Colored Pencil Quotes

Lying in bed would be an altogether supreme experience if one only had a colored pencil long enough to draw on the ceiling.

There were days, rainy gray days, when the streets of Brooklyn were worthy of a photograph, every window the lens of a Leica, the view grainy and immoble. We gathered our colored pencils and sheets of paper and drew like wild, feral children into the night, until, exhausted, we fell into bed. We lay in each other's arms, still awkward but happy, exchanging breathless kisses into sleep.

Ever since I was very young, as far back as I can remember, I have loved making pictures. I knew even as a child that, when I grew up, I would be an artist of some kind. The lovely feeling of my pencil touching paper, a crayon making a star shape in my sketchbook, or my brush dipping into bright and colorful paints — these things affect me as joyfully today as they did all those years ago.

Elodin pointed down the street. "What color is that boy's shirt?" "Blue." "What do you mean by blue? Describe it." I struggled for a moment, failed. "So blue is a name?" "It is a word. Words are pale shadows of forgotten names. As names have power, words have power. Words can light fires in the minds of men. Words can wring tears from the hardest hearts. There are seven words that will make a person love you. There are ten words that will break a strong man's will. But a word is nothing but a painting of a fire. A name is the fire itself." My head was swimming by this point. "I still don't understand." He laid a hand on my shoulder. "Using words to talk of words is like using a pencil to draw a picture of itself, on itself. Impossible. Confusing. Frustrating." He lifted his hands high above his head as if stretching for the sky. "But there are other ways to understanding!" he shouted, laughing like a child. He threw both arms to the cloudless arch of sky above us, still laughing. "Look!" he shouted tilting his head back. "Blue! Blue! Blue!

You too know that all my eyes see, all I touch with myself, from any distance, is Diego. The caress of fabrics, the color of colors, the wires, the nerves, the pencils, the leaves, the dust, the cells, the war and the sun, everything experienced in the minutes of the non-clocks and the non-calendars and the empty non-glances, is him.

Did my mother ever get to see a cicada molting? Did she wish that she could do exact that? Shed her skin and be someone new? There were days when she seemed to transform into something quieter, darker. Her colors deeper but also muted. Both her truer self, and not. Or maybe it wasn't a transformation. Maybe it was a momentary reveal. A peeling back of the protective layers. A sharpening of a pencil, bringing the tip to its most focused point.

Lying in bed would be an altogether perfect and supreme experience if only one had a colored pencil long enough to draw on the ceiling. This, however, is not generally a part of the domestic apparatus on the premises. I think myself that the thing might be managed with several pails of Aspinall and a broom. Only if one worked in a really sweeping and masterly way, and laid on the color in great washes, it might drip down again on one's face in floods of rich and mingled color like some strange fairy rain; and that would have its disadvantages. I am afraid it would be necessary to stick to black and white in this form of artistic composition. To that purpose, indeed, the white ceiling would be of the greatest possible use; in fact, it is the only use I think of a white ceiling being put to.

I have not forgotten you — the nights are long and difficult. You too know that all my eyes see, all touch with myself, from any distance, is you. The caress of fabrics, the color of colors, the wires, the nerves, the pencils, the leaves, the dust, the cells, the war and the sun, everything experienced in the minutes of the non-clocks and the non-calendars and the empty non-glances, is you. You felt it, that’s why you let that ship take me away from Le Havre where you never said good-bye to me. I will write to you with my eyes, always. For you is all.

Yes,” Daisy said. “That’s exactly it. Marcus made me so happy when he stole my colored pencils that I accidentally threw a chair at him.

I grabbed his hand and dragged him down the street to a convenience shop. I abandoned him once inside and went down the stationery aisle. I'd already known I wanted to get him some colored pencils, but now I finally had the occasion to do it. Not long after I'd picked out a big box of them, I heard Rafael call out from another part of the store, "Trojans? Like The Iliad?" I didn't waste a second finding him and pulling him out of that aisle.

You are the gradations of undiscovered colors in my soul. You are the inhale before my blank canvas, the moment before my pencil touches the page. You are the manifestation of my dreams. You are my intensity.

