Artistic Daughter Quotes

All great artists draw from the same resource: the human heart, which tells us all that we are more alike than we are unalike.

Being an artist or an author or even as a filmmaker, I bring my All to every project as who I am - artist, mother, daughter, wife, friend, citizen, teacher, philosopher, believer, and human. - Kailin Gow

I'm a good girl. I'm a nice girl. I'm a straight-A, strait-laced, good daughter, good career girl, and I never stole anybody's boyfriend and I never ran out on a girlfriend, and I put up with my parents' shit and brother's shit and I'm not a girl anyhow, I'm over forty fucking years old, and I'm good at my job and I'm great with kids and I held my mother's hand when she died,after four years of holding her hand while she was dying, and I speak to my father ever day on the telephone -- every day, mind you, and what kind of weather do you have on your side of the river, because here it's pretty gray and a big muggy too? It was supposed to say "Great Artist" on my tombstone, but if I died right now it would say "Such a good teacher/daughter/friend" instead; and what I really want to shout, and want in big letters on that grave, too, is FUCK YOU ALL.

For a painter, the Mecca of the world, for study, for inspiration and for living is here on this star called Paris. Just look at it, no wonder so many artists have come here and called it home. Brother, if you can't paint in Paris, you'd better give up and marry the boss's daughter.

The story tells us that living the life of an artist is not as useful as living our lives as a work of art.

The secret of happiness and the very height of artistic achievement is to be like everybody else, yet to be like no one on earth.

There is something about the act of studying an unclothed body, as an artist does, that allows a person to appreciate it as pure form, regardless of the kinds of traits traditionally regarded as imperfections. In a figure drawing class, an obese woman's folds of flesh take on a kind of beauty. You can look at a man's shrunken chest or legs or buttocks with tenderness. Age is not ugly, just poignant.

A trip to Paris had sounded so adventurous when I was first talking about it a year earlier. People spoke about the city with dreamy longing, as though Paris possessed a magic that could not be found elsewhere. I'd never heard anyone talk about Paris without sighing. The city was a Promised Land that held appeal for most everyone: artists, lovers, even people who just liked cheese.

Grief needs an outlet. Creativity offers one. Some psychiatrists see mourning and creativity as the perfect marriage, the thought processes of one neatly complementing the other. A child’s contradictory impulses to both acknowledge and deny a parent’s death represents precisely the type of rich ambiguity that inspires artistic expression.

My mom told me once that Wyatt loved her the way a boy will love his mother, but I loved her the way an artist loves another. Jo taught me what that meant.

Even Dad likes it," said Caddy, and her father agreed that he did. In a way. Being a broad-minded, tolerant, artistic sort of person. Or so people told him... "Oh, yes?" said Saffron, rolling her eyes. "Yes," said Bill, sounding a little bit peeved. "So you thank your lucky stars, my girl, because in some families you would have come home to very big trouble! A nose stud! At your age! If you come down with blood poisoning, don't blame me!

I mean that some people have a light inside them, a facility for inquiry and interest and engagement, that cannot be fabricated and cannot be counterfeited by the artist, no matter his or her skill.

Dear Woman Who Gave Me Life: The callous vexations and perturbations of this night have subsequently resolved themselves to a state which precipitates me, Arturo Bandini, into a brobdingnagian and gargantuan decision. I inform you of this in no uncertain terms. Ergo, I now leave you and your ever charming daughter (my beloved sister Mona) and seek the fabulous usufructs of my incipient career in profound solitude. Which is to say, tonight I depart for the metropolis to the east — our own Los Angeles, the city of angels. I entrust you to the benign generosity of your brother, Frank Scarpi, who is, as the phrase has it, a good family man (sic!). I am penniless but I urge you in no uncertain terms to cease your cerebral anxiety about my destiny, for truly it lies in the palm of the immortal gods. I have made the lamentable discovery over a period of years that living with you and Mona is deleterious to the high and magnanimous purpose of Art, and I repeat to you in no uncertain terms that I am an artist, a creator beyond question. And, per se, the fumbling fulminations of cerebration and intellect find little fruition in the debauched, distorted hegemony that we poor mortals, for lack of a better and more concise terminology, call home. In no uncertain terms I give you my love and blessing, and I swear to my sincerity, when I say in no uncertain terms that I not only forgive you for what has ruefully transpired this night, but for all other nights. Ergo, I assume in no uncertain terms that you will reciprocate in kindred fashion. May I say in conclusion that I have much to thank you for, O woman who breathed the breath of life into my brain of destiny? Aye, it is, it is. Signed. Arturo Gabriel Bandini. Suitcase in hand, I walked down to the depot. There was a ten-minute wait for the midnight train for Los Angeles. I sat down and began to think about the new novel.

But perhaps one day I will be entrusted with daughters of my own, and if so, I swear I will not see their minds molded into society's simpering ideal of womanhood. Oh how I would like to raise writers and artists who would make the world acknowledge what women can do!

. ‘I have found that it is not until you properly look at things with the care of a botanist, or an artist, that you really see their true nature.

What you are to be, you are now becoming. —RUSSEL LESTER SNYDER, artist

We were those girls, the artist’s daughters, the mermaids, the ones with long, tangled hair who did what they wanted. Inside, always, we knew we were free.

How angry am I? You don't want to know. Nobody wants to know about that. I'm a good girl, I'm a nice girl, I'm a straight-A, strait-laced, good daughter, good career girl, and I never stole anybody's boyfriend and I never ran out on a girlfriend, and I put up with my parents' shit and my brother's shit, and I'm not a girl anyhow, I'm over forty fucking years old, and I'm good at my job and I'm great with kids and I held my mother's hand when she died, after four years of holding her hand while she was dying, and I speak to my father every day on the telephone -- every day, mind you, and what kind of weather do you have on your side of the river, because here it's pretty gray and a bit muggy too? It was supposed to say "Great Artist" on my tombstone, but if I died right now it would say "such a good teacher/daughter/friend" instead; and what I really want to shout, and want in big letters on that grave, too, is FUCK YOU ALL.

There is nothing better for us to do than to take ourselves as we find ourselves and make the best of ourselves. If I find myself, as I did, the daughter of an artist who has left me with broadmindedness and a conveniently strong character to resist temptation, I take myself from there and accomplish what I can… I do not even deserve praise for doing my best, for that is my duty and I deserve to be blamed for not doing my best.

...while epic fantasy is based on the fairy tale of the just war, that’s not one you’ll find in Grimm or Disney, and most will never recognize the shape of it. I think the fantasy genre pitches its tent in the medieval campground for the very reason that we even bother to write stories about things that never happened in the first place: because it says something subtle and true about our own world, something it is difficult to say straight out, with a straight face. Something you need tools to say, you need cheat codes for the human brain--a candy princess or a sugar-coated unicorn to wash down the sour taste of how bad things can really get. See, I think our culture has a slash running through the middle of it, too. Past/Future, Conservative/Liberal, Online/Offline. Virgin/Whore. And yes: Classical/Medieval. I think we’re torn between the Classical Narrative of Self and the Medieval Narrative of Self, between the choice of Achilles and Keep Calm and Carry On. The Classical internal monologue goes like this: do anything, anything, only don’t be forgotten. Yes, this one sacrificed his daughter on a slab at Aulis, that one married his mother and tore out his eyes, and oh that guy ate his kids in a pie. But you remember their names, don’t you? So it’s all good in the end. Give a Greek soul a choice between a short life full of glory and a name echoing down the halls of time and a long, gentle life full of children and a quiet sort of virtue, and he’ll always go down in flames. That’s what the Iliad is all about, and the Odyssey too. When you get to Hades, you gotta have a story to tell, because the rest of eternity is just forgetting and hoping some mortal shows up on a quest and lets you drink blood from a bowl so you can remember who you were for one hour. And every bit of cultural narrative in America says that we are all Odysseus, we are all Agamemnon, all Atreus, all Achilles. That we as a nation made that choice and chose glory and personal valor, and woe betide any inconvenient “other people” who get in our way. We tell the tales around the campfire of men who came from nothing to run dotcom empires, of a million dollars made overnight, of an actress marrying a prince from Monaco, of athletes and stars and artists and cowboys and gangsters and bootleggers and talk show hosts who hitched up their bootstraps and bent the world to their will. Whose names you all know. And we say: that can be each and every one of us and if it isn’t, it’s your fault. You didn’t have the excellence for it. You didn’t work hard enough. The story wasn’t about you, and the only good stories are the kind that have big, unignorable, undeniable heroes.

In Poetry as Survival, Gregory Orr asks the survivor’s questions about violence: How could I have been that close and not been destroyed by it? Why was I spared?—questions that can initiate in a writer the quest for meaning and purpose. “But this quest born out of trauma doesn’t simply lead the survivor forward,” he writes. “First it leads him or her backward, back to the scene of the trauma where the struggle must take place with the demon or angel who incarnates the mystery of violence and the mystery of rebirth and transformation.” He is referring to Lorca’s idea of duende: a demon that drives an artist, causing trouble or pain and an acute awareness of death. Of the demon’s effect on an artist’s work, Lorca wrote: “In trying to heal the wound that never heals lies the strangeness.

She had spent her entire life being what everyone wanted her to be. The perfect daughter, the budding artist, the best friend, the first love. She had been so busy meeting everyone’s expectations, in fact, that it had taken her years to remember exactly why it was all one big farce. She was not perfect, far from it, and what you saw on the outside was not what you really were getting. Deep down, she was dirty, and this was the kind of thing that happened to girls like her.

In one ear the anthropologist (daughter): how are you? meaning: stay alive. In the other the artist (mother): I don't know. meaning: prepare to die, and transmit.

