Bedroom Prints Quotes

It had been June, the bright hot summer of 1937, and with the curtains thrown back the bedroom had been full of sunlight, sunlight and her and Will's children, their grandchildren, their nieces and nephews- Cecy's blue eyed boys, tall and handsome, and Gideon and Sophie's two girls- and those who were as close as family: Charlotte, white- haired and upright, and the Fairchild sons and daughters with their curling red hair like Henry's had once been. The children had spoken fondly of the way he had always loved their mother, fiercely and devotedly, the way he had never had eyes for anyone else, and how their parents had set the model for the sort of love they hoped to find in their own lives. They spoke of his regard for books, and how he had taught them all to love them too, to respect the printed page and cherish the stories that those pages held. They spoke of the way he still cursed in Welsh when he dropped something, though he rarely used the language otherwise, and of the fact that though his prose was excellent- he had written several histories of the Shadowhunters when he's retired that had been very well respected- his poetry had always been awful, though that never stopped him from reciting it. Their oldest child, James, had spoken laughingly about Will's unrelenting fear of ducks and his continual battle to keep them out of the pond at the family home in Yorkshire. Their grandchildren had reminded him of the song about demon pox he had taught them- when they were much too young, Tessa had always thought- and that they had all memorized. They sang it all together and out of tune, scandalizing Sophie. With tears running down her face, Cecily had reminded him of the moment at her wedding to Gabriel when he had delivered a beautiful speech praising the groom, at the end of which he had announced, "Dear God, I thought she was marrying Gideon. I take it all back," thus vexing not only Cecily and Gabriel but Sophie as well- and Will, though too tired to laugh, had smiled at his sister and squeezed her hand. They had all laughed about his habit of taking Tessa on romantic "holidays" to places from Gothic novels, including the hideous moor where someone had died, a drafty castle with a ghost in it, and of course the square in Paris in which he had decided Sydney Carton had been guillotined, where Will had horrified passerby by shouting "I can see the blood on the cobblestones!" in French.

He’d hung up. The words end call printed across the screen on my phone confirmed it. At least a minute later my bedroom door swung open to smack against my knees and Marc stuck his head around the edge to see what he’d hit. He found me still staring at my phone my robe gaping open across one thigh. “You have to push the buttons to make that work ” he said his expression completely serious. “Thanks smart-ass.

A great textile, like the William Morris Strawberry Thief, is a piece of art, but it takes a lot of time to make a piece of art. It isn't simply design either. You have to understand the fabrics and what they can bear. You have to understand the dyeing process and how to achieve certain colors and what will make the color last through the ages. If you make a mistake, you might have to begin again." "I don't think I know Strawberry Thief," Sadie said. "One moment," Mrs. Watanabe said. Mrs. Watanabe went into her bedroom, and she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn't known the name, she recognized the print when she saw it. "This was William Morris's garden. These were his strawberries. Those were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It's the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.

My eyes roved over the walls covered with my collages and prints of famous paintings. Magritte, Kandinsky, Kahlo. My origami shapes hung from fishing wire, dangling over my bed. They shivered in the slight breeze blowing through my open window. It was my own little escape pod, but none of it was enough tonight.

What comes next? Her cold house. Their bedroom, with all Jack’s clothes in the wardrobe, his toothbrush on the sink. Just this morning she’d found a print-off he’d left for her, stuck to the fridge.

She saw for the first time the way we fill our homes with macabre altars to the live things we've murdered__ the floral print of the twin mattress in her childhood bedroom, stripped of its sheets when she soiled them; ferns on throw pillows coated in formaldehyde; poppies on petrochemical dinner plates; boxes and bags of bulk pulpstuffs emblazoned with plant imagery the way milk cartons are emblazoned with children. A rock on a window ledge, cut flowers stabbed in vases, a wreath of sprigs nailed to the front door-- every house a mausoleum, every house a wax museum.

He was squinting at the tiny dialogue balloons in Get Fuzzy when he heard the shower curtain rattle. He looked up and saw a shadow behind the printed daisies. His heart leaped into his throat, walloping. Someone was standing in his tub. An intruder, and not just some stoned junkie thief who’d wriggled through the bathroom window and taken refuge in the only place available when he saw the bedroom light come on. No. This was the same someone who had been standing behind him at that fucking abandoned barn out in Canning Township. He knew it as surely as he knew his own name. That encounter (if it had been an encounter) refused to leave his mind, and it was almost as if he had been expecting this . . . return

I don’t think I know Strawberry Thief,” Sadie said. “One moment,” Mrs. Watanabe said. Mrs. Watanabe went into her bedroom, and she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn’t known the name, she recognized the print when she saw it. “This was William Morris’s garden. These were his strawberries. These were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It’s the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.” Sadie caressed the thick cotton.

