Reflections - cover2
Selected Writings & Artwork by Harriett Copeland Lillard
Selected Writings & Artwork by Harriett Copeland Lillard
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<strong>Reflections</strong><br />
New York City<br />
July 1982<br />
She had never been beautiful, but she had something, not beauty perhaps, but something. Its precise definition had always escaped her, but the search for<br />
it had occupied a lifetime. She had begun to realize that whatever she had was going fast. Along with this realization came the sobering thought that<br />
perhaps nothing had been there in the first place.<br />
AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA<br />
AAAAAAAAAAAAAAAAAAAAAAAAAAA<br />
She had longed to be beautiful, to be admired – but even the longing seemed behind her now. At times, though, a great sense of loss overwhelmed her, a<br />
feeling of having been cheated from her birthright. She had been born with the instincts of an aristocrat. She knew the feel of silver and fine linen, she<br />
understood their soul. She knew the sense of power and control one feels when sitting in a chic sidewalk café with matched underwear or no underwear,<br />
expensive little flats, purposefully mismatched but properly titled labels adorning recently tanned skin. The accoutrements, in and of themselves, are not<br />
important, expendable, interchangeable—it is the power they represent that she longed for periodically. The power to BE – to be noticed, counted, dealt<br />
with, admired, envied, remembered.<br />
…<br />
I stood looking in the window of Bloomingdale’s. I was initially struck with the beauty of the window design itself – the color, the mannequins, the overall<br />
effect of richness and elegance – it was a work of art. I was stunned; it was a physical reaction. Clothes, like interiors, have never had for me the static,<br />
inanimate quality they have for many people. For me, they live – they have a life of their own. I never see them still, but moving – how does the fabric<br />
sway, gather, drape, ripple? The patterns of shadow and light are a constant source of pleasure or pain to my eye. Beautiful lace, real lace, especially old<br />
French lace, is a particular delight.<br />
After my first reaction, I began to notice the details. I could have stood there all day. Texture on texture, tweeds on linen, lace on leather, corduroy on<br />
velvet, heavy sweaters over delicate blouses, necks wrapped with delicious mufflers falling to hemlines. Casual opulence – worn by people for whom the<br />
cost is mere pocket money. To wear them would be an unbearably delicious, sensual experience. I don’t covet them because of the status their cost<br />
implies, but because I want to share their beauty, to envelop myself in their pleasure.<br />
I slowly became aware of a face being reflected in the window glass, of people passing, of the sidewalk café across the street. It was like watching a movie<br />
on a transparent screen in front of those beautiful windows. The single face I had noticed looked vaguely familiar. It was a time before I realized that it<br />
was mine.<br />
What did I think? That time had stood still for me? It was the first hard, impersonal, detached look I had taken at myself in ten years. I was not happy<br />
with what I saw. What I saw was ordinary, middle-aged inconsequence, made up of abandoned dreams and worn-out hopes, of forgotten joy and dried-up<br />
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