Drawing had always been how she processed things. Once they were on paper they were hers, and she could decide what power they would hold over her.

For the first time, Ramona began to doubt that her father was the best artist in the whole world. This thought made her feel sad...

walk over to my favorite painting, Judith Slaying Holofernes. We learned about the artist, Artemisia Gentileschi,

You have a teenage daughter, Miles. She’ll be smart one minute and stupid the next. Deal with it.

My identity rests solely on my two most precious masterpieces; my daughters.

One woman sent me on a letter written to her by her daughter, and the young girl's words are a remarkable statement about artistic creation as an infinitely versatile and subtle form of communication: '...How many words does a person know?' she asks her mother. 'How many does he use in his everyday vocabulary? One hundred, two, three? We wrap our feelings up in words, try to express in words sorrow and joy and any sort of emotion, the very things that can't in fact be expressed. Romeo uttered beautiful words to Juliet, vivid, expressive words, but they surely didn't say even half of what made his heart feel as if it was ready to jump out of his chest, and stopped him breathing, and made Juliet forget everything except her love? There's another kind of language, another form of communication: by means of feeling, and images. That is the contact that stops people being separated from each other, that brings down barriers. Will, feeling, emotion—these remove obstacles from between people who otherwise stand on opposite sides of a mirror, on opposite sides of a door.. The frames of the screen move out, and the world which used to be partitioned off comes into us, becomes something real... And this doesn't happen through little Audrey, it's Tarkovsky himself addressing the audience directly, as they sit on the other side of the screen. There's no death, there is immortality. Time is one and undivided, as it says in one of the poems. "At the table are great-grandfathers and grandchildren.." Actually Mum, I've taken the film entirely from an emotional angle, but I'm sure there could be a different way of looking at it. What about you? Do write and tell me please..

Successful artistic parents seem very rarely to give birth to equally successful artistic sons and daughters, and I suspect it may be because the urge to create, which must always be partly the need to escape everyday reality, is better fostered-- despite modern educational theory-- not by a sympathetic and 'creative' childhood environment, but the very opposite, by pruning and confining natural instinct.

May you, son, daughter, image of the very Creator God, fearfully and wonderfully made, knit together in your mother’s womb, fully seen, fully known, and fully loved, see with eyes that are open wide. Hear the Voice that speaks from inside of you with ears attuned and mind unshackled. Taste and see the goodness of the One who shall be all and in all. May your heart be opened to the love that formed you and everything else, the love that holds all things together and shall make all things new in the end, and may that love that was broken and poured out for you impel you into the world to break your own self open to be poured out for the world that God so loves. Poured out in acts of justice and mercy, poured out in good and hard work that brings order rather than disorder. Poured out in songs and liturgies, business plans and water colors, child-rearing and policy-making. May your life be a brush in the very hand of God—painting new creation into every nook and cranny of reality that your shadow graces. Be courageous. Be free. Prune that which needs pruning, and water that which thirsts for righteousness. You are the body of Christ, the light of the world. Pick up your hammer. Your brush. Your trumpet. Your skillet. Your pen. Lift up your head. And walk. Run. Dance. Fly. The great Artist, the future God, calls you into being. So go into your world, your valley, your garden, and create with His grace and in His peace. Amen. ________________________

To My Priestess Sisters To my priestess sisters: the keepers of mysteries, the medicine women, the story keepers and story tellers, the holy magicians, the wild warriors, the original ones, the ones who carry the ancients within the marrow of your bones, the ones forged in the fires, the ones who have bathed in thier own blood, the heroines who wear thier scars as stars, the ones who give birth to their visions and dreams, the ones who weep and howl upon the holy altars, the avatars, the mothers, maidens and crones, the mystics, the oracles, the artists, the musicians, the virgins, the sensual and sexual, the women of our world- I honor you. I stand for you and with you. I celebrate both your autonomy and our sisterhood of One. We are many. We are fierce. We are tender. We are the change agents and we are radically holding and clearing space for the bursting forth of the holy seeds of the collective conscience and consciousness. We are manifestors and flames of purification and transformation. We are living our lives in authenticity, vulnerability, transparency and unapologetically. We are committed to integrity, impeccability, accountability, responsibility and passionate love. We are here on purpose, with purpose and give no energy to conformity, acceptance or approval. We are the daughters of the earth and the courageous of the cosmos. Priestess, keep living your life passionately, raising the cosmic vibrations and lowering your standards for no one. You are brazenly blessed and a force of nature. Nurture yourself and one another. You are a crystalline bridge between realms and uniting heaven and earth. You are a priestess and you are divinely anointed, appointed and unstoppable.

The Italian Futurist artist Giacomo Balla later called his daughters Luce and Elettricità in memory of what he saw at the Paris Exposition. (A third daughter was Elica—Propellor—after the modern machinery he also admired.)

But this was not enough on its own to generate the kind of terror that Mao wanted. On 18 August, a mammoth rally was held in Tiananmen Square in the center of Peking, with over a million young participants. Lin Biao appeared in public as Mao's deputy and spokesman for the first time. He made a speech calling on the Red Guards to charge out of their schools and 'smash up the four olds' defined as 'old ideas, old culture, old customs, and old habits." Following this obscure call, Red Guards all over China took to the streets, giving full vent to their vandalism, ignorance, and fanaticism. They raided people's houses, smashed their antiques, tore up paintings and works of calligraphy. Bonfires were lit to consume books. Very soon nearly all treasures in private collections were destroyed. Many writers and artists committed suicide after being cruelly beaten and humiliated, and being forced to witness their work being burned to ashes. Museums were raided. Palaces, temples, ancient tombs, statues, pagodas, city walls anything 'old' was pillaged. The few things that survived, such as the Forbidden City, did so only because Premier Zhou Enlai sent the army to guard them, and issued specific orders that they should be protected. The Red Guards only pressed on when they were encouraged. Mao hailed the Red Guards' actions as "Very good indeed!" and ordered the nation to support them. He encouraged the Red Guards to pick on a wider range of victims in order to increase the terror. Prominent writers, artists, scholars, and most other top professionals, who had been privileged under the Communist regime, were now categorically condemned as 'reactionary bourgeois authorities." With the help of some of these people's colleagues who hated them for various reasons, ranging from fanaticism to envy, the Red Guards began to abuse them. Then there were the old 'class enemies': former landlords and capitalists, people with Kuomintang connections, those condemned in previous political campaigns like the 'rightists' and their children.

This is the part of the country that invokes terrible nostalgia, a morbid and phlegm-induced retrospective of parties, clubs, drugs, shows, people, and is the goiter of my Boston days. I wouldn't have a clue as to who I'd ever care to see in this town, though I've done time here. If it weren't for Daughters and company, I'd feel like a compete tourist in a ghostly, plot-less town...pulling hoods up and heads around, opposite directions, if I ever saw someone I thought I might have known. Young people feeling really cool in bathrooms, dancing to the same songs in the same clubs, with the same dropout students, artists, thugs, bullies, jocks, all game in the search for one's self and sex.

It was supposed to say "Great Artist" on my tombstone, but if I died right now it would say "such a good teacher/daughter/friend" instead; and what I really want to shout, and want in big letters on that grave, too, is FUCK YOU ALL.

I don’t fundamentally understand why people give a shit about what other people put up their noses or what other people put in their veins or what other people breathe into their lungs. I mean I sort of care like if somebodies an addict it’s very destructive to people around that addict. It’s destructive to themselves. I’d like to get them help. I certainly support that which is to get that person help but, I don’t understand how people wake up and say I have to eradicate drug use across the land. “I gotta stick my nose into the business of what other people stick up their nose.” I just find that incomprehensible. I mean, is your life so vacant and so hysterical, so empty, so void of love, care and affection? I can go play with my daughter or I can go and obsessively try and get politicians to throw people in jail for doing things I don’t like. I can’t imagine why people would be choosing option “B” but, only because they don’t have anyone who loves them or, anyone they care about. They don’t have any rich, significant, important, hobbies, relationships, artistic pursuits or anything rich enough to keep them from obsessing about what other people do or bossing and bulling what other people do. This “stick your nose in other people’s business” Is so compulsive and epidemic to human society.

But to be furious, murderously furious, is to be alive. No longer young, no longer pretty, no longer loved, or sweet, or lovable, unmasked, writhing on the ground for all to see in my utter ingloriousness, there’s no telling what I might do. I could film my anger and sell it, I could do some unmasking of my own, beat the fuckers at their own game, and on the way I could become the best-known fucking artist in America, out of sheer spite. You never know. I’m angry enough to set fire to a house just by looking at it. It can’t be contained, stored away with the recycling. I’m done staying quietly upstairs. My anger is not a little person’s, a sweet girl’s, a dutiful daughter’s. My anger is prodigious. My anger is a colossus. I’m angry enough to understand why Emily Dickinson shut out the world altogether, why Alice Neel betrayed her children, even though she loved them mightily. I’m angry enough to see why you walk into the water with rocks in your pockets, even though that’s not the kind of angry I am. Virginia Woolf, in her rage, stopped being afraid of death; but I’m angry enough, at last, to stop being afraid of life, and angry enough—finally, God willing, with my mother’s anger also on my shoulders, a great boil of rage like the sun’s fire in me—before I die to fucking well live. Just watch me.