The air inside her room was thick with the scent of eucalyptus and lemon. He materialized near her dresser. His hand automatically turned her alarm clock to face the wall, then brushed across a tray filled with Vicks, cough syrup, aspirin, and a thermometer. He tenderly touched the lemon slices near an empty teacup. Could a simple illness have filled him with so much fear that he had risked coming to see her? A dim light from a purple Lava lamp cast an amber glow across the bed where Serena lay, the leopard-print sheets twisted in a knot beside her leg. Her long curly hair was half caught in a scrunchy that matched her flannel pajamas. The words Diamonds are a girl's best friend- they're sharper than knives curled around a dozen marching Marilyns in army fatigues on the blue fabric. Stanton had been with her when she bought the Sergeant Marilyn pajamas three months back.

They never asked, "Were you able to work today?" Maybe they had, twenty or thirty years earlier, but they'd gradually learned not to. There are empty spaces that must be respected - those often long periods when a person can't see the pictures or find the words and needs to be left alone. When Mari came in, Jonna was on a ladder building shelves in her front hall. Mari knew that when Jonna started putting up shelves she was approaching a period of work. Of course the hall would be far too narrow and cramped, but that was immaterial. The last time, it was shelves in the bedroom and the result had been a series of excellent woodcuts. She glanced into the bathroom as she passed, but Jonna had not yet put printing paper in to soak, not yet. Before Jonna could do her graphic work in peace, she always spent some time printing up sets of earlier, neglected works - a job that had been set aside so she could focus on new ideas. After all, a period of creative grace can be short.

There's a faulty signal on this line, about halfway through my journey. I assume it must be faulty, in any case, because it's almost always red; we stop there most days, sometimes just for a few seconds, sometimes for minutes on end. If I sit in carriage D, which I usually do, and the train stops at this signal, which it almost always does, I have a perfect view into my favourite trackside house: number fifteen. Number fifteen is much like the other houses along this stretch of track: a Victorian semi, two storeys high, overlooking a narrow, well-tended garden which runs around twenty feet down towards some fencing, beyond which lie a few metres of no man's land before you get to the railway track. I know this house by heart. I know every brick, I know the colour of the curtains in the upstairs bedroom (beige, with a dark-blue print), I know that the paint is peeling off the bathroom window frame and that there are four tiles missing from a section of the roof over on the right-hand side.

He would place his mouth, still full of sleep, on hers, and perhaps pull her back into the bedroom and down into the bed with him, into that liquid pool of flesh, his mouth sliding over her, furry pleasure, the covers closing over them as they sank into weightlessness. But he hadn't done that for some time. He had been waking earlier and earlier; she, on the other hand, had been having trouble getting out of bed. She was losing that compulsion, that joy, whatever had nagged her out into the cold morning air, driven her to fill all those notebooks, all those printed pages. Instead, she would roll herself up in the blankets after Bernie got up, tucking in all the corners, muffling herself in wool. She had begun to have the feeling that nothing was waiting for her outside the bed's edge. No emptiness but nothing, the zero with legs in the arithmetic book. 'I'm off,' he'd say to her groggy bundled back. She'd be awake enough to hear this; then she would lapse back into a humid sleep. His absence was one more reason for not getting up.

A great textile, like the William Morris Strawberry Thief, is a pice of art, but it takes a lot of time to make a piece of art. It isn't simply design either. You have to understand the fabrics and what they can bear. You have to understand the dyeing process and how to achieve certain colors and what will make the color last through the ages. If you make a mistake, you might have to begin again." "I don't think I know Strawberry Thief," Sadie said. "One moment," Mrs. Watanabe said. Mrs. Watanabe went into her bedroom, and she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn't known the name, she recognized the print when she saw it. "This was William Morris's garden. These were his strawberries. Those were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It's the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.

A great textile, like the William Morris Strawberry Thief, is a piece of art, but it takes a lot of time to make a piece of art. It isn’t simply design either. You have to understand the fabrics and what they can bear. You have to understand the dyeing process and how to achieve certain colors and what will make the color last through the ages. If you make a mistake, you might have to begin again.” “I don’t think I know Strawberry Thief,” Sadie said. “One moment,” Mrs. Watanabe said. Mrs. Watanabe went into her bedroom, and she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn’t known the name, she recognized the print when she saw it. “This was William Morris’s garden. These were his strawberries. These were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It’s the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.

