Collage Making Quotes

Everything is biographical, Lucian Freud says. What we make, why it is made, how we draw a dog, who it is we are drawn to, why we cannot forget. Everything is collage, even genetics. There is the hidden presence of others in us, even those we have known briefly. We contain them for the rest of our lives, at every border we cross.

It gave me hope: if you could make a beautiful piece of art from discarded newspapers and old matchbooks, then it meant that everything had potential. And maybe people were like collages--no matter how broken or useless we felt, we were an essential part of the whole. We mattered.

It is my secrecy which makes you unhappy, my evasions, my silences. And so I have found a solution. Whenever you get desperate with my mysteries, my ambiguities, here is a set of Chinese puzzle boxes. You have always said that I was myself a Chinese puzzle box. When you are in the mood and I baffle your love of confidences, your love of openness, your love of sharing experiences, then open one of the boxes. And in it you will find a story, a story about me and my life. Do you like this idea? Do you think it will help us to live together?

All of us fractured, awkward collages of experience wrapped tight to present a defensible face to the world. And what makes us human is that sometimes we snap. And in that moment of release we’re closer to gods than we know.

If we want to make meaning, we need to make art. Cook, write, draw, doodle, paint, scrapbook, take pictures, collage, knit, rebuild an engine, sculpt, dance, decorate, act, sing—it doesn’t matter. As long as we’re creating, we’re cultivating meaning.

Changing the big picture takes time.. and the best things to do is focus on the things that we can make in our lives if we're doing all that. That becomes the collage of real change

Peter used to say that an artist’s job is to make order out of chaos. You collect details, look for a pattern, and organize. You make sense out of senseless facts. You puzzle together bits of everything. You shuffle and reorganize. Collage. Montage. Assemble.

No one has ever asked you to make a floor-to-ceiling-sized friendship collage for their birthday. Or ring them three times a day. No one will cry if you don’t invite them to dinner because you don’t have enough chairs. If you feel exhausted by people, it’s because you’re willingly playing the martyr to make them like you. It’s your problem, not theirs.

I do not wish to criticize any system that can nourish people’s spirits, but I find that a lot of New Age writing cherry-picks the attractive bits from the ancient traditions and makes collages of them; it usually excises the ascetic dimension. In general it is not rigorously thought out, but is what I would call “soft” thinking.

I was fourteen then. He was eighteen. Everything is biographical, Lucien Freud says. What we make, why it is made, how we draw a dog, who it is we are drawn to, why we cannot forget. Everything is collage, even genetics. There is the hidden presence of others in us, even those we have known briefly. We contain them for the rest of our lives, at every border that we cross.

I really feel sorry for people who think things like soap dishes or mirrors or Coke bottles are ugly, because they're surrounded by things like that all day long, and it must make them miserable.

I’m lying on Cash’s chest, tracing his tattoo. “What does this mean?” I whisper. “It’s the Chinese symbol for awesome,” he teases lightly. I giggle. “If it’s not, which I imagine it isn’t, then it should be.” “Are you paying me a compliment? I just want to be sure, so I don’t miss it.” I slap his ribs. “You make it sound like I’m mean and horrible because I don’t throw myself at your feet.” “You don’t have to throw yourself at my feet. Although if you want to, I’m sure I can think of something for you to do while you’re down there.” I look up at him and he’s waggling his eyebrows again. “I’m sure you could.” Shaking my head, I settle back onto his chest and resume tracing the ink shapes. “Seriously, what do they mean?” Cash is quiet for so long I begin to think he’s not going to answer me. But then he finally speaks. “It’s a collage of things that remind me of my family.

...she would comfort herself with her solitude. Reading books, sketching, making notes, little observations and collages.

I know you think I didn't know," he says, flipping through the pages and opening it to the middle of the book where there is a collage of all the X-Men, "but sometimes, you forget to shut the blinds." (...) "Zo, I dont think I could ever hate you. You hurt me, but whenever I saw you grab one of those books and duck under here, I knew you were probably hurting too, and I'd let it go." "Just like that?" "I guess I make it sound easier than it was. But yeah, I'd let it go because I knew it wasn't the girl at school under this blanket. It was my friend.

You go out into your world, and try and find the things that will be useful to you. Your weapons. Your tools. Your charms. You find a record, or a poem, or a picture of a girl that you pin to the wall and go, "Her. I'll try and be her. I'll try and be her - but here." You observe the way others walk, and talk, and you steal little bits of them - you collage yourself out of whatever you can get your hands on. You are like the robot Johnny 5 in Short Circuit, crying, "More input! More input for Johnny 5! as you rifle through books and watch films and sit in front of the television, trying to guess which of these things that you are watching - Alexis Carrington Colby walking down a marble staircase; Anne of Green Gables holding her shoddy suitcase; Cathy wailing on the moors; Courtney Love wailing in her petticoat; Dorothy Parker gunning people down; Grace Jones singing "Slave to the Rhythm" - you will need when you get out there. What will be useful. What will be, eventually, you? And you will be quite on your own when you do all this. There is no academy where you can learn to be yourself; there is no line manager slowly urging you toward the correct answer. You are midwife to yourself, and will give birth to yourself, over and over, in dark rooms, alone. And some versions of you will end in dismal failure - many prototypes won't even get out the front door, as you suddenly realize that no, you can't style-out an all-in-one gold bodysuit and a massive attitude problem in Wolverhampton. Others will achieve temporary success - hitting new land-speed records, and amazing all around you, and then suddenly, unexpectedly exploding, like the Bluebird on Coniston Water. But one day you'll find a version of you that will get you kissed, or befriended, or inspired, and you will make your notes accordingly, staying up all night to hone and improvise upon a tiny snatch of melody that worked. Until - slowly, slowly - you make a viable version of you, one you can hum every day. You'll find the tiny, right piece of grit you can pearl around, until nature kicks in, and your shell will just quietly fill with magic, even while you're busy doing other things. What your nature began, nature will take over, and start completing, until you stop having to think about who you'll be entirely - as you're too busy doing, now. And ten years will pass without you even noticing. And later, over a glass of wine - because you drink wine now, because you are grown - you will marvel over what you did. Marvel that, at the time, you kept so many secrets. Tried to keep the secret of yourself. Tried to metamorphose in the dark. The loud, drunken, fucking, eyeliner-smeared, laughing, cutting, panicking, unbearably present secret of yourself. When really you were about as secret as the moon. And as luminous, under all those clothes.