Let us suppose you give your three-year-old daughter a coloring book and a box of crayons for her birthday. The following day, with the proud smile only a little once can muster, she presents her first pictures for inspection. She has colored the sun black, the grass purple, and the sky green. In the lower right-hand corner, she has added woozy wonders of floating slabs and hovering rings; on the left, a panoply of colorful, carefree squiggles. You marvel at her bold strokes and intuit that her psyche is railing against its own cosmic puniness in the face of a big, ugly world. Later at the office, you share with your staff your daughter's first artistic effort and you make veiled references to the early work of van Gogh. A little child can not do a bad coloring; nor can a child of God do bad prayer. "A father is delighted when his little one, leaving off her toys and friends, runs to him and climbs into his arms. As he holds hi little one close to him, he cared little whether the child is looking around, her attention flittering from one thing to another or just settling down to sleep. Essentially the child is choosing to be with the father, confident of the love, the care, the security that is hers in those arms. Our prayer is much like that. We settle down in our Father's arms, in his loving hands. Our minds, our thoughts, our imagination may flit about here and there; we might even fall asleep; but essentially we are choosing for this time to remain intimately with our Father, giving ourselves to him, receiving his love and care, letting him enjoy us as he will. It is very simple prayer. It is very childlike prayer. It is prayer that opens us out to all the delights of the kingdom.

Watanabe-san and Sadie exchanged gifts. She brought him a pair of carved wooden Ichigo chopsticks that their Japanese distributor had had made to celebrate the release of the second Ichigo in Japan. In return, he gave her a silk scarf with a reproduction of Cherry Blossoms at Night, by Katsushika Ōi, on it. The painting depicts a woman composing a poem on a slate in the foreground. The titular cherry blossoms are in the background, all but a few of them in deep shadow. Despite the title, the cherry blossoms are not the subject; it is a painting about the creative process---its solitude and the ways in which an artist, particularly a female one, is expected to disappear. The woman's slate appears to be blank. "I know Hokusai is an inspiration for you," Watanabe-san said. "This is by Hokusai's daughter. Only a handful of her paintings survived, but I think she is even better than the father.

In the end the real wealth of the Hungarian Jewish community had not been packed in crates and boxes and loaded onto that train. What is the value to a daughter of a single pair of Sabbath candlesticks passed down from her mother and grandmother before her, generation behind generation, for a hundred, even a thousand, years? Beyond price, beyond measure. And what of ten thousand pairs of similar candlesticks, when all the grandmothers, mothers, and daughters are dead? No more than the smelted weight of the silver. The wealth of the Jews of Hungary, of all of Europe, was to be found not in the laden boxcars of the Gold Train but in the grandmothers and mothers and daughters themselves, in the doctors and lawyers, the grain dealers and psychiatrists, the writers and artists who had created a culture of sophistication, of intellectual and artistic achievement. And that wealth, everything of real value, was all but extinguished.

It's her. The woman from the photo." The plate was foxed around the edges, but the painting at its center was still intact. The annotation beneath gave the title as Sleeping Beauty and the artist's name, Edward Radcliffe. The woman in the painting was lying in a fantastical treetop bower of leaves and flower buds, all of which were waiting in stasis for the chance to bloom. Birds and insects were interspersed amongst the woven branches; long red hair flowed in waves around her sleeping face, which was glorious in repose. Her eyes were closed, but the features of her face- the elegant cheekbones and bow lips- were unmistakable. "She was his model," Elodie whispered.

What really happened was I came up here and had four miscarriages...The AIA gave me that nice honor years back, there's this 20x20x20 thing, an Artforum reporter tried to talk to me about some article...They're booby prizes because everyone knows I am an artist who couldn't overcome failure..."I can't make anything without destroying it," I'd say [when the miscarriages started]...Yes, I've hauled my sorry ass to a shrink. I went to some guy here, the best in Seattle. It took me about three sessions to fully chew the poor fucker up and spit him out. He felt terrible about failing me. "Sorry," he said, "but the psychiatrists up here aren't very good..." When I finally stayed pregnant, our daughter's heart hadn't developed completely, so it had to be rebuilt in a series of operations. Her chances for survival were minuscule, especially back then. The moment she was born, my squirming blue guppy was whisked off to the OR before I could touch her...Elgie once gave me a locket of Saint Bernadette, who had 18 visions. He said Beeber Bifocal and Twenty Mile were my first two visions. I dropped to my knees at Bee's incubator and grabbed my locket. "I will never build again," I said to God. "I will renounce my other 16 visions if you'll keep my baby alive." It worked...' 'Bernadette, Are you done? You can't honestly believe any of this nonsense. People like you must create. If you don't create, Bernadette, you will become a menace to society.

At the end of the vacation, I took a steamer alone from Wuhan back up through the Yangtze Gorges. The journey took three days. One morning, as I was leaning over the side, a gust of wind blew my hair loose and my hairpin fell into the river. A passenger with whom I had been chatting pointed to a tributary which joined the Yangtze just where we were passing, and told me a story.In 33 B.C., the emperor of China, in an attempt to appease the country's powerful northern neighbors, the Huns, decided to send a woman to marry the barbarian king. He made his selection from the portraits of the 3,000 concubines in his court, many of whom he had never seen. As she was for a barbarian, he selected the ugliest portrait, but on the day of her departure he discovered that the woman was in fact extremely beautiful. Her portrait was ugly because she had refused to bribe the court painter. The emperor ordered the artist to be executed, while the lady wept, sitting by a river, at having to leave her country to live among the barbarians. The wind carried away her hairpin and dropped it into the river as though it wanted to keep something of hers in her homeland. Later on, she killed herself. Legend had it that where her hairpin dropped, the river turned crystal clear, and became known as the Crystal River. My fellow passenger told me this was the tributary we were passing. With a grin, he declared: "Ah, bad omen! You might end up living in a foreign land and marrying a barbarian!" I smiled faintly at the traditional Chinese obsession about other races being 'barbarians," and wondered whether this lady of antiquity might not actually have been better off marrying the 'barbarian' king. She would at least be in daily contact with the grassland, the horses, and nature. With the Chinese emperor, she was living in a luxurious prison, without even a proper tree, which might enable the concubines to climb a wall and escape. I thought how we were like the frogs at the bottom of the well in the Chinese legend, who claimed that the sky was only as big as the round opening at the top of their well. I felt an intense and urgent desire to see the world. At the time I had never spoken with a foreigner, even though I was twenty-three, and had been an English language student for nearly two years. The only foreigners I had ever even set eyes on had been in Peking in 1972. A foreigner, one of the few 'friends of China," had come to my university once. It was a hot summer day and I was having a nap when a fellow student burst into our room and woke us all by shrieking: "A foreigner is here! Let's go and look at the foreigner!" Some of the others went, but I decided to stay and continue my snooze. I found the whole idea of gazing, zombie like rather ridiculous. Anyway, what was the point of staring if we were forbidden to open our mouths to him, even though he was a 'friend of China'? I had never even heard a foreigner speaking, except on one single Linguaphone record. When I started learning the language, I had borrowed the record and a phonograph, and listened to it at home in Meteorite Street. Some neighbors gathered in the courtyard, and said with their eyes wide open and their heads shaking, "What funny sounds!" They asked me to play the record over and over again.

The trick was simply to balance it all. Family. Marriage. Career. Painting. If the balance tipped in one direction and work took up more time, no one complained. It sometimes felt as if I was rehearsing for real life, so if it went wrong it didn’t matter. One day I would have it all organized. I would be the perfect mother, wife, doctor, artist. It was just a question of practice. If I made mistakes, I could simply try again.

the fact is, our relationships to these corporations are not unambiguous. some memebers of negativland genuinely liked pepsi products. mca grew up loving star wars and didn't mind having his work sent all over the united states to all the "cool, underground magazines" they were marketing to--why would he? sam gould had a spiritual moment in the shower listening to a cd created, according to sophie wong, so that he would talk about tylenol with his independent artist friends--and he did. many of my friends' daughters will be getting american girl dolls and books as gifts well into the foreseeable future. some skateboarders in washington, dc, were asked to create an ad campaign for the east coast summer tour, and they all love minor threat--why not use its famous album cover? how about shilling for converse? i would have been happy to ten years ago. so what's really changed? the answer is that two important things have changed: who is ultimately accountable for veiled corporate campaigns that occasionally strive to obsfucate their sponsorship and who is requesting our participation in such campaigns. behind converse and nike sb is nike, a company that uses shit-poor labor policies and predatory marketing that effectively glosses over their shit-poor labor policies, even to an audience that used to know better. behind team ouch! was an underground-savvy brainreservist on the payroll of big pharma; behind the recent wave of street art in hip urban areas near you was omd worldwide on behalf of sony; behind your cool hand-stenciled vader shirt was lucasfilm; and behind a recent cool crafting event was toyota. no matter how you participated in these events, whether as a contributor, cultural producer, viewer, or even critic, these are the companies that profited from your attention.

My memories are who I am. You take away my memories, you erase me. Existence is memory. Do you understand? You'd kill me. You'd murder Trina FastHorse Goldberg-Oneka, daughter of Rita and Samuel, a child of love. Trans woman. Artist. Doctor. Healer. Native American. Jew. You erase my memories, and you erase my lineage of ancestors -- their pain, their triumphs, their passions, their dreams. No matter if the memories bring me pain. It's my pain! Let me have it.

Grant paused in the act of turning the thing over, to consider the face a moment longer. A judge? A soldier? A prince? Someone used to great responsibility, and responsible in his authority. Someone too-conscientious. A worrier; perhaps a perfectionist. A man at ease in a large design, but anxious over details. A candidate for gastric ulcer. Someone, too, who had suffered ill-health as a child. He had that incommunicable, that indescribable look that childhood suffering leaves behind it; less positive than the look on a cripple’s face, but as inescapable. This the artist had both understood and translated into terms of paint. The slight fullness of the lower eyelid, like a child that has slept too heavily; the texture of the skin; the old-man look in a young face. He turned the portrait over to look for a caption. On the back was printed: Richard the Third. From the portrait in the National Portrait Gallery. Artist Unknown.

