When Ivy and Lou take a roadtrip to see Ivy’s band Fortunato perform, Ivy surprises Lou with a song she has written about her. It’s seen right away in how Lou shoots Ivy on her camera. Lou sheepishly turns down these offers but also saves the cards, hiding them from Ivy. In malls, on sidewalks, outside while she’s working her summer job for a lawn service, the women come up to Lou and press their business cards into her hand, make it clear they see something about her physicality that they think could, well, make them money. Since she was 14, Lou has been approached by modeling scouts. It wasn’t that she looked all-the-way-boy, exactly, but she didn’t look like a girl. It hadn’t taken that long for her to look like a completely different person: her face thinner and more intense, her jawline a sharp hook, her eyebrows less worried and more concentrated. When Ivy was done, all that was left was the top, curly and wild. When she stops, Lou asks her to go shorter. About 40 pages in, the novel’s anxious protagonist Lou asks her best friend Ivy to cut her hair. In Body Grammar - a novel by Jules Ohman that published in June - we get a literary version of the staple. I’m on the record as being a big fan of the homoerotic haircut scene in cinema. The following review of Body Grammar by Jules Ohman contains one major plot spoiler of the book. The Autostraddle Encyclopedia of Lesbian Cinema.LGBTQ Television Guide: What To Watch Now.
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