ‘we' don't do the same kinds of things.† With great effort, I bit off the retorts that wanted to burst out of me. I wanted to explain for the hundredth time that I'd never expected – or wanted – to reach this level of involvement in the Otherworld. Again, I opted for directness. â€Å"Please, Roland,† I said simply. â€Å"This is for a human family. Just forget about me for a minute.† When he didn't respond, I thought for sure the anticipated hang-up would come. â€Å"Enrique Valdez,† he said at last. â€Å"You should be able to look up his number. I'll call too and give him a heads-up.† â€Å"Oh, Roland. Thank you so – â€Å" Click. There it was. I pulled the phone away and held it in front of me again, staring at it as though it were to blame for all my problems. A few moments later, I tossed it on the floor. Anger surged through me, quickly fading into sadness. My eyes fell on my travel pack in the corner, the pack containing the Iron Crown. That – and all it represented – was the source of my problems. I fell back onto my bed, staring up at the glow-in-the-dark stars stuck on my ceiling. Roland, Dorian †¦ I was losing the men in my life. Why, why had Dorian done that? Why had he let me fall in love with him, only to play me? Was that what love meant to him? Was that how all his relationships worked? He'd hurt me, hurt me so terribly, and the petty, dark voice that lived inside me said that if sleeping with Kiyo had hurt Dorian in return, it was no more than he deserved. Kiyo. Kiyo was all I had left now, and I didn't know if I could trust him either. Before I could ruminate very much on that particular woe, a cold presence filled the room. I sat up quickly, putting aside all my self-pity as Volusian materialized before me. â€Å"Mistress,† he said. â€Å"Volusian,† I replied. â€Å"What's going on?† â€Å"I've come with a message, as you requested.† As always, his words were emotionless, yet he somehow conveyed the feeling that he resented every one of them. â€Å"Queen Katrice has responded to your news of the Iron Crown.† That was fast, even for the Otherworld. â€Å"And?† â€Å"And, she has agreed to a temporary truce.† I shot up from the bed. â€Å"You have got to be kidding.† Volusian didn't respond. I'd long since learned that any comment I made about him joking or kidding was treated rhetorically. Volusian did not joke or kid. â€Å"It worked,† I murmured, more to myself than him. â€Å"I can't believe it. Dorian was right.† â€Å"Indeed. But I assume my mistress will not resume carnal relations with him.† I made a face. If there was anyone I hated discussing my sex life with more than Jasmine, it was Volusian. â€Å"No. It doesn't matter if he was right. He lied to me to make it happen. He should have told me the whole story. He used half-truth means to achieve his ends.† Volusian nodded solemnly. â€Å"I told you that long ago, that the Oak King's own agenda will always come first. As will the kitsune's. But, unsurprisingly, my mistress chooses to ignore the only sound advice given to her and instead listens to those who use affection for their own purposes.† The word ‘affection' was spoken with particular venom. â€Å"Kiyo and Dorian don't – Look. Stay out of this, okay? I never asked for your ‘sound' advice. Get back to Katrice. How does this truce work exactly?† â€Å"Hostilities will cease until all parties are able to discuss the current situation. How said discussion proceeds will be settled beforehand by messengers. You and the Oak King may meet with her directly, or you may have representatives do the negotiating.† I tried to picture myself in a room with Dorian and Katrice. Lovely. â€Å"And where would this happen? I'm sure as hell not going to the Rowan Land.† â€Å"That too will be negotiated during this truce,† he said. â€Å"A neutral kingdom is the most likely choice. Shaya would like to discuss that with you at your earliest convenience.† â€Å"I'm sure she would. Go back and tell her I trust her to set up whatever arrangements need to be made. If I have to go myself †¦ well, then I go. I'll check in with her soon, but come back if anything happens in the meantime.† Volusian waited, and I gestured him away. â€Å"Go.† He vanished, and I sank onto my bed. My eyes fell on the concealed Iron Crown once again, and I dared to wonder if maybe some good had come out of this whole mess.

Characterizing Mrs. Bennet

Who is Mrs. Bennet? While Mrs. Bennet speaks to her husband we can see many of the same characterizations through what he says in response. As far as the Mrs. being a gossip, it is clear that Mr. Bennet has heard his fair share of it from her. When asked if he wants to know who is moving into Netherfield he replies that he knows that she wants to tell him, but that he does not particularly â€Å"want† to hear it. We also see that Mr. Bennet knows his wife is somewhat of a drama queen and he is constantly poking fun at her with his sarcasm, which she never seems to understand as such. Yet another example of Mr. Bennet’s experience with his wife’s personality is his seemingly un-caring behavior towards his daughters getting married. Mrs. Bennet is convinced that Mr. Bingley could be her new son-in-law, Mr. Bennet points out that Bingley is not necessarily there to find a wife. Through all these ways we can see a bit of Mrs. Bennet’s personality through the words of another character in the book. We can get even more information through words not necessarily spoken in the book, but spoken to us through the voice of the narrator. Even the simplest of comments can show a huge personality trait. The simplest way the narrator shows us that Mrs. Bennet loves to gossip and talk is when Mr. Bennet says he has no objection to hearing her story, the narrator points out that â€Å"That was invitation enough,† showing us that Mrs. Bennet is very eager to get her information out. Although we can gather much of Mrs. Bennet’s character through the entirety of the page, the narrator makes sure we have gathered what we need to about her by giving us a summary at the very end of the page. The narrator tells us that â€Å"She was a woman of mean understanding, little information, and uncertain temper. When she was discontented she fancied herself nervous. The business of her life was to get her daughters married; its solace was visiting and news. † So, once again we gather that she loves â€Å"visiting and news,† or gossip, and that the business of her life is to get her daughters married. Mrs. Bennet is not hard to figure out with Jane Austen’s excellent characterization techniques. With her great narration techniques we have the author there to tell us much of what we need to know. Even better is that much of the time we don’t even need the narrators help, through the speech in the book; whether it be Mrs. Bennet herself, or somebody speaking to her or about her. Through either the character itself, the characters around it, or the author herself, Jane Austen manages to use all three â€Å"characters† excellently to show us the personality of Mrs. Bennet, as well as the rest of her characters.

James Weldon Johnson s The Autobiography Of An Former...

The Theme of Passing, Racial Prejudice and Internalized Racism in James Weldon Johnson’s The Autobiography of an Ex-Colored Man and Nella Larsen’s Passing The concept of racial passing refers to the occurrence in which an individual is able to transcend racial boundaries. During the Harlem Renaissance, the term â€Å"passing† meant to signify mixed race individuals who were light skinned enough to pass as white and mingle freely within white society, almost completely undetected. This was significant considering the time period – the one-drop rule was still in effect, meaning to be part black was to be considered entirely black and segregation had only been more solidified by the Supreme Court’s decision in Plessy v. Ferguson doctrine of â€Å"separate but equal.† (Hutchinson 56) It was during this time that many Harlem Renaissance writers produced a number of texts circling around the topic of racial passing. In 1912, James Weldon Johnson anonymously released the controversial An Autobiography of an Ex-Colored Man; the story of an unnamed biracial protagonist who after years of struggling with his own racial identity makes a conscious decision to pass as a white man. In 1929, Nella Larsen published Passing, a novel depicting the lives of two light-skinned African American women, Irene and Clare. In Larsen’s novel, Clare has chosen to pass into white society while Irene has chosen not to purposefully cover up her racial background. This thesis explores the racial prejudice that