As to the central fact in the case, it is my view that Simpson murdered his ex-wife and her friend on June 12. Any rational analysis of the events and evidence in question leads to that conclusion. This is true whether one considers evidence not presented to the jury—such as the results of Simpson’s polygraph examination and his flight with Al Cowlings on June 17—or just the evidence established in court. Notwithstanding the prosecution’s many errors, the evidence against Simpson at the trial was overwhelming. Simpson had a violent relationship with his ex-wife, and tensions between them were growing in the weeks leading up to the murders. Simpson had no alibi for the time of the murders, nor was his Bronco parked at his home during that time. Simpson had a cut on his left hand on the day after the murders, and DNA tests showed conclusively that it was Simpson’s blood to the left of the shoe prints leaving the scene. Nicole’s blood was found on a sock in his bedroom, and Goldman’s blood—as well as Simpson’s—was found in the Bronco. Hair consistent with Simpson’s was found on the killer’s cap and on Goldman’s shirt. The gloves that Nicole bought for Simpson in 1990 were almost certainly the ones used by her killer.

I push my eye farther into the crack, smushing my cheek. The door rattles. Her arm freezes. The needle stops. Instantly, her shadow fills the room, a mountain on the wall. “Leidah?” I hold my breath. No hiding in the wood-box this time. Before I even have time to pull my eye away, the door opens. My mother's face, like the moon in the dark hallway. She squints and takes a step toward me. “Lei-lee?” I want to tell her I’ve had a nightmare about the Sisters, that I can’t sleep with all this whispering and worrying from her—and what are you sewing in the dark, Mamma? I try to move my lips, but I have no mouth. My tongue is gone; my nose is gone. I don’t have a face anymore. It has happened again. I am lying on my back, flatter than bread. My mother’s bare feet slap against my skin, across my belly, my chest. She digs her heel in, at my throat that isn’t there. I can see her head turning toward her bedroom. Snores crawl under the closed door. The door to my room is open, but she can’t see my bed from where she stands, can’t see that my bed is empty. She nods to herself: everything as it should be. Her foot grinds into my chin. The door to the sewing room closes behind her. I struggle to sit up. I wiggle my hips and jiggle my legs. It is no use. I am stuck, pressed flat into the grain of wood under me. But it’s not under me. It is me. I have become the floor. I know it’s true, even as I tell myself I am dreaming, that I am still in bed under the covers. My blood whirls inside the wood knots, spinning and rushing, sucking me down and down. The nicks of boot prints stomp and kick at my bones, like a bruise. I feel the clunk of one board to the next, like bumps of a wheel over stone. And then I am all of it, every knot, grain, and sliver, running down the hall, whooshing like a river, ever so fast, over the edge and down a waterfall, rushing from room to room. I pour myself under and over and through, feeling objects brush against me as I pass by. Bookshelves, bedposts, Pappa’s slippers, a fallen dressing gown, the stubby ends of an old chair. A mouse hiding inside a hole in the wall. Mor’s needle bobbing up and down. How is this possible? I am so wide, I can see both Mor and Far at the same time, even though they are in different rooms, one wide awake, the other fast asleep. I feel my father’s breath easily, sinking through the bed into me, while Mor’s breath fights against me, against the floor. In and out, each breath swimming away, away, at the speed of her needle, up up up in out in out outoutout—let me out, get me out, I want out. That’s what Mamma is thinking, and I hear it, loud and clear. I strain my ears against the wood to get back into my own body. Nothing happens. I try again, but this time push hard with my arms that aren’t there. Nothing at all. I stop and sink, letting go, giving myself into the floor. Seven, soon to be eight… it’s time, time’s up, time to go. The needle is singing, as sure as stitches on a seam. I am inside the thread, inside her head. Mamma is ticking—onetwothreefourfivesix— Seven. Seven what? And why is it time to go? Don’t leave me, Mamma. I beg her feet, her knees, her hips, her chest, her heart, my begging spreading like a big squid into the very skin of her. It’s then that I feel it. Something is happening to Mamma. Something neither Pappa nor I have noticed. She is becoming dust. She is drier than the wood I have become. - Becoming Leidah Quoted by copying text from the epub version using BlueFire e-reader.

