Bildungsromans; English fiction -- 20th century; Women musicians -- Fiction
She began to regard her physical attractions dispassionately. She knew
she was not good looking, nor even pretty, but hitherto she had shirked
the recognition of the fact. Now she became almost impulsively eager
to admit the width of the barrier that separated the peculiarities of
her features from the ideal of feminine beauty. She had often regarded
herself critically in the mirror and asked herself the question: What
do I look like? She tried to think of her reflection as of a casual
stranger seen in the street: on this basis she attempted to assess
its qualities, good and bad. But concerning the whole, as opposed to
the component parts, she had hitherto shirked a decision. She would
not commit herself so far as to say whether it was good or bad,
attractive or otherwise. But now she cheerfully agreed: I am not at
all pretty and my red hair is only nice to those who like red hair.
But I am distinctive. If you looked at me once you would probably
look at me again. My face is not one you would easily forget. These
remarks are ambiguous, I know, but they are none the less true for
that. And a subconscious implication was: It adds to the extraordinary
interestingness of myself that I am not conventionally good looking.
Call me grotesque or what you will, but remember that my looks are no
more astonishing than myself.... Viewing herself thus, she was rather
proud of her facial eccentricities. And she was conscious that, good
looking or not, there was a subtle attractiveness about her. She
decided, quite without any evidence in support of the theory: The
attractiveness of a person who is not good looking (if it exists) is
an immensely richer, rarer, and more precious commodity than that
possessed by one who is merely conventionally beautiful....
Public-domain text, read in full here on John Shaqi.
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