Last night we attended Sarah Vowell's reading/talk, which was all kinds of cool. Really must read her books. Though I don't think it will be quite as fun as her reading them aloud. :-)
She chose a Lincoln-assassination-related passage for the first reading, prefaced by an entertaining tangent about how dumb it was from a PR standpoint for Booth to pull the trigger on Good Friday. Something to the effect of "thus ensuring that a President half the country hated on Friday would, by Sunday morning, be eulogized in every Easter sermon." Which is a really, really good point, and one I don't remember if I ever thought about before.
If I did, it would have been while I was devouring research getting ready for
These Honorable Men, and that was 1995, so it's a little fuzzy. I read about the whole topic, of course, but mostly I was focussing on any mentions I could find of my character, Booth's "secret fiancée,"
Lucy Hale. (The linked article just happened to be the first Google hit I got this morning, and is really cool, but has the same oddity from my perspective as the one I'm about to explain...)
( This is me, therefore it's kinda long. )It's a curious thing, that people seem to find it essential to characterize such a person as a beauty, even if she wasn't. Which feeds tangentially into the Lizzie project, as one of the threads I'm playing with is how she started out being perceived as quite plain and/or odd-looking, but became defined as
the Pre-Raphaelite stunner. Complete with a certain amount of revisionism going into the story of her "discovery" by Walter Deverell, who was looking for red hair and a girl who could be convincing as a boy (i.e. Viola-as-Cesario). All pretty much because Rossetti said so, and saw her that way, and painted her that way.
Funny all the things popping up lately that resonate with
that watershed year. Maybe just me, or maybe the Universe trying to tell me something. :-)