Paraphrase of Alexa Hackbarth's Vanity, Thy Name Is Metrosexual
Paraphrase of Alexa Hackbarth 's: "Vanity, Thy Name Is Metrosexual"
In "Vanity, Thy Name Is Metrosexual," freelance writer Alexa Hackbarth explains that she had recently moved to Washington, a city different from any other she lived in before, a sanctuary for the metrosexual. A metrosexual is best described as a straight man that is fashion savvy, concerned with personal appearance, and is emotionally secure. Metrosexual men are similar to the cliché of being gay, but are in fact heterosexual.
As an example, Hackbarth explains that even gay men have a difficult time distinguishing between homosexuals and heterosexuals. However, the modern metrosexual is more likely to take any comments from a gay man as a compliment rather than take offense from the approach, which shows that metrosexuals are more tolerant of others.
Hackbarth 's main concern is that women are also having a complicated time differentiating a man 's sexual orientation. She explains that maybe some women want a guy who can shop for coordinating accessories, and can gossip about the latest celebrity tabloids. She is concerned that Washington seems to have too many of this type of man, and not enough of the hard working type. Growing up in a little country town, Hackbarth explains that men are up and working before ever sitting down to a hearty breakfast. These are a completely contrasting breed of men, than she can find in Washington. These countrymen are handy with home repairs, can cook a basic meal, and are not concerned with their personal appearance. From the differing country life Hackbarth had, her new city life has a large population of metrosexuals. This is because it allows the metrosexuals to be within easy access to a city and its amenities, since designer labels and boutiques that cater to them are more abundant. This confuses Hackbarth since Washington is a city full of people from all over the United States, both urban and rural. Besides just what a city has to offer,
In "Vanity, Thy Name Is Metrosexual," freelance writer Alexa Hackbarth explains that she had recently moved to Washington, a city different from any other she lived in before, a sanctuary for the metrosexual. A metrosexual is best described as a straight man that is fashion savvy, concerned with personal appearance, and is emotionally secure. Metrosexual men are similar to the cliché of being gay, but are in fact heterosexual.
As an example, Hackbarth explains that even gay men have a difficult time distinguishing between homosexuals and heterosexuals. However, the modern metrosexual is more likely to take any comments from a gay man as a compliment rather than take offense from the approach, which shows that metrosexuals are more tolerant of others.
Hackbarth 's main concern is that women are also having a complicated time differentiating a man 's sexual orientation. She explains that maybe some women want a guy who can shop for coordinating accessories, and can gossip about the latest celebrity tabloids. She is concerned that Washington seems to have too many of this type of man, and not enough of the hard working type. Growing up in a little country town, Hackbarth explains that men are up and working before ever sitting down to a hearty breakfast. These are a completely contrasting breed of men, than she can find in Washington. These countrymen are handy with home repairs, can cook a basic meal, and are not concerned with their personal appearance. From the differing country life Hackbarth had, her new city life has a large population of metrosexuals. This is because it allows the metrosexuals to be within easy access to a city and its amenities, since designer labels and boutiques that cater to them are more abundant. This confuses Hackbarth since Washington is a city full of people from all over the United States, both urban and rural. Besides just what a city has to offer,
Cited: Hackbarth, Alexa. "Vanity, Thy Name Is Metrosexual." Good Reasons With Contemporary Arguments 3rd ED. Lester Faigley and Jack Selzer. Pearson Longman. New York 2007. 399 - 402