You can never be an artist if your work comes without effort. That is the problem with modern ink from a bottle. You do not have to think. You simply write what is swimming on the top of your brain. And the top is nothing but pond scum, dead leaves, and mosquito spawn. But when you push an inkstick along an inkstone, you take the first step to cleansing your mind and your heart. You push and you ask yourself, What are my intentions? What is my heart that matches my mind?

Why hadn't she just said yes? Then she could have driven alone back to the city [...] and picked up some guy and brought him back home and screwed him and kicked him out and then picked up her daughter at the train the next day like a spy or a con artist, as if the two sides of herself didn't even care to know each other. But it was too late for that. Not just in terms of her ever becoming the kind of woman who knew how to do that kind of thing, without exposing herself as deluded or pathetic or ridiculous.

Why, all our art treasures of to-day are only the dug-up commonplaces of three or four hundred years ago. I wonder if there is real intrinsic beauty in the old soup-plates, beer-mugs, and candle-snuffers that we prize so now, or if it is only the halo of age glowing around them that gives them their charms in our eyes. The “old blue” that we hang about our walls as ornaments were the common every-day household utensils of a few centuries ago; and the pink shepherds and the yellow shepherdesses that we hand round now for all our friends to gush over, and pretend they understand, were the unvalued mantel-ornaments that the mother of the eighteenth century would have given the baby to suck when he cried. Will it be the same in the future? Will the prized treasures of to-day always be the cheap trifles of the day before? Will rows of our willow-pattern dinner-plates be ranged above the chimneypieces of the great in the years 2000 and odd? Will the white cups with the gold rim and the beautiful gold flower inside (species unknown), that our Sarah Janes now break in sheer light-heartedness of spirit, be carefully mended, and stood upon a bracket, and dusted only by the lady of the house? That china dog that ornaments the bedroom of my furnished lodgings. It is a white dog. Its eyes blue. Its nose is a delicate red, with spots. Its head is painfully erect, its expression is amiability carried to verge of imbecility. I do not admire it myself. Considered as a work of art, I may say it irritates me. Thoughtless friends jeer at it, and even my landlady herself has no admiration for it, and excuses its presence by the circumstance that her aunt gave it to her. But in 200 years’ time it is more than probable that that dog will be dug up from somewhere or other, minus its legs, and with its tail broken, and will be sold for old china, and put in a glass cabinet. And people will pass it round, and admire it. They will be struck by the wonderful depth of the colour on the nose, and speculate as to how beautiful the bit of the tail that is lost no doubt was. We, in this age, do not see the beauty of that dog. We are too familiar with it. It is like the sunset and the stars: we are not awed by their loveliness because they are common to our eyes. So it is with that china dog. In 2288 people will gush over it. The making of such dogs will have become a lost art. Our descendants will wonder how we did it, and say how clever we were. We shall be referred to lovingly as “those grand old artists that flourished in the nineteenth century, and produced those china dogs.” The “sampler” that the eldest daughter did at school will be spoken of as “tapestry of the Victorian era,” and be almost priceless. The blue-and-white mugs of the present-day roadside inn will be hunted up, all cracked and chipped, and sold for their weight in gold, and rich people will use them for claret cups; and travellers from Japan will buy up all the “Presents from Ramsgate,” and “Souvenirs of Margate,” that may have escaped destruction, and take them back to Jedo as ancient English curios.

Jo is the one who writes popular fiction for money, Amy is the one who scrapes together what materials she can find to pursue her artistic ambitions and makes no money, as yet. Jo's moneymaking is seen as a necessity so that the Marches can get by. But because Amy dresses well, behaves properly, and gets along with Aunt March, and because, unlike Jo, she does not dismiss the idea of marrying for money, readers may misunderstand Amy. Amy is not more selfish than Jo, she is more canny...Amy has already demonstrated the value of reason, understanding, thoughtfulness, getting along. If we return to the spot in part one where Marmee tells Meg and Jo what she wants for her daughters, the first descriptive word out of her mouth is 'beautiful.' It is Amy who has done what her mother wanted, who has used her looks, i.e., to become beautiful in the eyes of society, to get ahead, but she has done so not out of vanity or greed but because, through her art, she has sought to understand the nature of beauty--in herself, in admiring Aunt March's jewelry, in painting, in relationships

Emma: You can demand that Pettibone retain my services, but you cannot make similar demands of the parents of the students. They will not entrust the education of their daughters to a woman who has removed her clothing for an artist, no matter how exalted that artist may be. Pettibone would become a school without students. No that avenue is closed to me now. Nicholas: Women disrobe for men other than their husbands every day. Emma: But they are not on exhibition in the Royal Academy. Nicholas: what of extenuating circumstances? Emma: You make no sense

A lot of excellent illustrators are working at the moment--especially in fantasy and children's books. It is exciting also to see graphic artists such as Dave McKean, in his film Mirrormask, moving between different media. I also greatly admire the more traditional work of Gennady Spirin and Roberto Innocenti. Kinuko Craft, John Jude Palencar, John Howe, Charles Vess, Brian Froud ... I'll stop there, as the list would get too long. But--in a fit of pride and justified nepotism--I'll add my daughter, Virginia Lee, to the list. Her first illustrated children's book, The Frog Bride [coming out in the U.K. in September, 2007], will be lovely.

Perhaps one day we will evolve ourselves into some better arrangement for the children, where benevolent armies of solar-powered robots raise children on expansive baby farms, but until Elon funds this nightmare, marriage is what we’ve got. It’s good for us and it’s good for the kids, even when it hurts like hell. I think often of our daughters and what they have learned of love in this strange season. I suppose we’ve given them enough trauma to turn all three into artists or writers, or at least law students. But we’re here, all of us: a nuclear family, detonated but not destroyed. We won’t be traumatizing our children with our divorce. We’ll traumatize them with our marriage, as God intended.

Richard and I seemed really to be at the end of our rope, for he had done what he could for me, and it had not worked out, and now he was going away. It seemed to me that he was sailing into the most splendid of futures, for he was going, of all places! to France, and he had been invited there by the French government. But Richard did not seem, though he was jaunty, to be overjoyed. There was a striking sobriety in his face that day. He talked a great deal about a friend of his, who was in trouble with the U.S. Immigration authorities, and was about to be, or already had been, deported. Richard was not being deported, of course, he was traveling to a foreign country as an honored guest; and he was vain enough and young enough and vivid enough to find this very pleasing and exciting. Yet he knew a great deal about exile, all artists do, especially American artists, especially American Negro artists. He had endured already, liberals and literary critics to the contrary, a long exile in his own country. He must have wondered what the real thing would be like. And he must have wondered, too, what would be the unimaginable effect on his daughter, who could now be raised in a country which would not penalize her on account of her color. And that day was very nearly the last time Richard and I spoke to each other without the later, terrible warfare. Two years later, I, too, quit America, never intending to return.

[On Thornton Wilder's Our Town] "I can't look at everything hard enough": The tragedy is that, while we're alive, we don't view our days in the knowledge that all things must pass. We don't--we can't--value our lives, our loved ones, with the urgent knowledge that they'll one day be gone forever. Emily notices with despair that she and her mother barely look at one another, and she laments our self-possession, our distractedness, the million things that keep us from each other. "Oh, Mama," she cries, "just look at me one minute as though you really saw me. . . . Let's look at one another." But other and daughter remain self-absorbed, each in a private sea of her own thoughts, and that moment of recognition, of connection, never comes. Eventually, Emily has to turn away.

The introverted attitude need not necessarily coincide with the figure of Prometheus, by which I mean that the traditional Prometheus can be interpreted quite differently. This other version is found, for instance, in Plato’s Protagoras, where the bestower of vital powers on the creatures the gods have created out of fire and water is not Prometheus but Epimetheus. Here, as in the myth, Prometheus (conforming to classical taste) is the crafty and inventive genius. There are two versions of Prometheus in Goethe’s works. In the “Prometheus Fragment” of 1773 Prometheus is the defiant, self-sufficient, godlike, god-disdaining creator and artist. His soul is Minerva, daughter of Zeus. The relation of Prometheus to Minerva is very like the relation of Spitteler’s Prometheus to his soul:

My castle is very different from what I planned, but I would not alter it, though, like Jo, I don't relinquish all my artistic hopes, or confine myself to helping others fulfill their dreams of beauty. I've begun to model a figure of baby, and Laurie says it is the best thing I've ever done. I think so, myself, and mean to do it in marble, so that, whatever happens, I may at least keep the image of my little angel." As Amy spoke, a great tear dropped on the golden hair of the sleeping child in her arms, for her one well-beloved daughter was a frail little creature and the dread of losing her was the shadow over Amy's sunshine. This cross was doing much for both father and mother, for one love and sorrow bound them closely together. Amy's nature was growing sweeter, deeper, and more

Within it grew such a variety of plants as Elizabeth had ever seen: white roses, carnations, lobelias, mimosas, even sweet peas tumbling over each other in vigorous abandon. At one end was an herb garden, and Elizabeth recognized rue, fennel, caraway, sage, thyme and mint. Through a doorway at the rear of the courtyard she could see a grove of olive and lemon trees and on the short walk from the harbor to the house she had spotted tall, spiky thistle-like plants, palms and trees covered in white flowers. She was seized with an immediate desire to open her sketchbook and take out the magnifying glass from the pocket of her cloak, to capture the intricate detail of an almond blossom, its calyx and corolla, stamens and carpel, or perhaps to draw the curl of a vine tendril or a spiky aloe leaf