This story was written many moons ago under an apple tree in an orchard in Kent, which is one of England's prettiest counties . . . I had read at least twenty of the [fairy tales] when I noticed something that had never struck me before--I suppose because I had always taken it for granted. All the princesses, apart from such rare exceptions as Snow White, were blond, blue-eyed, and beautiful, with lovely figures and complexions and extravagantly long hair. This struck me as most unfair, and suddenly I began to wonder just how many handsome young princes would have asked a king for the hand of his daughter if that daughter had happened to be gawky, snub-nosed, and freckled, with shortish mouse-colored hair? None, I suspected. They would all have been of chasing after some lissome Royal Highness with large blue eyes and yards of golden hair and probably nothing whatever between her ears! It was in that moment that a story about a princess who turned out to be ordinary jumped into my mind, and the very next morning I took my pencil box and a large rough-notebook down to the orchard and, having settled myself under an apple tree in full bloom, began to write . . . the day was warm and windless and without a cloud in the sky. A perfect day and a perfect place to write a fairy story.

Yeah. I guess I’m a color-inside-the-lines girl. Worse, really—I’d rather shade inside the lines with a nice, light 4H pencil. Something dark like a 5B or 6B? That’s me going nuts.” He laughed, stretching out his long legs

Families weren't like a box of standardized-test-taking number two pencils. Families were like a box of assorted-color Sharpie markers: different, kinda stinky (but not in a bad way), and permanent whether you liked it or not.

both you and paintings are layered… first, ephemera and notations on the back of the canvas. Labels indicate gallery shows, museum shows, footprints in the snow, so to speak. Then pencil scribbles on the stretcher, usually by the artist, usually a title or date. Next the stretcher itself. Pine or something. Wooden triangles in the corners so the picture can be tapped tighter when the canvas becomes loose. Nails in the wood securing the picture to the stretcher. Next, a canvas: linen, muslin, sometimes a panel; then the gesso - a primary coat, always white. A layer of underpaint, usually a pastel color, then, the miracle, where the secrets are: the paint itself, swished around, roughly, gently, layer on layer, thick or thin, not more than a quarter of an inch ever -- God can happen in that quarter of an inch -- the occasional brush hair left embedded, colors mixed over each other, tones showing through, sometimes the weave of the linen revealing itself. The signature on top of the entire goulash. Then varnish is swabbed over the whole. Finally, the frame, translucent gilt or carved wood. The whole thing is done.

I love the dusty particles a fresh colored pencil leaves behind with the first stroke, the sound it makes kissing the page when I'm done filling in voids. That first spot of rich color on a crisp white page, the start of something new." -Claudia

They rode on and the sun in the east flushed pale streaks of light and then a deeper run of color like blood seeping up in sudden reaches flaring planewise and where the earth drained up into the sky at the edge of creation the top of the sun rose out of nothing like the head of a great red phallus until it cleared the unseen rim and sat squat and pulsing and malevolent behind them. The shadows of the smallest stones lay like pencil lines across the sand and the shapes of the men and their mounts advanced elongate before them like strands of the night from which they’d ridden, like tentacles to bind them to the darkness yet to come.

When it was raining we would sit at this table and draw in our scrapbooks with crayons or colored pencils, anything we liked. In school you had to do what the rest were doing.

Now the colored pencils in more detail.

I looked at the ornaments on the desk. Everything standard and all copper. A copper lamp, pen set and pencil tray, a glass and copper ashtray with a copper elephant on the rim, a copper letter opener, a copper thermos bottle on a copper tray, copper corners on the blotter holder. There was a spray of almost copper-colored sweet peas in a copper vase. It seemed like a lot of copper.

Each time you love—be it a man or a child, a cat or a horse—you add color to this world. When you fail to love, you erase color.” She smiles. “Love, in any of its forms, is what takes this journey from a bleak black-and-white pencil sketch to a magnificent oil painting.” She touches my cheek. “It’s the sweet fruit that paints the field and wakes our senses. I’m not saying you must be on a constant quest for it, but please, if love comes to you, if you find it within your grasp, promise me you’ll pluck it from the vine and give it a good looking-over, won’t you?