The sun had not yet risen. The sea was indistinguishable from the sky, except that the sea was slightly creased as if a cloth had wrinkles in it. Gradually as the sky whitened a dark line lay on the horizon dividing the sea from the sky and the grey cloth became barred with thick strokes moving, one after another, beneath the surface, following each other, pursuing each other, perpetually. As they neared the shore each bar rose, heaped itself, broke and swept a thin veil of white water across the sand. The wave paused, and then drew out again, sighing like a sleeper whose breath comes and goes unconsciously. Gradually the dark bar on the horizon became clear as if the sediment in an old wine-bottle had sunk and left the glass green. Behind it, too, the sky cleared as if the white sediment there had sunk, or as if the arm of a woman couched beneath the horizon had raised a lamp and flat bars of white, green and yellow spread across the sky like the blades of a fan. Then she raised her lamp higher and the air seemed to become fibrous and to tear away from the green surface flickering and flaming in red and yellow fibres like the smoky fire that roars from a bonfire. Gradually the fibres of the burning bonfire were fused into one haze, one incandescence which lifted the weight of the woolen grey sky on top of it and turned it to a million atoms of soft blue. The surface of the sea slowly became transparent and lay rippling and sparkling until the dark stripes were almost rubbed out. Slowly the arm that held the lamp raised it higher and then higher until a broad flame became visible; an arc of fire burnt on the rim of the horizon, and all round it the sea blazed gold. The light struck upon the trees in the garden, making one leaf transparent and then another. One bird chirped high up; there was a pause; another chirped lower down. The sun sharpened the walls of the house, and rested like the tip of a fan upon a white blind and made a blue finger-print of shadow under the leaf by the bedroom window. The blind stirred slightly, but all within was dim and unsubstantial. The birds sang their blank melody outside.

DJ, are you awake? Freaking elf. “Go home, Rand.” I am home. Where are you? I frowned and burrowed my face into the soft down pillow. Which wasn’t my pillow. Holy crap. What had happened? I sat up and took in several observations at once, none of which made sense and all of which sent my heart rate jack-rabbiting hard enough to send my blood pressure into the ozone. First, I was lying beneath a heavy bedspread woven in a rich blue-and-cream print. The bed was an elaborate confection made to look like an antique half-tester, and a brass chandelier hung overhead. I recognized the Hotel Monteleone. I recognized Jean Lafitte’s bedroom in the posh Eudora Welty Suite in the Monteleone. I didn’t have a clue as to how I got here. Second, I wore only underwear. My clothes were thrown across a chair in the corner. I had no recollection of removing them. Third, the pillow next to mine still held the clear indentation of a head, and there was water running behind the closed bathroom door. What in God’s name had I done? Rand! Where are you? So help me, if that elf was behind this, I’d splay him open like a catfish and watch his guts fall on the floor. Then I’d batter and deep-fry him. God, Dru. Stop shrieking like an elven shrew. I think you got too cold and went into a survival state.

We had been looking at some land adjoining the zoo and decided to purchase it in order to expand. There was a small house on the new property, nothing too grand, just a modest home built of brick, with three bedrooms and one bathroom. We liked the seclusion of the place most of all. The builder had tucked it in behind a macadamia orchard, but it was still right next door to the zoo. We could be part of the zoo yet apart from it at the same time. Perfect. “Make this house exactly the way you want it,” Steve told me. “This is going to be our home.” He dedicated himself to getting us moved in. I knew this would be our last stop. We wouldn’t be moving again. We laid new carpet and linoleum and installed reverse-cycle air-conditioning and heat. Ah, the luxury of having a climate-controlled house. I installed stained-glass windows in the bathroom with wildlife-themed panes, featuring a jabiru, a crocodile, and a big goanna. We also used wildlife tiles throughout, of dingoes, whales, and kangaroos. We made the house our own. We worked on the exterior grounds as well. Steve transplanted palm trees from his parents’ place on the Queensland coast and erected fences for privacy. He designed a circular driveway. As he laid the concrete, he put his own footprints and handprints in the wet cement. Then he ran into the house to fetch Bindi and me. “Come on,” he said. “Let’s all do it.” We grabbed Sui, too, and put her paw prints in, and then did Bindi, who was just eight months old. It took a couple of tries, but we got her handprints and her footprints as well, and then my own. We stood back and admired the time capsule we had created. That afternoon the rains came. The Sunshine Coast is usually bright and dry, but when it rains, the heavens open. We worried about all the concrete we had worked on getting pitted and ruined. “Get something,” Steve shouted, scrambling to gather up his tools. I ran into the house. I couldn’t find a plastic drop cloth quickly enough, so I grabbed one of my best sheets off the bed. As I watched the linen turn muddy and gray in the rain, I consoled myself. In the future I won’t care that I ruined the sheet, I thought. I’ll just be thankful that I preserved our footprints and handprints. “It’s our cave,” Steve said of our new home. We never entertained. The zoo was our social place. Living so close by, we could have easily gotten overwhelmed, so we made it a practice never to have people over. It wasn’t unfriendliness, it was simple self-preservation. Our brick residence was for our family: Steve and me, Bindi, Sui, and Shasta.