God—or whoever is in charge of this planet—got drunk on the job one day and decided to give me the gift of writing. The way I see it, I have two choices. I can set that gift on a high shelf so it won’t get dinged up and nobody can make fun of me for playing with it.' He smiled until the crinkles at the corners of his eyes were deep enough to hide state secrets. 'Or I can have fun with it and play with the gift I was given until the engine burns out and the wheels come off. I decided to play. I suggest you do the same, young man. Go paint or draw or collage or whatever you want to do. Come back when there's smoke coming off the canvas. And for God's sake, go have some fun. Please?

I do not write every day. I write to the questions and issues before me. I write to deadlines. I write out of my passions. And I write to make peace with my own contradictory nature. For me, writing is a spiritual practice. A small bowl of water sits on my desk, a reminder that even if nothing is happening on the page, something is happening in the room--evaporation. And I always light a candle when I begin to write, a reminder that I have now entered another realm, call it the realm of the Spirit. I am mindful that when one writes, one leaves this world and enters another. My books are collages made from journals, research, and personal experience. I love the images rendered in journal entries, the immediacy that is captured on the page, the handwritten notes. I love the depth of ideas and perspective that research brings to a story, be it biological or anthropological studies or the insights brought to the page by the scholarly work of art historians. When I go into a library, I feel like I am a sleuth looking to solve a mystery. I am completely inspired by the pursuit of knowledge through various references. I read newpapers voraciously. I love what newspapers say about contemporary culture. And then you go back to your own perceptions, your own words, and weigh them against all you have brought together. I am interested in the kaleidoscope of ideas, how you bring many strands of thought into a book and weave them together as one piece of coherent fabric, while at the same time trying to create beautiful language in the service of the story. This is the blood work of the writer. Writing is also about a life engaged. And so, for me, community work, working in the schools or with grassroots conservation organizations is another critical component of my life as a writer. I cannot separate the writing life from a spiritual life, from a life as a teacher or activist or my life intertwined with family and the responsibilities we carry within our own homes. Writing is daring to feel what nurtures and breaks our hearts. Bearing witness is its own form of advocacy. It is a dance with pain and beauty.

Time held no meaning as my mind darted in and out of memories. Past and present collided to create a full-sensory collage out of my life: playing hide-n-seek with my best friends Luke—who always cheated by walking through walls when he was about to be caught—and Lucy; Mr. Caldrin critiquing my sketches and offering ideas to make them more realistic; targets changing faces, blending into the same person, their thoughts rippling through my mind like waves. Through it all, a demon stalked me from the shadows of my memories, never quite showing its face, but crouching, waiting. And then I dreamed....

Let me sum up what I’ve learned about creativity from the world of Wholehearted living and loving: “I’m not very creative” doesn’t work. There’s no such thing as creative people and non-creative people. There are only people who use their creativity and people who don’t. Unused creativity doesn’t just disappear. It lives within us until it’s expressed, neglected to death, or suffocated by resentment and fear. The only unique contribution that we will ever make in this world will be born of our creativity. If we want to make meaning, we need to make art. Cook, write, draw, doodle, paint, scrapbook, take pictures, collage, knit, rebuild an engine, sculpt, dance, decorate, act, sing—it doesn’t matter. As long as we’re creating, we’re cultivating meaning. Literally

I grabbed the napkin wound around the silverware in front of me because paper was my lifeline and I needed to touch it, to know that maybe when I went home later, I could collage him and then it would all make sense, he would make sense. I hoped my fingers would remember the exact quality of the sunlight on his forehead, the shadows under his eyes.

Education is a system designed to make you feel inferior, yet they encourage you to accept it in order to be superior

I went to collage, and I met people who, for whatever reason, decided to be my friends, and they taught me - everything, really. They made me, and make me, into someone better than I really am.

Everything is biographical, Lucian Freud says. What we make, why it is made, how we draw a dog, who it is we are drawn to, why we cannot forget. Everything is collage, even genetics. There is the hidden presence of others in us, even those we have known briefly. We contain them for the rest of our lives, at every border that we cross.

Let me sum up what I’ve learned about creativity from the world of Wholehearted living and loving: “I’m not very creative” doesn’t work. There’s no such thing as creative people and non-creative people. There are only people who use their creativity and people who don’t. Unused creativity doesn’t just disappear. It lives within us until it’s expressed, neglected to death, or suffocated by resentment and fear. The only unique contribution that we will ever make in this world will be born of our creativity. If we want to make meaning, we need to make art. Cook, write, draw, doodle, paint, scrapbook, take pictures, collage, knit, rebuild an engine, sculpt, dance, decorate, act, sing—it doesn’t matter. As long as we’re creating, we’re cultivating meaning.

How can we know, for sure, that the universe is an immense tapestry? What proof is there that this is the case? Absolutely none! By simply asserting it’s a tapestry, without any evidence, believers cheat. What if, instead of a tapestry, the universe is a massive collage clumsily glued onto light-years of black construction paper by a drooling, psychotic lowlife? This seems to make far more sense to me. It would explain a lot.

