The novel never loses sight of the physicality of its "actors" for very long; even during narrative forays into interiority, Clarissa retains a consciousness of her body, for example, when reflecting that "since her illness she had turned almost white" (36), and when going up to her room: "she knew, and felt it, as she paused by the open staircase window which let in blinds flapping, dogs barking, let in, she thought, feeling herself suddenly shriveled, aged, breastless
, the grinding, blowing, flowering of the day, out of doors, out of the window, out of her body and brain which now failed" (30).
And when you tore your eyes away and turned your back on it at last, you got again untarnished and high and clean that sense of swiftness, of space encompassed; but on looking again it was as before: motionless and passionately eternal--the virginal breastless
torso of a girl, headless, armless, legless, in marble temporarily caught and hushed yet passionate still for escape, passionate and simple and eternal in the equivocal derisive darkness of the world.
Speaking on Conan, he said: "I'm just the breastless
a**hole wandering around the room."
Even Emily when she came through the door, hipless, breastless
, carrying her skinny flute case.
Especially when the chef readily agreed to dump the breastless
turkey carcass on display in favour of relieving a new one from its five-hour stint in the oven.
(The word "amazon" descends from a Greek word meaning "without breasts" or "breastless
in the city; a young woman's story of love, loss, and breast cancer.
Bridget is newly bald and breastless
, on the left side at least, and in this unremarkable moment I couldn't help but recognize the distance between us, wondering whether she sensed my discomfort as we talked admiringly of pink buds and desirable shapes.
Indeed, I suggest that discursive practices are unable to accommodate either Madge, an aging, arthritic, breastless
woman, or Ngozi, an attractive, young, mixed-race woman caught between the myths of white beauty and black sexuality, except through essentialized notions of gender and race.
Eliot, rather than Donne, is behind this--"breastless
creatures underground/ Lie backward with a lipless grin"--but it is still authentically creepy.
Further, in a striking photograph of the MTS schoolroom taken in the early 1930s, several Caucasian training dolls are shown lined up beneath the poster of a profiled human head and large-framed, breastless
torso with internal parts rectangularly stylized and exposed.