as the manager of the club explained, you didn’t have a dog and bark yourself. They brought in the punters – along with the named DJs, who were a breed apart already. Not that he was complaining, of course. And as he was now going to be one of the main drug suppliers, he knew that it would be like printing money. Clubs, drink, girls and drugs went hand in hand for this generation, and that suited him right down to the ground. He was meeting with Willy McCormack that evening. Angus knew him from the days when he used to come out here on holiday as a kid with his mum and dad. He had not known till recently that his mum had invested heavily out here and was considered one of the old guard by everyone. She was a shrewdie all right. If it had been left to his old man, he would have just treated this place as a massive piss-up. Angus knew that he had a lot of his father in him – he could be a flake. But he also knew that he had his mother in him too and he was determined to make sure that, as much as he liked to play, he got the work sorted first. He heard the bedroom door open and watched as a tall redhead with lightly tanned skin, wearing his soiled shirt, walked towards him. In the clear light of day she wasn’t as nifty as she had seemed the night before, but she was still what he would class a sort. She went into the small kitchen and started to make coffee. He assumed she had been here before, and that didn’t surprise him in the least.

Elizabeth took her first good look at her new surroundings. There wasn't much to see. In better times the room she was in might have been a living room, but now it was little more than a dingy, nearly empty space about the size of her bedroom. To her left was the front door, and against the wall in front of her was a torn, floral-print sofa. Straining her neck she caught a glimpse of a table and another chair similar to the one she was tied to, which, like the sofa, looked like Salvation Army rejects. Behind her and to the right was a stove, then an archway, which she thought probably led to the bathroom and perhaps a bedroom. The lone window on the wall next to the door was boarded over with planks of weathered wood, and the floor was worn and stained with grime. The walls were dirty, too, and there were no pictures or any kind of personal mementos that Elizabeth would have expected to see in a place someone called home.

On June 23 the Detroit Free Press printed Jimmy’s last letter to the editor under the title “Race: The Issue Isn’t Black and White.” This letter said: It is no longer useful to look at the racial climate of this country only in terms of black and white. People from more than 100 ethnic groups live here. By 2040 European Americans and African Americans will be among the many minorities who make up the United States. Blacks in Detroit are a majority; they need to stop thinking like a minority or like victims. Both African Americans and European Americans should be thinking of how to integrate with Detroiters of Latino and Arab descent. To the very end Jimmy was striking out at two of his favorite targets: racial (or what he called biological) thinking, and blacks viewing themselves as a minority. When Ossie and Ruby stopped by to see us in June, he met them at the door with a three-page memo suggesting things for them to work on. The next week Ruby sent him a big batch of rich dark gingerbread that she had baked. A few weeks before his death he called Clementine to alert her to the killing of children that was going on in Liberia and to instruct her how to intervene. A few days later he spoke at a Detroit Summer gathering. The next day he went out with a friend (without his oxygen tank) to supervise the moving of a refrigerator. The week before he died he did a two-hour interview with a local radio reporter. Up to two days before his death, he was grooming himself as carefully as always. Then, suddenly on Tuesday night, July 20, he began to stumble, sat down in a bedroom chair, and never got up or spoke again. I was all alone and wasn’t sure what I should do. There didn’t seem to be any point in calling anybody. So I kept stroking him and saying to him over and over: You are a helluva guy. You raised a whole lot of hell—and a helluva lot of questions. You made a helluva lot of friends—and a helluva lot of enemies. You had a helluva lot of ideas— And wrote a helluva lot of books and pamphlets. You made a helluva lot of difference to a helluva lot of people.