Here is how I propose to end book-banning in this country once and for all: Every candidate for school committee should be hooked up to a lie detector and asked this question: “Have you read a book from start to finish since high school?” or “Did you even read a book from start to finish in high school?” If the truthful answer is “no,” then the candidate should be told politely that he cannot get on the school committee and blow off his big bazoo about how books make children crazy. Whenever ideas are squashed in this country, literate lovers of the American experiment write careful and intricate explanations of why all ideas must be allowed to live. It is time for them to realize that they are attempting to explain America at its bravest and most optimistic to orangutans. From now on, I intend to limit my discourse with dimwitted Savonarolas to this advice: "Have somebody read the First Amendment to the United States Constitution out loud to you, you God damned fool!" Well--the American Civil Liberties Union or somebody like that will come to the scene of trouble, as they always do. They will explain what is in the Constitution, and to whom it applies. They will win. And there will be millions who are bewildered and heartbroken by the legal victory, who think some things should never be said--especially about religion. They are in the wrong place at the wrong time. Hi ho.

That’s what our life is like: little bits and broken pieces…Picture your life as a mixed media collage. Whatever you add to the collage from this point forward is up to you. You can keep moving those broken parts around. You can add similar pieces…But God might have something more for you. God’s plans for you are so much bigger than what you can ever imagine for yourself. He can use you in so many ways if you let him. You can grow in him and share in the masterpiece he wants to make of your life’s collage.

And there it is, proof if proof were needed, that though God may mould the clay and fashion some of us hale, some strong, some beautiful, inside we make ourselves, from foolish things, breakable, fragile things: the thorns, that dog, the hope that Katherine might make me better than I am. Even Rike’s blunt wants were born of losses he probably remembered only in dreams. All of us fractured, awkward collages of experience wrapped tight to present a defensible face to the world. And what makes us human is that sometimes we snap. And in that moment of release we’re closer to gods than we know.

Because I don't make the mistake that high-culture mongers do of assuming that because people like cheap art, their feelings are cheap, too,” the late filmmaker Dennis Potter once said, explaining why pop songs were so important in his work, from Pennies from Heaven to The Singing Detective to Lipstick on Your Collar, his paean to the 1950s, the time he shared with the Independent Group—and Potter was also defining a pop ethos, defining what I think is happening in Paolizzi's collage. "When people say, 'Oh listen, they're playing our song,' they don't mean 'Our song, this little cheap, tinkling, syncopated piece of rubbish, is what we felt when we met.' What they're saying is, 'That song reminds us of that tremendous feeling we had when we met.' Some of the songs I use are great anyway, but the cheaper songs are still in the direct line of descent from David's Psalms. They're saying, 'Listen, the world isn't quite like this, the world is better than this, there is love in it,' 'There's you and me in it,' or 'The sun is shining in it.' So-called dumb people, simple people, uneducated people, have as authentic and profound depth of feeling as the most educated on earth. Anyone who says different is a fascist.

Maybe there is no single self to speak of. Maybe you're a shifting collage of many different personas, each as authentic as the next. A kaleidoscope of ever-moving fragments, reflecting a thousand little impressions of the world around you, with flashes of different moods and vibrant clusters of quirks — but no broader pattern. Maybe you have no true colors. You're not some finished painting, signed and sealed in varnish. If there is a “real you,” surely it’s the mess of paint on the palette: colors swirling and mixing and playing together, perpetually unfinished, searching and striving to make something new.

It may be that the most striking thing about members of my literary generation in retrospect will be that we were allowed to say absolutely anything without fear of punishment. Our American heirs may find it incredible, as most foreigners do right now, that a nation would want to enforce as a law something which sounds more like a dream, which reads as follows: "Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof, or abridging the freedom of the press, or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances." How could a nation with such a law raise its children in an atmosphere of decency? It couldn't--it can't. So the law will surely be repealed soon for the sake of children.

My mother defines collage as a combination of things unexpected. The artist can choose things that appeal to her visually, and put them together psychologically. Thus, she took photos of her beloved brother, cut out from the context of prison, and let him romp with the fairies. . Or a window in a tree... flowers growing in unlikely places, the way you might wish they would. In collage you can put whatever you want anywhere. You make your own order out of the real stuff you are given to work with. . My mother told me this, and then she called a few days later to amend her original statement. Mark's collages weren't like mine, she said. I choose disparate elements and see how they fit together, what they might make. Mark decided what he wanted to make and then chose the pieces specifically to make that preconceived picture.

I want you both to show me how much you know about each other,” he began. “I want you both to make me a collage.” I looked at him for a moment. “A collage?” I asked. “Like, with magazine pictures and glue?” “That’s exactly right,” Father Johnson replied. “And it doesn’t have to be large or elaborate; just use a piece of legal-size paper as the backdrop. I want you to fill it with pictures that represent all the things you know about the other person. Bring it to your session next week, and we’ll look at them together.” This was an unexpected development. I made the mistake of glancing at Marlboro Man, who I imagined had never felt more uncomfortable in his life than he did once he faced the prospect of sitting down and working with paper and glue in an effort to prove to someone else how much he knew about the woman he was going to marry. He tried to keep a straight face, to remain respectful, but I’d studied his beautiful features enough to know when things were going on under the surface. Marlboro Man had been such a good sport through our series of premarital training. And this--a collage assignment--was his reward.

