ABSTRACT
said, putting his finger on what is so terribly off about her: she seems more a package, a prepackage, than a woman. She fits the dress too well. Skating around in circles, waving from the float alongside Mickey, Kerrigan seems to be a living but nonperspiring advertisement for the ease of class mobility in America. Her clean lines are so technocratic, aerodynamic, and gravityless: rising is so simple when you have no body to tie you down. There is something utterly right about the spectacle of Kerrigan's getting her hero's welcome home not in the real city of Boston, but in Disney World, a megalomaniac's idea of a city.