I saw the power this respect holds in traditional cultures on our family sabbatical to Thailand and Bali. My daughter Caroline studied Balinese dance for two months with a wonderful teacher, and he proposed to stage a farewell recital for her at his school, which is also his home. When we arrived, they set up the stage, got the music ready, and then started to dress Caroline. They took a very long time dressing a six-year-old whose average attention span is about five minutes. First they draped her in a silk sarong, with a beautiful chain around her waist. Then they wrapped embroidered silk fifteen times around her chest. They put on gold armbands and bracelets. They arranged her hair and put golden flowers in it. They put on more makeup than a six-year-old could dream of. Meanwhile, I sat there getting impatient, the proud father eager to take pictures. It was getting dark. “When are they going to finish dressing her and get on with the recital?” Thirty minutes, forty-five minutes. Finally the teacher’s wife came out and took off her own golden necklace and put it around my daughter’s neck. Caroline was thrilled. When I let go of my impatience, I realized what a wonderful thing was happening. In Bali, whether a dancer is six or twenty-six, she is equally honored and respected. She is an artist who performs not for the audience but for the gods. The level of respect that Caroline was given as an artist allowed her to dance beautifully. Imagine how you would feel if you were given that respect as a child. We need to learn respect for ourselves, for one another, to value our children through valuing their bodies, their feelings, their minds. Children may be limited in what they can do, but their spirit isn’t limited.

We were in Julie’s room one night, my eldest daughter and I, maybe a decade ago now. I wanted to show her how the canvas painting she had carefully labored over for her little sister's Christmas gift was framed and hung on the wall. I said, gazing at her masterpiece with no small amount of motherly pride, “Now it looks like a real work of art”. Bella looked at me quizzically, wondering yet again how her mother could possibly understand so little about the world. “Mama, every time you make something, or draw something, or paint something, it is already real art. There is no such thing as art that is not real” And so I said that she was right, and didn’t it look nice, and once again, daughter became guru and mother became willing student. Which is, I sometimes think, the way it was meant to be. ~~~~~ art is always real. all of it. even the stuff you don’t understand. even the stuff you don’t like. even the stuff that you made that you would be embarrassed to show your best friend that photo that you took when you first got your DSLR, when you captured her spirit perfectly but the focus landed on her shoulder? still art. the painting you did last year the first time you picked up a brush, the one your mentor critiqued to death? it’s art. the story you are holding in your heart and so desperately want to tell the world? definitely art. the scarf you knit for your son with the funky messed up rows? art. art. art. the poem scrawled on your dry cleaning receipt at the red light. the dress you want to sew. the song you want to sing. the clay you’ve not yet molded. everything you have made or will one day make or imagine making in your wildest dreams. it’s all real, every last bit. because there is no such thing as art that is not real.

This photo is classic aestheticism. The engaging expression, the loose dress and fluid posture. Early to mid-1860's, if I had to guess." "It reminded me of the Pre-Raphaelites." "Related, definitely; and of course the artists of the time were all inspired by one another. They obsessed over things like nature and truth; color, composition, and the meaning of beauty. But where the Pre-Raphaelites strove for realism and detail, the painters and photographers of the Magenta Brotherhood were devoted to sensuality and motion." "There's something moving about the quality of light, don't you think?" "The photographer would be thrilled to hear you say so. Light was of principal concern to them: they took their name from Goethe's color wheel theories, the interplay of light and dark, the idea that there was a hidden color in the spectrum, between red and violet, that closed the circle. You have to remember, it was right in the middle of a period when science and art were exploding in all directions. Photographers were able to use technology in ways they hadn't before, to manipulate light and experiment with exposure times to create completely new effects.

I lived in New York City back in the 1980s, which is when the Bordertown series was created. New York was a different place then -- dirtier, edgier, more dangerous, but also in some ways more exciting. The downtown music scene was exploding -- punk and folk music were everywhere -- and it wasn't as expensive to live there then, so a lot of young artists, musicians, writers, etc. etc. were all living and doing crazy things in scruffy neighborhoods like the East Village. I was a Fantasy Editor for a publishing company back then -- but in those days, "fantasy" to most people meant "imaginary world" books, like Tolkien's Lord of the Rings. A number of the younger writers in the field, however, wanted to create a branch of fantasy that was rooted in contemporary, urban North America, rather than medieval or pastoral Europe. I'd already been working with some of these folks (Charles de Lint, Emma Bull, etc.), who were writing novels that would become the foundations for the current Urban Fantasy field. At the time, these kinds of stories were considered so strange and different, it was actually hard to get them into print. When I was asked by a publishing company to create a shared-world anthology for Young Adult readers, I wanted to create an Urban Fantasy setting that was something like a magical version of New York...but I didn't want it to actually be New York. I want it to be any city and every city -- a place that anyone from anywhere could go to or relate to. The idea of placing it on the border of Elfland came from the fact that I'd just re-read a fantasy classic called The King of Elfland's Daughter by the Irish writer Lord Dunsany. I love stories that take place on the borderlands between two different worlds...and so I borrowed this concept, but adapted it to a modern, punky, urban setting. I drew upon elements of the various cities I knew best -- New York, Boston, London, Dublin, maybe even a little of Mexico City, where I'd been for a little while as a teen -- and scrambled them up and turned them into Bordertown. There actually IS a Mad River in southern Ohio (where I went to college) and I always thought that was a great name, so I imported it to Bordertown. As for the water being red, that came from the river of blood in the Scottish folk ballad "Thomas the Rhymer," which Thomas must cross to get into Elfland. [speaking about the Borderland series she "founded" and how she came up with the setting. Link to source; Q&A with Holly, Ellen & Terri!]

I keep notations, like my mother. She had notebook after notebook of trials and errors, all written in her perfect penmanship on quad-ruled pages, a square for each letter to nest in. My journal is a thick black hardcover with unlined pages. Like her, I'm a technician, a statistician, copiously documenting slight variations in texture, color, taste. I'm a chemist. A quarter cup of rye flour added to the white wheat gives a sweeter flavor. A half teaspoon more salt and 78 percent hydration of the dough result in those coveted large, irregular rooms in the crumb. Mastering formulas, not recipes, in the quest for the perfect loaf. Xavier tells me not to bother. He doesn't believe in perfection. "Forget the ingredients. Forget the environment. 'You' are different each day. You can't replicate yourself. Your hands are stronger, or weaker. Your mind thinks different thoughts while kneading. Life is all over you, changing you. All that goes into the making comes out in the bread. It won't be the same from one batch to the next. Not ever." "It'll be close, though." "Close only counts in horseshoes and hand grenades." He's the artist. He makes me brave enough to try. With his encouragement, I've focused on the creativity of bread, writing my own recipes, exploring nontraditional flavors and shapes. Not all of them turn out well, but he tastes my failures with me, with layers of warm butter.

The Riders Placencia Beach, Belize, 1996 Americans aren’t overly familiar with Tim Winton, although in my mind he is one of the best writers anywhere. This novel is set in Ireland and Greece as a man and his daughter search for their missing wife and mother. Gripping. 2. Family Happiness Miacomet Beach, Nantucket, 2001 The finest of Laurie Colwin’s novels, this is, perhaps, my favorite book in all the world. It tells the story of Polly Demarest, a Manhattan woman who is torn between her very uptown lawyer husband and her very downtown artist lover. 3. Mary and O’Neil Cottesloe Beach, Western Australia, 2009 These connected stories by Justin Cronin will leave you weeping and astonished. 4. Appointment in Samarra Nha Trang Beach, Vietnam, 2010 This classic novel was recommended to me by my local independent bookseller, Dick Burns, once he had found out how much I loved Revolutionary Road by Richard Yates. John O’Hara’s novel has all the requisite elements of a page-turner—drinking, swearing, and country club adultery, although set in 1930s Pennsylvania. This may sound odd, but trust me, it’s un-put-downable! 5. Wife 22 Oppenheimer Beach, St. John, U.S. Virgin Islands, 2012 If you like piña coladas… you will love Melanie Gideon’s tale of marriage lost and rediscovered. 6. The Interestings Steps Beach, Nantucket, 2013 And this summer, on Steps Beach in Nantucket, I will be reading The Interestings by Meg Wolitzer. Wolitzer is one of my favorite writers. She explores the battles between the sexes better than anyone around.