I’ll try out the pencils sharpened to the point of infinity which always sees ahead: Green — good warm light Magenta — Aztec. old TLAPALI blood of prickly pear, the brightest and oldest [Brown —] color of mole, of leaves becoming earth [Yellow —] madness sickness fear part of the sun and of happiness [Blue —] electricity and purity love [Black —] nothing is black — really nothing [Olive —] leaves, sadness, science, the whole of Germany is this color [Yellow —] more madness and mystery all the ghosts wear clothes of this color, or at least their underclothes [Dark blue —] color of bad advertisements and of good business [Blue —]distance. Tenderness can also be this blue blood?

{His child} says she doesn't have the right pencils for the colors she sees.

Non-photo blue pencils... After about a week of using them the class is smitten. It looks like thinking, this color of blue. Like words before you say them.

Hanna loved how the pencils and crayons looked, with their pointy unused tips. She liked the quarter-size circles of watercolor paint, like frozen puddles from a dripping rainbow.

Darkness just loosens the mask. Sharpens the mind's eye. Makes the color of a remembered pencil, or a tick of waxy red on a cracked plaster wall, as vivid as that taillight a few feet away.

I came to a sketch where the space between my arm and Greta’s arm, the shape of the place between us, had been darkened in. The negative space. That’s what Finn called it. He was always trying to get me to understand negative space. And I did. I could understand what he was saying, but it didn’t come naturally to me. I had to be reminded to look for it. To see the stuff that’s there but not there. In this sketch, Finn had colored in the negative space, and I saw that it made a shape that looked like a dog’s head. Or, no—of course, it was a wolf’s head, tilted up, mouth open and howling. It wasn’t obvious or anything. Negative space was kind of like constellations. The kind of thing that had to be brought to your attention. But the way Finn did it was so skillful. It was all in the way Greta’s sleeve draped and the way my shoulder angled in. So perfect. It was almost painful to look at that negative space, because it was so smart. So exactly the kind of thing Finn would think of. I touched my finger to the rough pencil lines, and I wished I could let Finn know that I saw what he’d done. That I knew he’d put that secret animal right between Greta and me.

Love The Wild Swan I hate my verses, every line, every word. Oh pale and brittle pencils ever to try One grass-blade's curve, or the throat of one bird That clings to twig, ruffled against white sky. Oh cracked and twilight mirrors ever to catch One color, one glinting Hash, of the splendor of things. Unlucky hunter, Oh bullets of wax, The lion beauty, the wild-swan wings, the storm of the wings." --This wild swan of a world is no hunter's game. Better bullets than yours would miss the white breast Better mirrors than yours would crack in the flame. Does it matter whether you hate your . . . self? At least Love your eyes that can see, your mind that can Hear the music, the thunder of the wings. Love the wild swan.

One of the first things Miriam told me about was how to worry. She wanted me to worry for five minutes straight, two times a day. She said I should sit quietly somewhere, maybe with a piece of paper and some colored pencils, and just worry, one time in the morning and once at night (but not right before bed). And if my worry showed up at any other time, like during school or at Angus's house, Miriam said I should tell it, "Go away, and I'll see you later". -Bea

Ty and Livvy were the last to come say good-bye to Jules; Livvy embraced him fiercely, and Ty gave him a soft, shy smile. Julian wondered where Kit was. He'd been glued to Ty's and Livvy's sides the whole time they'd been in London, but he appeared to have vanished for the family farewell. "I've got something for you," Ty said. He held out a box, which Julian took with some surprise. Ty was absolutely punctual about Christmas and birthday presents, but he rarely gave gifs spontaneously. Curious, Julian popped open the top of the box to find a set of colored pencils. He didn't know the brand, but they looked pristine and unused. "Where did you get these?" "Fleet Street," said Ty. "I went out early this morning." An ache of love pressed against the back of Julian's throat. It reminded him of when Ty was a baby, serious and quiet. He hadn't been able to go to sleep for a long time without someone holding him, and though Julian had been very small himself, he remembered holding Ty while he fell asleep, all round wrists and straight black hair and long lashes. He'd felt so much love for his brother even then it had been like an explosion in his heart. "Thanks. I've missed drawing," Julian said, and tucked the box into his duffel bag. He didn't fuss; Ty didn't like fuss, but Julian made his tone as warm as he could, and Ty beamed. Jules thought of Livvy, the night before, the way she'd kissed his forehead. Her thank-you. This was Ty's.

