Kennedy Fraser worked for many years as a fashion writer and essayist for The New Yorker. Her columns and articles are collected in the books Fashionable Mind (1981), Scenes From the Fashionable World (1987), and Ornament and Silence (1996). The former two, long out of print, have been newly released as e-books.
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Ornament and SilenceEssays on Women's Lives from Edith Wharton to Germaine GreerFrom"There At The New Yorker: The Novel I Never Wrote for William Shawn "
This decision to wear his coat—like other stratagems of Mr. Shawn’s, like many of the procedures at the old New Yorker—might have been viewed by outside observers as quaint. But it was simply a solution to a practical problem. He was terrified of catching cold, because that might keep him from working. It might slow what always looked in him like the semisacred task of getting out the magazine each week in a form as close to perfect as he could make it. He was also phobic about self-service elevators, especially if they were full of strangers, people with emotional demands, or people with colds. I’ve never known anyone to match him in the imagination he brought to getting around some problem—to thinking things out. Working on his proofs at the Algonquin was simply the solution to that day’s dilemma: how to do his work, when he had to leave the office early because the fellow who operated the manual elevator was going off duty at three in the afternoon. (The elevator was the only own Shawn could ride serenely, and it had been expressly retained by the building’s management after the other elevators were automated.)
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Ornament and SilenceEssays on Women's Lives from Edith Wharton to Germaine GreerFrom"Warmed Through and Through"
Edith [Wharton] knew what she wanted. And what she wanted, with all the energy of a passionate nature that has been starved and stoppered for a lifetime, was W. Morton Fullerton, warts and all. The year she welcomed him in to the Mount, the winter was already setting in. She and Fullerton went out driving in the motor and were forced to stop when snow began to fall, so that Cook could put on the chains. The couple walked a little way into the woods, where they talked and smoked cigarettes. They broke off sprigs of witch hazel. In her and him, something stirred. He must have given off—sitting there on a deep bank in a cold New England wood—that faint and indescribable aura, just short of a scent, that even well-bred, well-bathed, and well-dressed men give off when they are in the habit of frequent and eclectic sex.
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Ornament and SilenceEssays on Women's Lives from Edith Wharton to Germaine GreerFrom"Fritillaries and Hairy Violets"
At this point, the telephone rang. It often does when Miriam Rothschild is in residence at Ashton Wold: allies on the fronts of her various causes; friends in Jerusalem (where she interests herself in wildflower conservation, a crafts center, and the Biblical Zoo), or in Zurich or America; friends to meet in town (this week, after the Chelsea Flower Show), or over luncheon back at home in the country. This particular call was a request, for the second time in two days, that she provide a home for a fox. She has eight foxes, and some of them like to come in and watch animal programs on television with her. People are known to call her Mother Fox.
“Tell me,” she instructed the caller, firmly taking charge. “Is it tame? What age is it? Is it very nervous?”
Ornament and Silence:Essays on Women's Lives from Edith Wharton to Germaine Greer
“A brilliant collection . . . Ms. Fraser does the greatest honor a writer can do people: she brings them alive.” —The New York Times Book Review [on Ornament and Silence]
"A wonderfully idiosyncratic set of essays on women famous and unknown whose public and private lives Fraser examines with great feeling and exactitude . . . insight, intelligence, and grace." —Newsday [on Ornament and Silence]
"Subtlety, fluency, candor, an agile sensate intellect—Kennedy Fraser brings all these gifts to bear on a subject that is not always contemplated so untendentiously, with such independence of mind, and from such a generous and worldly point of view." —Philip Roth [on Ornament and Silence]