Roderick Sutton, Earl of Westerham, owner of Farleigh Place, a stately home in Kent Lady Esme Sutton, Roderick’s wife Lady Olivia “Livvy” Sutton, twenty-six, the Suttons’ eldest daughter, married to Viscount Carrington, mother of Charles Lady Margaret “Margot” Sutton, twenty-three, the second daughter, now living in Paris Lady Pamela “Pamma” Sutton, twenty-one, the third daughter, currently working for a “government department” Lady Diana “Dido” Sutton, nineteen, the fourth daughter, a frustrated debutante Lady Phoebe “Feebs” Sutton, twelve, the fifth daughter, too smart and observant for her own good Servants at Farleigh (a skeleton staff) Soames, butler Mrs. Mortlock, cook Elsie, parlourmaid Jennie, housemaid Ruby, scullery maid Philpott, Lady Esme’s maid Nanny Miss Gumble, governess to Lady Phoebe Mr. Robbins, gamekeeper Mrs. Robbins, gamekeeper’s wife Alfie, a Cockney boy, now evacuated to the country Jackson, groom Farleigh Neighbours Rev. Cresswell, vicar of All Saints Church Ben Cresswell, the vicar’s son, now working for a “government department” At Nethercote Sir William Prescott, city financier Lady Prescott, Sir William’s wife Jeremy Prescott, Sir William and Lady Prescott’s son, RAF flying ace At Simla Colonel Huntley, formerly of the British Army Mrs. Huntley, the colonel’s wife Miss Hamilton, spinster Dr. Sinclair, doctor Sundry villagers, including an artist couple, a builder, and a questionable Austrian Officers of the Royal West Kent Regiment Colonel Pritchard, commanding officer Captain Hartley, adjutant Soldiers under command At Dolphin Square Maxwell Knight, spymaster Joan Miller, Knight’s secretary At Bletchley Park Commander Travis, deputy

A Lake Charles-based artist, Sally was a progressive Democrat who in 2016 primary favored Bernie Sanders. Sally's very dear friend and worl-traveling flight attendant from Opelousas, Louisiana, Shirley was an enthusiast for the Tea Party and Donald Trump. Both woman had joined sororities at LSU. Each had married, had three children, lived in homes walking distance apart in Lake Charles, and had keys to each other's houses. Each loved the other's children. Shirley knew Sally's parents and even consulted Sally's mother when the two go to "fussing to much." They exchanged birthday and Christmas gifts and jointly scoured the newspaper for notices of upcoming cultural events they had, when they were neighbors in Lake Charles, attended together. One day when I was staying as Shirley's overnight guest in Opelousas, I noticed a watercolor picture hanging on the guestroom wall, which Sally had painted as a gift for Shirley's eleven-year-old daughter, who aspired to become a ballerina. With one pointed toe on a pudgy, pastel cloud, the other lifted high, the ballerina's head was encircled by yellow star-like butterflies. It was a loving picture of a child's dream--one that came true. Both women followed the news on TV--Sally through MSNBC's Rachel Maddow, and Shirley via Fox News's Charles Krauthammer, and each talked these different reports over with a like-minded husband. The two women talk by phone two or three times a week, and their grown children keep in touch, partly across the same politcal divide. While this book is not about the personal lives of these two women, it couldn't have been written without them both, and I believe that their friendship models what our country itself needs to forge: the capacity to connect across difference.

It was supposed to say "Great Artist" on my tombstone, but if I died right now it would say "such a good teacher/daughter/friend" instead; and what I really want to shout, and want in big letters on that grave, too, is F*** YOU ALL.

But you see, everyone has a part to play. In this theater, I’m a daughter and a sister and a mother—never an artist. I could be, I don’t know, Luc Tuymans, and it would mean nothing to them. They allow no room for anything but my duty.

Meeting the Marches *Hector March, the Earl March (b.1817) His beloved wife, Charlotte, is deceased. He divides his time between his Sussex estate, Bellmont Abbey, and his London home where he is active in Parliamentary debate, particularly over the question of Irish Home Rule. His hobbies are Shakespearean studies and quarrelling with his hermit. His children are: Frederick, Viscount Bellmont “Monty” (b. 1846) Married to Adelaide Walsingham. Resides in London. Represents Blessingstoke as a Member of Parliament. Lady Olivia Peverell (b.1847) Married to Sir Hastings Peverell. Resides in London where she is a prominent political hostess. Hon. Benedick March (b.1848) Married to Elizabeth Pritchett. Manages the Home Farm at Bellmont Abbey and is acknowledged to be Julia’s favourite brother. His two eldest children, Tarquin and Perdita, make an appearance in two of Lady Julia’s adventures. Lady Beatrice “Bee” Baddesley (b. 1850) Married to Sir Arthur Baddesley, noted Arthurian scholar. Resides in Cornwall. Lady Rupert “Nerissa” Haverford (b.1851) Married to Lord Rupert Haverford, third son of the Duke of Lincoln. Divides her time between London and her father-in-law’s estate near Nottingham. Lady Bettiscombe “Portia” (b.1853) Widow. Mother to Jane the Younger. Resides in London. Hon. Eglamour March (b.1854) Known as Plum to the family. Unmarried. A gifted artist, he resides in London where he engages in a bit of private enquiry work for Nicholas Brisbane. Hon. Lysander March (b.1855) Married to Violanthe, his turbulent Neapolitan bride. He is a composer. Lady Julia Brisbane (b.1856) Widow of Sir Edward Grey. Married to Nicholas Brisbane. Her husband permits her to join him in his work as a private enquiry agent against his better judgment. Hon. Valerius March (b.1862) Unmarried. His desire to qualify as a physician has led to numerous arguments with his father. He pursues his studies in London. *Note regarding titles: as the daughters of an earl, the March sisters are styled “Lady”. This title is retained when one of them marries a baronet, knight, or plain gentleman, as is the case with Olivia, Beatrice, and Julia. As Portia wed a peer, she takes her husband’s title, and as Nerissa married into a ducal family, she takes the style of her husband and is addressed as Lady Rupert. Their eldest brother, Frederick, takes his father’s subsidiary title of Viscount Bellmont as a courtesy title until he succeeds to the earldom. (It should be noted his presence in Parliament is not a perk of this title. Unlike his father who sits in the House of Lords, Bellmont sits in the House of Commons as an elected member.) The younger brothers are given the honorific “The Honourable”, a courtesy which is written but not spoken aloud.

Over the years, Karen Carpenter became beloved in the world as a very special artist, a very special voice, who reminded everybody of the daughter they wished they had. In her own home she never was told or maybe never even felt that existed from her own parents, especially her mother.

Of course, I asked him about it, very matter-of-factly. Yes, he fucked her once. So what?” Rozanova found it easy to blame Svetlana. She was “a hysterical woman—to have such a father.” Sinyavsky was just being a man. She recalled his famous joke. He used to say, “If I’m sitting in a train car with a woman, I have to make her an offer, as a polite human being.” Rozanova added that in a relationship, sexual fidelity “is not important. [This] is not what connects people. Without me he would not be able to work, nor live. To live—it is not the same as making soup.” But she would never forgive Svetlana. Svetlana didn’t seem to understand the sexual double standard that flourished everywhere in the 1950s and 1960s. She was the “sexually deranged” one, while the artist Sinyavsky was forgiven his sexual dalliance, necessary for his work, which had so raised her hopes. The women became rivals and enemies, while the husband stood blithely by. And Svetlana was far from unusual in believing that her only route to a creative life was adjacent to a man.

I couldn’t go back to Maa and Pitaji.” She knew as well as I did that, once married, a woman was her husband’s property. Unhappy wives couldn’t just go back home to their parents, expecting sympathy. Some families even changed their daughter-in-law’s first name as soon as she came to their household, as if her previous self had never existed.

I close my eyes. I hear the voices of the past in the wind and in the beating of my heart. My two mothers, my two fathers, and my dear uncle all tried to tell me I was wrong about the People's Republic of China. In the beginning, going all the way back to the University of Chicago, I thought socialism and communism were good, that people should share equally, that it wasn't fair that my family had suffered in America when others drove fancy cars, lived in big houses, and shopped in Beverly Hills. I ran away and came here in hopes of finding an ideal world, to find my birth father, to avoid my mother and aunt, and to crush my guilt. None of that worked the way I expected. The ideal world was filled with hypocrisy and with people like Z.G., who went to parties while the masses suffered. In finding my birth father, I only remembered how wonderful my father Sam was. He loved me unconditionally, while Z.G. wanted me as a muse, as a pretty daughter to show off, as a physical manifestation of his love for Auntie May, as an artist who would reflect how great an artist he is. I thought I could use idealism to solve my inner conflicts, but in healing my inner conflicts I destroyed my idealism. As I gaze into my daughter's face, everything becomes very clear. My mother and aunt loved me, stood by me, and supported me, no matter what. They were both good mothers. My greatest misery and grief is that I have not been a good mother and I can't save my daughter. I pray that in our final days and hours Samantha will know how much I love her.

That’s disappointing.” “You need me. You need this pendant,” she said, her voice a whimper. “I’m a gifted artist. You know that, don’t you? You saw those paintings and drawings all over my house. Those were mine.” Silence. “You touch a hair on my daughter’s head and I go straight to the police and draw you three different ways, one with a smile, one with a frown, and one with handcuffs on as you’re getting ass-raped in jail.

see,” she said. I noticed her looking around the room. Her eyes quickly went over the rustic wood paneling and expensive artwork by artists with names I couldn’t pronounce. Bethany bought them because she thought they were cool. If push came to shove, they would be the first things I put up for auction to raise money. I hated the damn things. “I don’t see any pictures of your daughter,” she said, letting her eyes settle on me with a frown. I looked around the room. She was right. There was not a single framed picture of my daughter. In fact, there were no personal photos at all. None in the den, none in my office, and none in my bedroom. There had once been lots of pictures of Bethany and me at various stages of our relationship. I had thrown them in the trash long ago, expensive frames and all.

By thinking hard about how this artist sees, I learn more about my own seeing.

Throughout her life, Henriette Wyeth has to decide: Love or work. Fidelity or freedom. Beauty or snark. East or west. Her father’s daughter or her husband’s wife. Her children’s mother or her artist’s heart—her palette or her paint, her feathers or her shells.