He’s my baby brother, and he’s a pretty cool guy. I mean, he’s got a soul-searing obsession with the color black, but other than that, he’s a pretty stand-up guy. If you don’t count the way he used to steal my colored pencils when we were little.

Tall and angular, with hair the color of burnt buttered toast pulled back and secured with a pencil, she stood, hands on hips, her lips unapologetically red, her skin luminous, her nose straight. She looked down at him like a battlefield medic assessing whether or not he was worth saving.

He was looking at Mr. Nancy, an old black man with a pencil moustache, in his check sports jacket and his lemon yellow gloves, riding a carousel lion as it rose and lowered, high in the air; and, at the same time, in the same place, he saw a jeweled spider as high as a horse, its eyes an emerald nebula, strutting, staring down at him; and simultaneously he was looking at an extraordinarily tall man with teak colored skin and three sets of arms, wearing a flowing ostrich-feather headdress, his face painted with red stripes, riding an irritated golden lion, two of his six hands holding on tightly to the beast’s mane; and he was also seeing a young black boy, dressed in rags, his left foot all swollen and crawling with black flies; and last of all, and behind all these things, Shadow was looking at a tiny brown spider, hiding under a withered ochre leaf. Shadow saw all these things, and he knew they were the same thing.

Hello? Tonight I am going to the Restaurant, where I will eat a killed and burned-up bird and drink old purple grapes and also I will gulp clear water that used to have bugs and poop and poison in it but has been cleaned up so that it doesn’t make us blow chunks. Oh Joy I am going to the Restaurant and I am just drooling at the thought of the killed and burned bird and I want to sip the grape gunk and so I put skin-colored paint all over my face and I dab pasty red pigment on my lips and swish peachy powder on my cheeks and I take a pencil and draw an eye-shaped line around my eye so that people know where my blinkers are.

When I asked you, “Why coloring, why now?” you put down the sapphire pencil and stared, dreamlike, at a half-finished garden.

You are the gradations of undiscovered colors in my soul. You are the inhale before my blank canvas, the moment before my pencil

But how do you paint with pencil? Very patiently.

didn’t too sure I understand what Ms. Tia is talking about, or why she is calling her Abroad peoples white and black when colors are for crayons and pencils and things.

the pencil test. If you were applying to be white, the pencil went into your hair. If it fell out, you were white. If it stayed in, you were colored. You were what the government said you were.

The desk in front of Frasier was littered with sketchbooks and colored pencils. Drawing was a medium he'd taken up later in life and all he drew was birds, over and over, usually in the heat of the day when it was too hot to be in the garden. The wall in front of him was covered in sketches of the dellawisps, so many of them the papers overlapped, forming a decoupage of turquoise birds.

Tom grabbed his arm and pointed gasping, at the dime-store window. They stood there, unable to move because of the things from another world displayed so neatly, so innocently, so frighteningly, there. ‘Pencils, Doug, ten thousand pencils!‘ ‘Oh, my gosh!‘ ‘Nickel tablets, dime tablets, notebooks, erasers, water colors, rulers, compasses, a hundred thousand of them!‘ ‘Don‘t look. Maybe it‘s just a mirage.

Normally my clients were my mother, my grandmother, and my dad, and I would sell them the issues with a great color cover. There was a story I remember called ‘The Invader,’ and it had an invisible dome covering a city, with a giant tentacled monster eating everybody in sight, and people trying to drill a hole in the dome. And I did these epic Prismacolor pencil illustrations and sold out the three issues to my captive audience.