How much do you know about each other?” was Father Johnson’s final question of the day. Marlboro Man and I looked at each other. We didn’t know everything yet; we couldn’t possibly. We just knew we wanted to be together. Was that not enough? “Well, I’ll speak for myself,” Marlboro Man said. “I feel like I know all I need to know in order to be sure I want to marry Ree.” He rested his hand on my knee, and my heart leapt. “And the rest…I figure we’ll just handle it as we go along.” His quiet confidence calmed me, and all I could think about anyway was how long it would take me to learn how to drive my new lawn mower. I’d never mowed a lawn before in my life. Did Marlboro Man know this? Maybe he should have started me out with a cheaper model. Just then Father Johnson stood up to bid us farewell until our session the following week. I picked up my purse form its spot next to my chair. “Thank you, Father Johnson,” I said, standing up. “Wait just a second,” he said, holding up his hands. “I need to give you a little assignment.” I’d almost made a clean getaway. “I want you both to show me how much you know about each other,” he began. “I want you both to make me a collage.” I looked at him for a moment. “A collage?” I asked. “Like, with magazine pictures and glue?” “That’s exactly right,” Father Johnson replied. “And it doesn’t have to be large or elaborate; just use a piece of legal-size paper as the backdrop. I want you to fill it with pictures that represent all the things you know about the other person. Bring it to your session next week, and we’ll look at them together.” This was an unexpected development.

My interest in comics was scribbled over with a revived, energized passion for clothes, records, and music. I'd wandered in late to the punk party in 1978, when it was already over and the Sex Pistols were history. I'd kept my distance during the first flush of the new paradigm, when the walls of the sixth-form common room shed their suburban-surreal Roger Dean Yes album covers and grew a fresh new skin of Sex Pistols pictures, Blondie pinups, Buzzcocks collages, Clash radical chic. As a committed outsider, I refused to jump on the bandwagon of this new musical fad, which I'd written off as some kind of Nazi thing after seeing a photograph of Sid Vicious sporting a swastika armband. I hated the boys who'd cut their long hair and binned their crappy prog albums in an attempt to join in. I hated pretty much everybody without discrimination, in one way or another, and punk rockers were just something else to add to the shit list. But as we all know, it's zealots who make the best converts. One Thursday night, I was sprawled on the settee with Top of the Pops on the telly when Poly Styrene and her band X-Ray Spex turned up to play their latest single: an exhilarating sherbet storm of raw punk psychedelia entitled "The Day the World Turned Day-Glo" By the time the last incandescent chorus played out, I was a punk. I had always been a punk. I would always be a punk. Punk brought it all together in one place for me: Michael Moorcock's Jerry Cornelius novels were punk. Peter Barnes's The Ruling Class, Dennis Potter, and The Prisoner were punk too. A Clockwork Orange was punk. Lindsay Anderson's If ... was punk. Monty Python was punk. Photographer Bob Carlos Clarke's fetish girls were punk. Comics were punk. Even Richmal Crompton's William books were punk. In fact, as it turned out, pretty much everything I liked was punk. The world started to make sense for the first time since Mosspark Primary. New and glorious constellations aligned in my inner firmament. I felt born again. The do-your-own-thing ethos had returned with a spit and a sneer in all those amateurish records I bought and treasured-even though I had no record player. Singles by bands who could often barely play or sing but still wrote beautiful, furious songs and poured all their young hearts, experiences, and inspirations onto records they paid for with their dole money. If these glorious fuckups could do it, so could a fuckup like me. When Jilted John, the alter ego of actor and comedian Graham Fellows, made an appearance on Top of the Pops singing about bus stops, failed romance, and sexual identity crisis, I was enthralled by his shameless amateurism, his reduction of pop music's great themes to playground name calling, his deconstruction of the macho rock voice into the effeminate whimper of a softie from Sheffield. This music reflected my experience of teenage life as a series of brutal setbacks and disappointments that could in the end be redeemed into art and music with humor, intelligence, and a modicum of talent. This, for me, was the real punk, the genuine anticool, and I felt empowered. The losers, the rejected, and the formerly voiceless were being offered an opportunity to show what they could do to enliven a stagnant culture. History was on our side, and I had nothing to lose. I was eighteen and still hadn't kissed a girl, but perhaps I had potential. I knew I had a lot to say, and punk threw me the lifeline of a creed and a vocabulary-a soundtrack to my mission as a comic artist, a rough validation. Ugly kids, shy kids, weird kids: It was okay to be different. In fact, it was mandatory.

