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Show 'Lorraine Nelson A Biography " j 14 employment. To do so would break the spell. And "real" is at least an attempt at conjuring, at pulling into light that which lies hidden in the shadowy corridors beyond us. On the worst days, I daydreamed about Lorraine Nelson. Was she anything like the naughty housewives I 'd visit on the internet, adorned with nothing more than a feather duster and garter? Was she, too, a model of domesticity and sexuality? Did she also enjoy the smell of wood polish and three-ways? tea- Double entendre and paronomasia are as much a part of advertising as they are of serious literature. Though both tropes were arguably first in the purview of poets, we are as likely to find them used in beer and car commercials today. Recently, the pork industry in Canada launched a new billboard campaign-an answer to the cattle industry's pervasive slogan: Beef It's what's for dinner. Hoping to strike at the heart of the beef hegemony, the Saskatchewan pork board commissioned a dozen or so billboards. The ads feature a model Madison-avenue couple standing handsomely at a barbecue. As he fusses over chops on the grill, she smiles broadly and fauns just a little too intently over her husband. The slogan above the scene reads: Pork. The one you love. Lorraine Nelson is Esther in the forest, the scholar queen of the arbor who commands the brute beasts, learn risen loon, learn senor lion. She reminds us there is a harem in chimera. There is danger in the garden. In the beginning Post-Its came in four colors: soft manila, white, green (actually a pasty-lime shade), and canary yellow. Soft manila and white failed to sell well because they disappeared into the documents to which they were often affixed. Likely, the green sold poorly because of its resemblance to snot. But the pale yellow sold by the case. It sold by the truckload. Office suppliers had trouble keeping it in stock. In fact, for a brief period, 3M discontinued all other |