The system, as far as she was concerned, was not about the applicant at all. It was about the institution. It was about delivering to the trustees, and to a lesser extent the faculty, a United Nations of scholars, an Olympiad of athletes, a conservatory of artists and musicians, a Great Society of strivers, and a treasury of riches so idiosyncratic and ill defined that the Office of Admission would not know how to go about looking for them and could not hope to find them if they suddenly stopped turning up of their own accord. So get over yourself, Portia thought through her tight, achingly tight, smile, because Diana had now moved on to last year’s scholarship girl, the daughter of the school janitor, who had gone off to Harvard and was a lovely, lovely girl, of course, and certainly a wonderful little flute player, but had scored over one hundred points lower on the math SAT than the class salutatorian, who had been rejected not only by Harvard, but by Yale, Princeton, Brown, Dartmouth, Williams, Amherst, and—can you believe this?—NYU. And come on, everyone knew what that meant. And how—how?—could it be fair?

Over the long term, our species, like every other, has just two possible evolutionary fates over the long term: extinction, or further splitting apart into a number of daughter species—each of which will either go extinct or split again. If we avoid extinction, each of our daughter species will probably develop distinctive styles of courtship display, and different ways to channel their sexual competitiveness into various forms of physical, artistic, linguistic, intellectual, moral, and economic display. Some may continue to live on our home planet, and some may move elsewhere. Some may shape their own evolution naturally through sexual selection, while others may shape their evolution consciously through genetic technologies. We cannot imagine the minds that our far-future descendants might evolve, any more than our ape-like ancestors could have imagined ours. That does not matter. Our responsibility is not to speculate endlessly about the possible futures of our daughter species, but to become, with as much panache as we can afford, their ancestors.

I’ll take it away, like I took away money and illness, the sickness of the land, the poison in the water and the air. I’ll make it better, like I made the ice freeze again, the winters cold again, your cells healthy and whole again.” Trina felt a shiver run up her spine. She tried very hard to remain calm. She planted her feet, facing The Seep and its terrifying hole of a mouth. “But Pam,” she said. “My memories are who I am. You take away my memories, you erase me. Existence is memory. Do you understand? You’d kill me. You’d murder Trina FastHorse Goldberg-Oneka, daughter of Rita and Samuel, a child of love. Trans woman. Artist. Doctor. Healer. Native American. Jew. You erase my memories, and you erase my lineage of ancestors—their pain, their triumphs, their passions, their dreams. No matter if the memories bring me pain. It’s my pain! Let me have it.” The roiling mass of bodies spoke in unison. “If fear is the anticipation of loss, then grief is . . .” HAPPY MEMORIES HAPPY MEMORIES HAPPY MEMORIES HAPPY MEMORIES HAPPY MEMORIES HAPPY MEMORIES HAPPY MEMORIES HAPPY MEMORIES HAPPY MEMORIES HAPPY MEMORIES HAPPY MEMORIES HAPPY MEMORIES HAPPY MEMORIES HAPPY MEMORIES HAPPY MEMORIES HAPPY MEMORIES

have found that it is not until you properly look at things with the care of a botanist, or an artist, that you really see their true nature.

Don’t forget that the artist still has to be a woman. Nourish them both.

The relationship between an artist’s biography and his writing is always a difficult subject,” concedes Worden, “but there can be no other important writer since the invention of printing for whom we are unable to demonstrate any relationship at all.” Why didn’t Shakespeare bother to educate his children? His daughters couldn’t write. One signed with what Sir Edward Maunde Thompson, paleographer and director of the British Museum, called a “painfully formed signature, which was probably the most that she was capable of doing with the pen.” The other, he concluded, “could not write at all, for she signed with a mark.” How could a writer—any writer, let alone the greatest writer in the English language—be indifferent to the literacy of his children?

After selecting a brush, she moistened the cakes of watercolor in her traveling palette with some of the water from her cup and, with careful strokes, began to record the almond flowers in painstaking detail. Her father had successfully cultivated them at Trebithick, but she had never seen them growing in the wild before. More often than not, Elizabeth would collect plant samples to study carefully indoors, and would sketch them out before taking up her brush, spending hours ensuring she captured each detail precisely. But recently she had begun to experiment with a more free-form style of painting. It wasn't strictly the style of illustration she had learned, nor did she think her father would approve, but she loved the immediacy of it. The trick was to get the lighting just right--- a strong source helped to create shade and give the work a three-dimensional effect. The afternoon light was perfect, and she also used a dry brush, rubbed over the paint cakes, to add detail and depth to the watercolors. Daisy wandered off to the shade of a wide-spreading tree a few yards away. 'It's a canela tree, I think," Elizabeth called out, pausing for a moment from her work. 'False cinnamon,' she explained. 'I can smell it,' replied Daisy, sniffing appreciatively. 'Like Cook's apple pie.

The second is a print she created for Myron’s daughter, a teacher, who saw this message on a Post-it above Rita’s desk and asked if she’d make an artistic version for her classroom to teach kids resilience. It reads FAILURE IS PART OF BEING HUMAN.

Love for his costars notwithstanding, Reid didn’t realize what Sister, Sister meant to fans until a few years after the show ended. He was at an event in Houston when a young woman approached him. She had grown up in foster care, she told him, and had spent her childhood moving from one foster home to another—never staying longer than a year—though some years were better than others. She was in a rough period when she started watching Sister, Sister, and one day she decided that whatever Ray told Tamera she would take it as a life lesson for herself. “I’ve watched every show multiple times,” the woman told Reid. “I just want you to know that you raised a good daughter.” The woman shared that she was a college graduate and an artist. She was engaged to be married. And with that, Reid says, she gave him a hug and left. “I stood there stunned,” he recalls. “I’ve known this, the power of television, but I went ‘wow’—that made me even more respectful for what we do and also why we have to have a bit more concern about the kind of messages we throw out there.

Our Skirt (by Kathy Boudin) You were forty-five and I was fourteen when you gave me the skirt. ¨It's from Paris!¨ you said as if that would impress me who at best had mixed feelings about skirts. But I was drawn by that summer cotton with splashes of black and white--like paint dabbed by an eager artist. I borrowed your skirt and it moved like waves as I danced at a ninth grade party. Wearing it date after date including my first dinner with a college man. I never was much for buying new clothes, once I liked something it stayed with me for years. I remember the day I tried ironing your skirt, so wide it seemed to go on and on like a western sky. Then I smelled the burning and, crushed, saw that I had left a red-brown scorch on that painting. But you, Mother, you understood because ironing was not your thing either. And over the years your skirt became my skirt until I left it and other parts of home with you. Now you are eighty and I almost fifty. We sit across from each other in the prison visiting room. Your soft gray-thin hair twirls into style. I follow the lines on your face, paths lit by your eyes until my gaze comes to rest on the black and white on the years that our skirt has endured.

How beautiful your sandaled feet, O prince’s daughter! Your graceful legs are like jewels, the work of an artist’s hands. Your navel is a rounded goblet that never lacks blended wine. Your waist is a mound of wheat encircled by lilies.

The Guildhall was in the middle of Plano, Texas. Plano Texas, is brown and not much else. They have a Frito-Lay factory, parking lots, and a videogame school. At the time, I kept a strict vegan diet and didn’t drive. There was nothing to eat and nowhere to go. But the latter didn’t matter; when you were at the Guildhall you had no life outside the Guildhall. I remember the first day of orientation, sitting in a lecture hall with my future classmates and the spouses they’d brought with them to this wasted brown land. One of the other level design students had his wife and their year-old child with him. “Give her a kiss and say good-bye,” the director of the school told him in front of the assembly. “You’re not going to see her for two years.” I was in Plano, Texas, for six months. You’re at school from nine to five. You stay after and do your work with the teams they’ve assigned you to. Late at night you drag yourself home and do your actual homework. Maybe you get a few hours of sleep. The idea behind the school is that you’re always in what the Big Games Industry calls “crunch time”: unpaid overtime. Your masters want the game done by Christmas, so you don’t leave the office until it’s done. This is why people in the industry aren’t healthy; this is why they burn out and quit games within a few years. This is why you miss the second year of your daughter’s life. This is their scheme: you put up with crunch time all the time while you’re in school, so when you work for a big publisher—or, rather, a studio contracted by a big publisher—you won’t complain about being told you can’t see your daughter until the game’s done. The Guildhall boasts an over 90 percent employment rate, and it’s true: they will get you a job in the games industry. That’s because they will make you into exactly the kind of worker the games industry wants. It’s that kind of school. And it works; that’s the horrifying thing. My classmates were all self-identified gamers and game fans and were willing to put up with anything in order to live their dream of making videogames. That’s the carrot the industry dangles, and it’s what we take away from the industry when we create a form to which anyone can contribute. As long as the industry is allowed to continue acting as the gatekeeper to game creation, people will continue to accept the ways in which the industry tramples the lives and well-being of the creative people who make games, rather than challenging the insane level of control that publishers ask over developers’ lives.