The Unknown Soldier A tale to tell in bloody rhyme, A story to last ’til the dawn of end’s time. Of a loving boy who left dear home, To bear his countries burdens; her honor to sow. –A common boy, I say, who left kith and kin, To battle der Kaiser and all that was therein. The Arsenal of Democracy was his kind, –To make the world safe–was their call and chime. Trained he thus in the far army camps, Drilled he often in the march and stamp. Laughed he did with new found friends, Lived they together for the noble end. Greyish mottled images clipp’ed and hack´ed– Black and white broke drum Ʀ…ɧ..λ..t…ʮ..m..ȿ —marching armies off to ’ttack. Images scratched, chopped, theatrical exaggerate, Confetti parades, shouts of high praise To where hell would sup and partake with all bon hope as the transport do them take Faded icons board the ship– To steel them away collaged together –joined in spirit and hip. Timeworn humanity of once what was To broker peace in eagles and doves. Mortal clay in the earth but to grapple and smite As warbirds ironed soar in heaven’s light. All called all forward to divinities’ kept date, Heroes all–all aces and fates. Paris–Used to sing and play at some cards, A common Joe everybody knew from own heart. He could have been called ‘the kid’ by the ‘old man,’ But a common private now taking orders to stand. Receiving letters from his shy sweet one, Read them over and over until they faded to none. Trained like hell with his Commander-in-Arms, –To avoid the dangers of a most bloody harm. Aye, this boy was mortal, true enough said, He could be one of thousands alive but now surely dead. How he sang and cried and ate the gruel of rations, And grumbled as soldiers do at war’s great contagions. Out–out to the battle this young did go, To become a man; the world to show. (An ocean away his mother cried so– To return her boy safe as far as the heavens go). Lay he down in trenched hole, With balls bursting overhead upon the knoll. Listened hardnfast to the “Sarge” bearing the news, —“We’re going over soon—” was all he knew. The whistle blew; up and over they went, Charging the Hun, his life to be spent (“Avoid the gas boys that’ll blister yer arse!!”). Running through wires razored and deadened trees, Fell he into a gouge to find in shelter of need (They say he bayoneted one just as he–, face to face in War’s Dance of trialed humanity). A nameless sonnuvabitch shell then did untimely RiiiiiiiP the field asunder in burrrstzʑ–and he tripped. And on the field of battle’s blood did he die, Faceless in a puddle as blurrs of ghosting men shrieked as they were fleeing by–. Perished he alone in the no man’s land, Surrounded by an army of his brother’s teeming bands . . . And a world away a mother sighed, Listened to the rain and lay down and cried. . . . Today lays the grave somber and white, Guarded decades long in both the dark and the light. Silent sentinels watch o’er and with him do walk, Speak they neither; their duty talks. Lone, stark sentries perform the unsmiling task, –Guarding this one dead–at the nation’s bequest. Cared over day and night in both rain or sun, Present changing of the guard and their duty is done (The changing of the guard ’tis poetry motioned A Nation defining itself–telling of rifles twirl-clicking under the intensest of devotions). This poem–of The Unknown, taken thus, Is rend eternal by Divinity’s Iron Trust. How he, a common soldier, gained the estate Of bearing his countries glory unto his unknown fate. Here rests in honored glory a warrior known but to God, Now rests he in peace from the conflict path he trod. He is our friend, our family, brother, our mother’s son –belongs he to us all, For he has stood in our place–heeding God’s final call.

I want you both to show me how much you know about each other,” he began. “I want you both to make me a collage.” I looked at him for a moment. “A collage?” I asked. “Like, with magazine pictures and glue?” “That’s exactly right,” Father Johnson replied. “And it doesn’t have to be large or elaborate; just use a piece of legal-size paper as the backdrop. I want you to fill it with pictures that represent all the things you know about the other person. Bring it to your session next week, and we’ll look at them together.” This was an unexpected development. I made the mistake of glancing at Marlboro Man, who I imagined had never felt more uncomfortable in his life than he did once he faced the prospect of sitting down and working with paper and glue in an effort to prove to someone else how much he knew about the woman he was going to marry. He tried to keep a straight face, to remain respectful, but I’d studied his beautiful features enough to know when things were going on under the surface. Marlboro Man had been such a good sport through our series of premarital training. And this--a collage assignment--was his reward. I put on a happy face. “Well, that’ll be fun!” I said, enthusiastically. “We can sit down and do it together sometime this week…” “No, no, no…,” Father Johnson scolded, waving his hands at me. “You can’t do it together. The whole point is to independently sit down and make the collage without the other person present.” Father Johnson was awfully bossy. We shook hands, promised to bring our assignments to the following week’s appointment, and made our way to the parking lot. Once out of the church doors, Marlboro Man swatted me. “Ow!” I shrieked, feeling stung. “What was that for?” “Just your Tuesday spanking,” Marlboro Man answered. I smiled. I’d always loved Tuesdays. We hopped in the pickup, and Marlboro Man started the engine. “Hey,” he said, turning to me. “Got any magazines I can borrow?” I giggled as Marlboro Man pulled away from the church. “I could use some glue, too,” he added. “I don’t think I have any at my house.

My phone rang at midnight, just as I was clearing my bed of the scissors and magazines and glue. It was Marlboro Man, who’d just returned to his home after processing 250 head of cattle in the dark of night. He just wanted to say good night. I would forever love that about him. “What’ve you been doing tonight?” he asked. His voice was scratchy. He sounded spent. “Oh, I just finished up my homework assignment,” I answered, rubbing my eyes and glancing at the collage on my bed. “Oh…good job,” he said. “I’ve got to go get some sleep so I can get over there and get after it in the morning…” His voice drifted off. Poor Marlboro Man--I felt so sorry for him. He had cows on one side, Father Johnson on the other, a wedding in less than a week, and a three-week vacation in another continent. The last thing he needed to do was flip through old issues of Seventeen magazine for pictures of lip gloss and Sun-In. The last thing he needed to deal with was Elmer’s glue. My mind raced, and my heart spoke up. “Hey, listen…,” I said, suddenly thinking of a brilliant idea. “I have an idea. Just sleep in tomorrow morning--you’re so tired…” “Nah, that’s okay,” he said. “I need to do the--” “I’ll do your collage for you!” I interrupted. It seemed like the perfect solution. Marlboro Man chuckled. “Ha--no way. I do my own homework around here.” “No, seriously!” I insisted. “I’ll do it--I have all the stuff here and I’m totally in the zone right now. I can whip it out in less than an hour, then we can both sleep till at least eight.” As if he’d ever slept till eight in his life. “Nah…I’ll be fine,” he said. “I’ll see you in the morning…” “But…but…,” I tried again. “Then I can sleep till at least eight.” “Good night…” Marlboro Man trailed off, probably asleep with his ear to the receiver. I made the command decision to ignore his protest and spent the next hour making his collage. I poured my whole heart and soul into it, delving deep and pulling out all the stops, marveling as I worked at how well I actually knew myself, and occasionally cracking up at the fact that I was doing Marlboro Man’s premarital homework for him--homework that was mandatory if we were to be married by this Episcopal priest. But on the outside chance Marlboro Man’s tired body was to accidentally oversleep, at least he wouldn’t have to walk in the door of Father Johnson’s study empty-handed.