Whipped or ice cream on your dumplings?" she asked them, once the crust browned and the filling bubbled. She sprinkled additional cinnamon sugar on top. Grace and Cade responded as one, "Ice cream." Cade leaned his elbows on the table, cut her a curious look. "I didn't think we had a thing in common." She gave him a repressive look. "Ice cream doesn't make us friends." Amelia scooped vanilla bean into the bowls with the dumplings. Her smile was small, secret, when she served their dessert, and she commented, "Friendships are born of likes and dislikes. Ice cream is binding." Not as far as Grace was concerned. Cade dug into his dessert. Amelia kept the conversation going. "I bet you're more alike than you realize." Why would that matter? Grace thought. She had no interest in this man. A simultaneous "doubtful" surprised them both. Amelia kept after them, Grace noted, pointing out, "You were both born, grew up, and never left Moonbright." "It's a great town," Cade said. "Family and friends are here." "You're here," Grace emphasized. Amelia patted her arm. "I'm very glad you've stayed. Cade, too. You're equally civic-minded." Grace blinked. We are? "The city council initiated Beautify Moonbright this spring, and you both volunteered." We did? Grace was surprised. Cade scratched his stubbled chin, said, "Mondays, I transport trees and mulch from Wholesale Gardens to grassy medians between roadways. Flower beds were planted along the nature trails to the public park." Grace hadn't realized he was part of the community effort. "I help with the planting. Most Wednesdays." Amelia was thoughtful. "You're both active at the senior center." Cade acknowledged, "I've thrown evening horseshoes against the Benson brothers. Lost. Turned around and beat them at cards." "I've never seen you there," Grace puzzled. "I stop by in the afternoons, drop off large-print library books and set up audio cassettes for those unable to read because of poor eyesight." "There's also Build a Future," Amelia went on to say. "Cade recently hauled scaffolding and worked on the roof at the latest home for single parents. Grace painted the bedrooms in record time." "The Sutter House," they said together. Once again. "Like minds," Amelia mused, as she sipped her sparkling water.

Behind me, my room at Grafton is a gorgeous garden paradise in hues of green. The wallpaper is printed with a grid of vines that climbs up to the crown molding. My bed's canopy is stretched with a deep emerald damask that makes me feel like I'm in an enchanted garden. Beyond the window is even more green, a long lawn bordered by thick woods and farther off, Vermont's rolling mountains on the horizon. It's more nature than I've seen in years. The view from my Brooklyn apartment has one tree and a few pigeons. This is something else entirely. The word that springs to mind is majestic.

The stench of death and blood hit me hard. In the room's corner, blood had pooled and hardened over parts of the slated wood floor near the bedroom window. There was also blood spattered against the corner walls. The room was sparse, filled with the essentials of an old man. The bed looked slept in. A small painting in an ornate frame hung on the wall above it. It was a print from one of William Turner’s works, an English painter from the early 1980s. It depicted a ship, capsized with its crew in lifeboats struggling against a powerful storm.

Sorry but I’m revising for my spelling test tomorrow . . . . . . I know it’s only a 10 word test, but Miss Print said there will be a surprise bonus word. So I decided to be thorough and learn all 60,000 words in the English Dictionary.

She saw for the first time the way we fill our homes with macabre altars to the live things we’ve murdered—the floral print of the twin mattress in her childhood bedroom, stripped of its sheets when she soiled them; ferns on throw pillows coated in formaldehyde; poppies on petrochemical dinner plates; boxes and bags of bulk pulpstuffs emblazoned with plant imagery the way milk cartons are emblazoned with children. A rock on a window ledge, cut flowers stabbed in a vase, wreath of sprigs nailed to the front door—every house a mausoleum, every house a wax museum.

She lives in the coolest house. It’s really big and super modern. They even have a spa bath in the bathroom as well as a jacuzzi out by the pool. We talked about spending time sunbathing in her backyard as soon as the weather was warm enough. The lounge chairs that were scattered around the sides of the pool were so inviting that I had to try them out. Then when I found that they reclined right back, I lied there picturing myself during the summer months, just relaxing by that beautiful sparkling pool. Sara is so lucky! She seems to have pretty much everything a girl could wish for. Her bedroom has the prettiest pink wallpaper with a gorgeous white flower print as a feature wall. And her furniture is all white. She has a huge comfy bed with matching bedside tables. I’ve never known a girl our age to have a queen sized bed though. Even my parents only have a double bed and Sara’s bed seems enormous in comparison. The two hot pink chrome lamps that sit on her bedside tables are the coolest design and I just love the fluffy pink rug that spreads across the middle of her floor. And she even has