Airplane Dream #13' told the story, more or less, of a dream Rosa had had about the end of the world. There were no human beings left but her, and she had found herself flying in a pink seaplane to an island inhabited by sentient lemurs. There seemed to be a lot more to it -- there was a kind of graphic "sound track" constructed around images relating to Peter Tchaikovsky and his works, and of course abundant food imagery -- but this was, as far as Joe could tell, the gist. The story was told entirely through collage, with pictures clipped from magazines and books. There were pictures from anatomy texts, an exploded musculature of the human leg, a pictorial explanation of peristalsis. She had found an old history of India, and many of the lemurs of her dream-apocalypse had the heads and calm, horizontal gazes of Hindu princes and goddesses. A seafood cookbook, rich with color photographs of boiled crustacea and poached whole fish with jellied stares, had been throughly mined. Sometimes she inscribed text across the pictures, none of which made a good deal of sense to him; a few pages consisted almost entirely of her brambly writing, illuminated, as it were, with collage. There were some penciled-in cartoonish marginalia like the creatures found loitering at the edges of pages in medieval books.

And then, quite suddenly, summer was over. He knew it first when walking downtown. Tom grabbed his arm and pointed gasping, at the dimestore window. They stood there unable to move because of the things from another world displayed so neatly, so innocently, so frighteningly, there. "Pencils, Doug, ten thousand pencils!" "Oh, my gosh!" "Nickel tablets, dime tablets, notebooks, erasers, water colors, rulers, compasses, a hundred thousand of them!" "Don't look. Maybe it's just a mirage." "No," moaned Tom in despair. "School. School straight on ahead! Why, why do dime stores show things like that in windows before summer's even over! Ruin half the vacation!

I don’t want to talk about me. We never talk about you. I probably don’t know anything about you. He laces his fingers into mine and rests our hands on his stomach. I move my fingertips in tiny circles and he sighs indulgently. “Sure you do. Go on, list everything.” “I know surface things. The color of your shirts. Your lovely blue eyes. You live on mints and make me look like a pig in comparison. You scare three-quarters of B and G employees absolutely senseless, but only because the other quarter haven’t met you yet.” He smirks. “Such a bunch of delicate sissies.” I keep ticking things off. “You’ve got a pencil you use for secret purposes I think relate to me. You dry clean on alternate Fridays. The projector in the boardroom strains your eyes and gives you headaches. You’re good at using silence to scare the shit out of people. It’s your go-to strategy in meetings. You sit there and stare with your laser-eyes until your opponent crumbles.” He remains silent. “Oh, and you’re secretly a decent human being.” “You definitely know more about me than anyone else.” I can feel a tension in him. When I look at his face, he looks shaken. My stalking has scared the ever-loving shit out of him. Unfortunately, the next thing I say sounds deranged. I want to know what’s going on in your brain. I want to juice your head like a lemon.

Writing on Paper A benefit of writing in a paper journal is that the only limitation is the size of the page. Be creative and make the book a reflection of your personality. Besides writing, you can draw or paint, glue in mementos like ticket stubs or photos, use different-colored pens and pencils, and insert letters and notes. You can write sideways or upside down on the page, and doodle in the margins. Writing in the journal can be fun. Your journal can be an expression of your individuality.

The Silver Samarsanda stood above the Jardeen, behind a line of tall pencil cypress: an irregular bulk of masonry, plastered and whitewashed, with a wide, many-slanted roof of mossy tiles. Beside the entrance five colored lanterns hung in a vertical line: deep green, a dark, smoky scarlet, a gay light green, violet, and once more dark scarlet; and at the bottom, slightly to the side, a small, steady yellow lamp, the purport of all being: Never neglect the wonder of conscious existence, which too soon comes to an end!

Life is like a painting. Imagine it, hit and try drawing with the pencil of first steps, fill in the colors of happiness, correct the mistakes with eraser of love and forgiveness; thus, one dream project is accomplished. Create such masterpieces just like that.

Two girls on their stomachs, peering at a cell phone. All soft lines and curves and overlapping limbs. I colored us in with pencils - the brown of Abby's skin, the pink of my cheeks, the dark red of my hair. I drew like I was in a trance. It felt like I'd pinned my heart to the page.

It contained a long, narrow desk with a glass top, and on that…three ceramic beer mugs. They were stuffed with all sorts of things—pencils, rulers, drafting pens. On a tray were erasers, a paperweight, ink remover, old receipts, adhesive tape, paper clips of many colors…a pencil sharpener and postage stamps.