The wedding rehearsal itself was uneventful until Father Johnson decided it was time to show Marlboro Man and me the proper way to walk to the marriage altar. Evidently, all of Father Johnson’s theological studies and work was destined to culminate in whether or not Marlboro Man and I approached the altar in the perfectly correct and proper way, because he was intent on driving the point home. “At this point,” Father Johnson instructed, “you’ll start to turn and Ree will take your arm.” He lightly pushed Marlboro Man in the proper direction, and the two of us began walking forward. “Nope, nope, nope,” Father Johnson said authoritatively. “Come back, come back.” Marlboro Man’s college friends snickered. “Oh…what did we do wrong?” I asked Father Johnson humbly. Maybe he’d discovered the truth about the collages. He showed us again. Marlboro Man was to turn and begin walking, then wait for me briefly. Then, as I took his arm, he was to lead me to the altar. Wait. Wasn’t that what we just did? We tried again, and Father Johnson corrected us…again. “Nope, nope, nope,” he said, pulling us both by the arm until we were back in our starting position. Marlboro Man’s friends chuckled. My stomach growled. And Marlboro Man kept quietly restrained, despite the fact that he was being repeatedly corrected by his fiancée’s interim minister for something that arguably wasn’t all that relevant to the commitment we were making to spend the rest of our lives together. We went through no fewer than seven more takes, and with each redo I began to realize that this was Father Johnson’s final test for us. Forget the collage assignment--that was small potatoes. Whether we could keep our cool and take instruction when a nice steak dinner and drinks awaited us at the country club was Father Johnson’s real decider of whether or not Marlboro Man and I were mature, composed, and levelheaded enough to proceed with the wedding. And while I knew Marlboro Man would grit his teeth and bear it, I wasn’t entirely sure I could. But I didn’t have to. On the beginning of the eighth run, just after Father Johnson gave us another “Nope. You’re not getting it right, kids…” Mike’s loud voice echoed throughout the wood-and-marble sanctuary. “Oh, c-c-c-c-come on, Father Johnson!” The chuckles turned into laughter. And out of the corner of my eye I saw Tony giving Mike a subtle high five. Thank goodness for Mike. He was hungry. He wanted to get on to the party.

If I talk about the Loud family now, will all of you know who I mean? I mean a family of prosperous human beings in California, whose last name is Loud. I suggest to you that the Louds were healthy Earthlings who had everything but a religion in which they could believe. There was nothing to tell them what they should want, what they should shun, what they should do next. Socrates told us that the unexamined life wasn’t worth living. The Louds demonstrated that the morally unstructured life is a clunker, too. Christianity could not nourish the Louds. Neither could Buddhism or the profit motive of participation in the arts, or any other nostrum on America’s spiritual smorgasbord. So the Louds were dying before our eyes. Now is as good a time as any to mention White House Prayer Breakfasts, I guess. I think we all know now that religion of that sort is about as nourishing to the human spirit as potassium cyanide. We have been experimenting with it. Every guinea pig died. We are up to our necks in dead guinea pigs. The lethal ingredient in those breakfasts wasn’t prayer. And it wasn’t the eggs or the orange juice or the hominy grits. It was a virulent new strain of hypocrisy which did everyone in. If I have offended anyone here by talking of the need of a new religion, I apologize. I am willing to drop the word religion, and substitute three other words for it. Three other words are heartfelt moral code. We sure need such a thing, and it should be simple enough and reasonable enough for anyone to understand. The trouble with so many of the moral codes we have inherited is that they are subject to so many interpretations. We require specialists, historians and archaeologists and linguists and so on, to tell us where this or that idea may have come from, to suggest what this or that statement might actually mean. This is good news for hypocrites, who enjoy feeling pious, no matter what they do. It may be that moral simplicity is not possible in modern times. It may be that simplicity and clarity can come only from a new Messiah, who may never come. We can talk about portents, if you like. I like a good portent as much as anyone. What might be the meaning of the Comet Kahoutek, which was to make us look upward, to impress us with the paltriness of our troubles, to cleanse our souls with cosmic awe. Kahoutek was a fizzle, and what might this fizzle mean? I take it to mean that we can expect no spectacular miracles from the heavens, that the problems of ordinary human beings will have to be solved by ordinary human beings. The message of Kahoutek is: “Help is not on the way. Repeat: help is not on the way.

Assign a file or paper tray to collect single-side printed paper for reuse. Boycott paper sourced from virgin forests and reams sold in plastic. Cancel magazine and newspaper subscriptions; view them online instead. Digitize important receipts and documents for safekeeping. Digital files are valid proofs for tax purposes. Download CutePDF Writer to save online files without having to print them. Email invitations or greeting cards instead of printing them (see “Holidays and Gifts” chapter). Forage the recycling can when paper scraps are needed, such as for bookmarks or pictures (for school collages, for example). Give extra paper to the local preschool. Hack the page margins of documents to maximize printing. Imagine a paperless world. Join the growing paperless community. Kill the fax machine; encourage electronic faxing through a service such as HelloFax. Limit yourself to print only on paper that has already been printed on one side. Make online billing and banking a common practice. Nag the kids’ teachers to send home only important papers. Opt out of paper newsletters. Print on both sides when using a new sheet of paper (duplex printing). Question the need for printing; print only when absolutely necessary. In most cases, it is not. Repurpose junk mail envelopes—make sure to cross out any barcode. Sign electronically using the Adobe Acrobat signing feature or SignNow.com. Turn down business cards; enter relevant info directly into a smartphone. Use shredded paper as a packing material, single-printed paper fastened with a metal clip for a quick notepad (grocery lists, errands lists), and double-printed paper to wrap presents or pick up your dog’s feces. Visit the local library to read business magazines and books. Write on paper using a pencil, which you can then erase to reuse paper, or better yet, use your computer, cell phone, or erasable board instead of paper. XYZ: eXamine Your Zipper; i.e., your leaks: attack any incoming source of paper.