These are not sketches.” “They’re not?” Before Jenny could grab the bag back, Louisa extracted a sheaf of letters. “Oh, good. Some are written in German, and I do enjoy German. This one’s Italian, and there are several in French. This must be… I didn’t know Elijah had a grasp of Russian.” “He spent a year in St. Petersburg. Let me see those.” Louisa handed over one, the first one in French, and watched while Jenny translated. “Oh, that dear, dratted, man. That dear, dear…” Rather than listen to Jenny prattle on, Louisa translated another of the French missives. “These are letters of introduction. Your dear, dratted man has written you letters of introduction all over the Continent. This one is written in French but addressed to some Polish count. This one is to some fellow on Sicily. Will I ever see you again?” “There are ruins on Sicily. Greek, Roman, Norman… Beautiful ruins.” What that had to do with anything mattered little compared to the ruins Louisa beheld in her sister’s eyes. “Was he trying to send you away?” Jenny handed Louisa the letter, watching with a hungry gaze as Louisa tucked the epistles back into their traveling bag. “I didn’t ask Elijah for those letters, and I won’t use them.” “Why in blazes not?” Blazes was not quite profanity. When a woman became responsible for small children, her vocabulary learned all manner of detours. “Because he’ll never get into the Academy if he’s seen promoting the career of a woman in the arts. The Academy has been his goal and his dream for years, and he’s given up years of time among his family to pursue it. There’s unfortunate history between one of the committee members and Elijah’s mother, and it will obstruct Elijah’s path if he’s seen to further my artistic interests. I would not jeopardize Elijah’s happiness for anything.” Elijah.

heart thumped painfully against her ribs. “Will you come to Paris with me?” That wasn’t what she’d wanted to ask, but it was close. Elijah’s expression didn’t change. “Paris stinks, it’s full of Frenchmen, and they have addled notions of chivalry. Why do you want to go to Paris, Genevieve?” He hadn’t said no. Jenny clung to that and to his hand. “I don’t want to go to Paris, and I’m not sure I ever did. I don’t want to go anywhere that means I can’t be with you.” “Do you want a travel companion, Genevieve? If that’s what you’re asking, then I must refuse the honor.” Pain threatened to buckle Jenny’s knees. “Not a travel companion. Not just that.” “Somebody to paint with and appreciate art?” “Not that either.” Because she would set aside her artistic aspirations happily in favor of creating a life with him. “Good, because as much as I admire your talent and dedication, as much as I would enjoy seeing all the great capitals and treasures of the Continent—of the world—with you, I would decline that invitation too.” It dawned on Jenny that he wanted her to ask a different question. “What invitation would you accept? Tell me, Elijah, and I will extend it.” He took a step closer. “You already have. You have invited me to love you, and I do, Genevieve. I love your heart, I love your gentleness and determination, I love your concern for all around you, and I love your kisses.” He kissed her, a quick punctuation mark at the end of a lovely little list. “But you won’t travel with me?” “I’ve seen the wonders of the Continent, Genevieve. Stared at them for so long I was blind to much else, such as the wonders of a loving family and a welcoming home. Marry me, and I will happily explore those more impressive wonders with you, regardless of what country we find ourselves in.” Marry me. The question she hadn’t known how to ask him. Jenny bundled into Elijah’s arms. “Yes. Yes to the family and the home, yes to becoming your wife. Nothing would make me happier.” In

Will you come to Paris with me?” That wasn’t what she’d wanted to ask, but it was close. Elijah’s expression didn’t change. “Paris stinks, it’s full of Frenchmen, and they have addled notions of chivalry. Why do you want to go to Paris, Genevieve?” He hadn’t said no. Jenny clung to that and to his hand. “I don’t want to go to Paris, and I’m not sure I ever did. I don’t want to go anywhere that means I can’t be with you.” “Do you want a travel companion, Genevieve? If that’s what you’re asking, then I must refuse the honor.” Pain threatened to buckle Jenny’s knees. “Not a travel companion. Not just that.” “Somebody to paint with and appreciate art?” “Not that either.” Because she would set aside her artistic aspirations happily in favor of creating a life with him. “Good, because as much as I admire your talent and dedication, as much as I would enjoy seeing all the great capitals and treasures of the Continent—of the world—with you, I would decline that invitation too.” It dawned on Jenny that he wanted her to ask a different question. “What invitation would you accept? Tell me, Elijah, and I will extend it.” He took a step closer. “You already have. You have invited me to love you, and I do, Genevieve. I love your heart, I love your gentleness and determination, I love your concern for all around you, and I love your kisses.” He kissed her, a quick punctuation mark at the end of a lovely little list. “But you won’t travel with me?” “I’ve seen the wonders of the Continent, Genevieve. Stared at them for so long I was blind to much else, such as the wonders of a loving family and a welcoming home. Marry me, and I will happily explore those more impressive wonders with you, regardless of what country we find ourselves in.” Marry me. The question she hadn’t known how to ask him. Jenny bundled into Elijah’s arms. “Yes. Yes to the family and the home, yes to becoming your wife. Nothing would make me happier.” In

He rose and held out a hand to her, and Jenny hoped it wasn’t the whisky inspiring Elijah’s overture. She gave him her hand and was tugged into an embrace, Elijah’s cheek resting against her hair. “While you sketch your cat, visit the sick with your mother, and seethe with frustrated artistic talent. Let’s hear a curse, Genevieve. Let the drink, the lateness of hour, and the company inspire you, hmm?” No cat came between them, no stays, no layers of proper attire. Held against Elijah’s body, Jenny felt the implacable structure of a large, fit man. His person was as soft and giving as a sculptor’s block of raw marble, but much, much warmer. “The only curse I know is damn—double damn.” “That’s a start, like a few lines on a page. Damn has promise, but it needs embellishment. Bloody double damn?” He spoke near her ear, his breath tickling her neck. “Bloody is vulgar and graphic. Also quite naughty, and daring.” “All the better. Come, let’s be vulgar and graphic on the subject of my sketches for the day.” He

When will you know?” He would not write letters of introduction for her, but he’d provide her as much artistic instruction as he could before her departure. Jenny was trying to decide whether to be pleased or disappointed when his question registered. “When will I know what?” He looked around, as if her brothers and brothers-in-law might have been hiding in the kitchen’s deep shadows. “Know if you are with child.” For an instant, she thought she’d heard hope in his voice, but then common sense asserted itself. Hope and anxiety were close relations—she’d heard nothing more romantic than an unmarried, honorable man’s worry. The next instant was spent grieving that she did not carry his child and would not ever have with him the domestic riches the rest of her family enjoyed in such abundance. In the very next instant after that, she vowed it was time and past she made those travel arrangements he’d alluded to. “I’m sorry, Elijah. I should have told you when I laid eyes on you several days ago. You have no need to worry about impending fatherhood. Finish the ham.

Joel, for all his talk of communal childrearing and tribes, deeply resented the idea that Lenny should have succeeded in evoking Audrey's passion where her 'real' children had failed. 'Karla and Rosa are your flesh and blood,' he would chide her. But these appeals to sanguine loyalty missed the point, she felt. If anything, the fact that Lenny was not hers made it easier to love him. As the coauthor of Karla and Rosa, she could not help but look upon them with the dissatisfied eye of an artist assessing her own flawed handiwork. Lenny, on the other hand, was an unsolicited donation: she was free to enjoy the gift of him without any burden of genetic responsibility for his imperfections. She had chosen to love him. The disparity in her feelings toward her daughters and her son was regrettable, but it was not something that was her gift to correct.

Dear Alexis, Last week at our debate, I talked about the essential unfairness that my friend and colleague Levon Helm had to continue to tour at the age of 70 with throat cancer in order to pay his medical bills. On Thursday, Levon died and I am filled with unbelievable sadness. I am sad not just for Levon’s wife and daughter, but sad that you could be so condescending to offer “to make right what the music industry did to the members of The Band.” It wasn’t the music industry that created Levon’s plight; it was people like you celebrating Pirate Bay and Kim Dotcom—bloodsuckers who made millions off the hard work of musicians and filmmakers. You were so proud during the debate to raise your hand as one of those who had downloaded “free music and free movies.” But it’s just your selfish decision that those tunes were free. It wasn’t Levon’s decision. In fact, for many years after The Band stopped recording, Levon made a good living off of the record royalties of The Band’s catalog. But no more. So what is your solution—charity. You want to give every great artist a virtual begging bowl with Kickstarter. But Levon never wanted the charity of the Reddit community or the Kickstarter community. He just wanted to earn an honest living off the great work of a lifetime. You are so clueless as to offer to get The Band back together for a charity concert, unaware that three of the five members are dead. Take your charity and shove it. Just let us get paid for our work and stop deciding that you can unilaterally make it free.

What did he give you?' I asked Rosie. 'A birthday present,' Rosie replied. 'He said not to open it until December 8.' 'You're not going to listen to him, are you?' I asked. 'Of course I am,' Rosie said. 'What would be the point of opening it today?' I could not imagine such willpower ... 'Don't be disappointed,' I said, 'if there's something less than a diamond ring in that box.' 'Oh, I *know* what's in the box,' Rosie replied. 'I told him what I wanted.' 'Oh, my God, Rosie,' I exclaimed. 'You're impossible.' But my curiosity triumphed over my disapproval. 'What is it?' 'It's not a diamond ring,' she said smugly. 'It's a turquoise ring. Turquoise is my birthstone.' 'You're a con artist, Rosie,' I said, feeling equal parts of admiration and dismay. 'Do you think it's very nice of you to wheedle Mr. Jensen into buying you a turquoise ring?' 'He asked me what I wanted and I told him,' Rosie replied. 'I really don't see what's wrong with that. He didn't have to buy it if he didn't want to.' 'Maybe it isn't a turquoise ring at all,' I said. 'Maybe it's two pumpkin seeds.' 'Maybe it is,' Rosie agreed. 'We won't know until my birthday.' She ran off then to Mrs. Dunleigh and Buster, kneeling down beside the poor asthmatic creature and petting him as passionately as if he were the prize dog in the Westminster Kennel Club show.

It was the face that disturbed me. The artist had lit it in such a way that it appeared very strong, actually, to my mind, brutal. The nose was long and thin, the full underlip protruberant [sic], and the blue eyes icy cold. There was a great deal of pride in his look - more than pride, arrogance, rather. I wondered if it were only animals he had hunted with that gun. Yet there was no doubt that the face was well done. The contrast between light and dark was evidence enough of the artist's skill. The man, I thought, must have actually been proud of the insolence and brutality which I saw in his face. Otherwise he would never have let the artist depict so clearly those aspects of his character.