
You know, if it looks like a real Louis Vuitton bag, I don't care if those are capillaries.

Haynes' production does not disappoint. It is faithful not only to Cain's dialogue and to the original film version of the novel but most importantly to the great myths presented therein: that everything comes with a terrible price, especially good sex; that children are a horror because they reflect a part of who you really are; that the American dream is inextricably tied up with real estate and scoundrels and good pie.
BERT: Maybe I'm sleepin' with her, and maybe I ain't! You really wanna push this, babe? You wanna?
MILDRED: Yeah, I wanna! You been sleepin' with sluts every night of the week, and I'm sick of it! I ain't takin' any more, ya hear? Get outta here, ya lousy bum! GET OUT!
BERT exits. Twelve-year-old VEDA enters.
VEDA: Tra la la and fiddle dee dee, has there been some tumult within?
MILDRED: Veda, it . . . it's your papa. He's left. He's left us and he ain't never comin' back.
VEDA (hyperventilating): My swan, mother: hie me to the fainting chair. The vapors return forthwith!
VEDA stands at the door holding eight pieces of Louis Vuitton luggage.
VEDA: That's right, mother, I'm ashamed! Ashamed of you, and your sad white uniform. And if that's sinful, then let me be damned for it!
MILDRED slams the door in her face and smiles.
MILDRED: Butcha are, my dear; ya are.



To not upset too many people, the photo of the colorful quilt was run inside the newspaper in black and white.




The Shower Bath is full of a lot of naked businessmen who have just been trying to exercise. A scrawny little man is standing by the pool snickering at a brawny tub-of-guts who looks like Bully Boy Brewster. A bony oaf on the springboard is telling a dirty joke to a bald-headed codger with a pot belly. Goggle-eyed boosters paddle about in the pool or rub their misshapen haunches with towels. Near the showers is a scales for them to weight themselves on.
Jonathan Katz, in an extraordinarily clear and interesting catalog essay, reveals that the print sold out in three editions, suggesting more than a niche appeal. He also discusses the sexual mores of the period, and the fact that hetero-identifying men might maintain that identity and have liaisons with other men, as long as they maintained the male role.