What makes me think we need a new religion? That’s easy. An effective religion allows people to imagine from moment to moment what is going on and how they should behave. Christianity used to be like that. Our country is now jammed with human beings who say out loud that life is chaos to them, and that it doesn’t seem to matter what anybody does next. This is worse than being seasick.

a culture, a combination of ideas and artifacts can sometimes make a healthy person behave against his or her best interests and against the best interests of the society and the planet too

There is a Japanese art called kintsukuroi. Each time a piece of pottery cracks, it is lacquered back together with gold. All those golden threads make the piece what it is, extraordinary. I like to think of my heart like that. That each time it breaks, it gets more valuable and beautiful with the mending. It is a collage of gold.

I spoke one time at the Library of Congress, in 1972, or so. A man stood up in the middle of the audience, when I was about halfway through, and he said, "What right have you, as leader of America's young people, to make those people so cynical and pessimistic?" I had no good answer, so I left the stage. Talk about profiles in courage!

Dots With Color and More In the second project you can use the initial eleven dots as a way to begin a composition and keep going by adding color, collage, shapes and textures along the way.

You can't burial what you have and born with even my history fail that what I motivate and inspired you with,by living life l learn many things I usually say journey of life is my collage and it graduated me the things that I wrote about on my books,blogging and podcasting with is organic raw and what I gone through it, yes I'm not perfect in doing what I doing but I make sure that I give what I have to the world and what can I promise you, I believe that it what I called to serve those I sent to them.

Wren knew all the ways to make wishes and included pictures of those things: the first star you saw at night, birthday candles, a wispy white dandelion, three birds on a telephone wire, a digital clock at 11:11, a fountain full of coins. There was even one of her stray eyelashes in the collage, but no one knew it was there but her.

But Larson was also more than even his combined, prolific creative output. While he was known for leaving parties to go home and fix songs, he would also charm the ladies, attend New York’s most exclusive nightclub, and obsessively follow the New York Mets. He was the man who called his friends in the middle of the day to play Frisbee, sent cards on every possible occasion, and hosted generous holiday meals. An awkward introvert who wanted to be a star. A self-confident composer who knew how good his work was - and how terrified he was of never being able to make a living from it. A broke waiter who produced some of the most advanced demo recordings of his day. A ladies’ man who became one of the gay community’s most important straight allies in the 1990s, as his work spread a message of tolerance around the world. A man who composed fun, catchy songs but rarely listened to music for pleasure as an adult. A performer who wanted to be Billy Joel but wrote lyrics like Harry Chapin. A driven creative who took as few shifts as possible to focus on his music, turning poverty into creativity: a simple 4th of July party meant a hand-coloured collage for an invitation, and Larson’s annual Peasant Feast pot-luck meals at Christmas were the season’s highlight for all attending. A passionate progressive who would be endlessly disappointed that RENT could still cause controversy after so many years.

That’s the beauty of photography. One picture, taken a thousand miles away, can make viewers feel as though they are standing in the same place. Their imaginations can take them on a journey without ever leaving their house. A collage of photographs can create a whole new experience, and allow people to enter places they couldn’t have imagined going. I have never underestimated the power of a picture. “Your agent

sobered, nodded awkwardly, and acted like he wanted to speak, but didn’t. He turned to a laptop, gave it a command. The screens on the wall displayed what looked at first glance like a collage of images. At center was a photograph Acadia had recently taken of Alex Cross’s house from across Fifth Street. Dotted lines traveled from various windows in the house out to pictures of Dr. Alex, his wife, his grandmother, his daughter, and his younger son. Set off to one side was a framed picture of Damon, Alex Cross’s older son, seventeen and a student at a prep school in western Massachusetts. Digital lines went out from each portrait, linked to images of schools, police stations, churches, grocery stores, and various friends. There were also lines connecting each member of Cross’s family to calendar and clock icons. “He uses mind-mapping software and an Xbox 360 with Kinect to make it work,” Acadia explained. “It’s interactive, Marcus. Just stand in front of the camera and point to what you want.” Intrigued now, Sunday stepped in front of the screens and the Kinect camera. He pointed at the photograph of Cross. The screen instantly jumped to a virtual diary of the detective’s recent life, everything from photographs of Bree Stone, to his kids, to his white Chevy sedan and his best friend, John Sampson, and Sampson’s wife, Billie. Sunday pointed at the calendar, and the screens showed a chronological account of everything he had seen Cross do in the prior month.

There are typecastings, un-typecastings and re-typecastings in any imagination. A ‘healthy’ type might be one with a balanced mixture of all three. Demonisation should not be swamped by its antidote. Scepticism is always welcome in a world where few things can be as they seem. The work of international relations might be to see the fused layers of every actor and its background, and not just a layer which is forcibly represented as the worst aspect possible. It would of course be reflective if each actor could see its own fused and often contradictory layers — and they are fused together; they can be analysed in their component parts, but they can’t be unglued completely. However,in a world of ascendancy and descendancy in the international, every actor essentialises its historical glamour and greatness as an underpinning for victory. The trick for the observer — and the wise statesman — is not to believe anything, but to believe everything; to know and believe each and every single layer of the whole even when, often, the layers are far from neatly stacked but are jumbled materials that form a living collage of interchanging shapes and colours — Jackson Pollack in 3d. It would certainly make the study of international relations, and even more so its practice, quite fascinating in more than its present morbidity of power relationships.

