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The liberatory power of makeup

Lisa Eldridge’s first book, ‘Face Paint: The Story of Makeup’ is a reminder of human social obligations; of wanting to belong and feel accepted This book review/feature was first published for The Hans India "Makeup, as we know it, has only been commercially available in the last 100 years, but applying decoration to the face and body may be one of the oldest global social practices.” London-based makeup artiste, Lisa Eldridge has added another shade to her palette of achievements with her first book, ‘Face Paint: The Story of Makeup’. In ‘Face Paint’, the red carpet specialist with over 20 years of experience in the industry reveals the history of makeup, from Egyptian ages through the Victorian age and the golden era of Hollywood, and surveys the science of cosmetics for what lies ahead in it. She narrates a story tracing the origins of makeup to its development over centuries citing anthropological, psychological, evolutionary and sexual significances as she

Reblogged :: Why a Writer Writes?

by Joy Williams

Why does the writer write?

A writer starts out, I think, wanting to be a transfiguring agent, and ends up usually just making contact, contact with other human beings. This, unsurprisingly, is not enough. (Making contact with the self — healing the wound — is even less satisfactory.) Writers end up writing stories — or rather, stories’ shadows — and they’re grateful if they can but it is not enough.
Nothing the writer can do is ever enough.
The moment a writer knows how to achieve a certain effect, the method must be abandoned. Effects repeated become false, mannered. The writer’s style is his doppelgänger, an apparition that the writer must never trust to do his work for him.

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