Memory, too, is assemblage—a kind of cento, collaged from pieces. From the scraps of a life.

In the days of postcolonialism, we need to find our own mending to be a collage-like journey toward healing. The resulting patterns will not be, by design, to restore the old days of national glory, but a beautiful amendment that resonates under a master’s hand.

Brilliant. And how do you know he’s a saint?” “He’s got a halo?” “Excellent, and does that golden halo remind you of anything?” Hitzrot broke into a smile. “Yeah! Those Egyptian things we studied last term. Those . . . um . . . sun disks!” “Thank you, Hitzrot. Go back to sleep.” Langdon turned back to the class. “Halos, like much of Christian symbology, were borrowed from the ancient Egyptian religion of sun worship. Christianity is filled with examples of sun worship.” “Excuse me?” the girl in front said. “I go to church all the time, and I don’t see much sun worshiping going on!” “Really? What do you celebrate on December twenty-fifth?” “Christmas. The birth of Jesus Christ.” “And yet according to the Bible, Christ was born in March, so what are we doing celebrating in late December?” Silence. Langdon smiled. “December twenty-fifth, my friends, is the ancient pagan holiday of sol invictus—Unconquered Sun—coinciding with the winter solstice. It’s that wonderful time of year when the sun returns, and the days start getting longer.” Langdon took another bite of apple. “Conquering religions,” he continued, “often adopt existing holidays to make conversion less shocking. It’s called transmutation. It helps people acclimatize to the new faith. Worshipers keep the same holy dates, pray in the same sacred locations, use a similar symbology . . . and they simply substitute a different god.” Now the girl in front looked furious. “You’re implying Christianity is just some kind of . . . repackaged sun worship!” “Not at all. Christianity did not borrow only from sun worship. The ritual of Christian canonization is taken from the ancient ‘god-making’ rite of Euhemerus. The practice of ‘god-eating’—that is, Holy Communion—was borrowed from the Aztecs. Even the concept of Christ dying for our sins is arguably not exclusively Christian; the self-sacrifice of a young man to absolve the sins of his people appears in the earliest tradition of the Quetzalcoatl.” The girl glared. “So, is anything in Christianity original?” “Very little in any organized faith is truly original. Religions are not born from scratch. They grow from one another. Modern religion is a collage . . . an assimilated historical record of man’s quest to understand the divine.

Even higher hopes were held for education as a product and protector of equality, especially in the light of the educational privileges of the elites. William Manning, the Billerica tavernkeeper, went to the heart of the matter: “Larning is of the greatest importance to the seport of a free government,” he wrote, “& to prevent this the few are always crying up the advantages of costly collages, national aca-dimyes & grammer schooles, in ordir to make places for men to live without work, & so strengthen their party. But are always opposed to cheep schools & woman schooles, the ondly or prinsaple means by which larning is spred amongue the Many.” This view, which was too strong for even the Jeffersonian press to print, anticipated the egalitarian thrust of the 1830s.

arguments are a collage of rhetorical barbs that don’t really form a coherent argument.

Even though I'm trying hard not to let it show, I want to swim past the breakers, and sink to the bottom and stay there with my eyes closed and the water covering my ears. And yes, I know that's an overreaction. When you read this you'll think "Mom, please. Really?" You'll roll your eyes in that carefree way of yours and shrug those rebellious bangs off your forehead. You'll offer the one-sided smirk that says "you and I are the weird ones in the family - the two that always get each other's hidden meanings". Only this time, you don't get it. You can't. You won't for another 25 or 30 years - until you lie on the sand, or sit in a stadium seat somewhere or stand at your kitchen stove and catch a glimpse of your first born, your baby, suddenly inhabiting the body of an adult. Someone you barely recognize. In that instant, you'll think "how did this happen? When did this happen? Have I taught enough? Have I listened enough? Have I coached and planned and laughed and worried enough? Can I let go enough?" I'm afraid I won't be able to do it gracefully when the moment comes. I'm not ready. It's too soon. Instead of compiling pictures for a tasteful collage to make your dorm room homey, I want to climb inside the photos and live them again. Every bedtime story, lost tooth, birthday cake, backyard campout, ballgame, wildflower bouquet, rainy day and homemade Mothers Day card. All the golden moments and all the quiet, ordinary ones. I'd treasure them even more the second time around. If only life came with a rewind button, with do overs.

At first, I thought I would use photography and the collage and montage possibilities of Photoshop strictly for visualization in preparation for my paintings. But after I experimented with Photoshop and digital photography, I soon discovered new possibilities and found exciting new ways of presenting ideas. I soon found that I was more interested in pure image-making than I was in actually painting the images. Digital Camera, 2017

The first was education. “The Knowledge nesecary for every freeman to have is A Knowledge of Mankind,” William Manning wrote in his tract, and “Larning is of the greatest importance to the seport of a free government,” but the tavernkeeper added that the few were “always crying up the advantages of costly collages, national acadimyes & grammer schools, in ordir to make places for men to live without work,” but were always opposed to “cheep schools and woman schools, the only or prinsaple means by which learning is spred amongue the Many.

That was my focal point? My North Star that I had been following so futilely? If I tried to strip her off of the board, it would ruin the collage. Ruin . . . or make real?

Megan had a case once where a man—the head of a big, reputable company—had printed out pictures of children as young as three being raped, printed out pictures of his own stepchildren, and cut out the faces of his stepchildren, stuck them to the bodies of children being raped, and then printed his own face and stuck it on the man in the pictures, and masturbated to the unique collages. His defence barrister went all the way, making the submission that his client had gone to such lengths in order to relieve himself and not ‘risk’ acting on such desires with the stepchildren in real life.