I am always drawn back to places where I have lived, the houses and their neighborhoods. For instance,there is a brownstone in the East Seventies where, during the early years of the war, I had my first apartment. It was one room crowded with attic furniture, a sofa and fat chairs, upholstered in that itchy particular red velvet that one associates with hot days on a tram. The walls were stucco, and a color rather like tobacco-spit. Everywhere, in the bathroom too, there were prints of Roman ruins, freckled brown with age. The single window looked out on a fire escape. Even so, my spirits heightened whenever I felt in my pocket the key to this apartment; with all its gloom, it was still a place of my own, the first, and my books were there, and jars of pencils to sharpen, everything I needed, so I felt, to become the writer I wanted to be. It never occurred to me in those days to write about Holly Golightly, and probably it would not now except for a conversation with Joe Bell that set the whole memory of her in motion again.

I didn’t too sure I understand what Ms. Tia is talking about, or why she is calling her Abroad peoples white and black when colors are for crayons and pencils and things. I know that not everybody is having the same color of skin in Nigeria, even me and Kayus and Born-boy didn’t have same skin color, but nobody is calling anybody black or white, everybody is just calling us by our name: Adunni. Kayus. Born-boy. That’s all.

Her true skin color was a light beige, like the skin of pencil shavings, and was soft as it was when her mother lotioned her before bed every night. Stephanie did not have the memory of those nights, but they were the reason she subconsciously pumped two servings of shea butter before she sleeps. Mothers lived in a child forever, the way their own mothers lived in them. With one mother’s kiss, a child received a recipe made by a thousand seasoned souls—a generation of love transferred in everything a woman did.

How do I describe him now? Where do I start? How do I distill the first impression created in those few distance seconds? How do I extract his finished portrait, composed of layer upon layer of color, back into the pale, hasty pencil sketch that my eyes drew the first time they landed on him? How can I use a mere few lines to paint the whole picture with all its breadth and depth? Is it even possible to attain that sort of scrutiny, that measure of lucidity, when the hands of loss keep touching the memory, staining it with their fingerprints?

And then he's grabbing my hand, and pulling me into a storage room they use for art supplies. And he puts his finger to his lips, and the walls are filled with pads of paper and boxes of colored pencils and jars of paint, and I'm laughing and he shuts the door behind us and leans up against it to stop anyone coming in and like he's trying to get up his nerve now that he's started something, before we've ever gone to the dumplings and the movies— he leans in and kisses me. His lips are cold. The kiss is soft. He has gum in his mouth, and he stops, and giggles nervously, and takes it out and throws it in the trash can, and looks like he feels embarrassed to have kissed me with the gum, but I don't care, and so now I kiss him, and he's tall enough that he has to bend down to get to me, and I put my hand on his neck, which is smooth and warm, and we kiss for a minute in the storage room,and I want to run my hands up his shirt suddenly— but I don't. He pulls away for a second and touches my cheek. “I thought you'd never ask,” he whispers. “I thought I never would either,” I say, “but I did.” “Good job,” he says, and kisses me again.

Blue pencils, blue noses, blue movies, laws, blue legs and stockings, the language of birds, bees and flowers as sung by longshoremen, that lead-like look the skin has when affected by cold, contusion, sickness, fear; the rotten rum or gin they call blue ruin and the blue devils of its delirium; Russian cats and oysters, a withheld or imprisoned breath, the blue they say that diamonds have, deep holes in the ocean and the blazers which English athletes earn that gentlemen may wear; afflictions of the spirit--dumps, mopes, Mondays--all that's dismal--low-down gloomy music, Nova Scotians, cyanosis, hair rinse, bluing, bleach; the rare blue dahlia like the blue moon shrewd things happen only once in, or the call for trumps in whist (but who remembers whist or what the death of unplayed games is like?), and correspondingly the flag, Blue Peter, which is our signal for getting under way; a swift pitch, Confederate money, the shaded slopes of clouds and mountains, and so the constantly increasing absentness of Heaven (ins Blaue hinein, the Germans say), consequently the color of everything that's empty: blue bottles, bank accounts, and compliments, for instance.

Once a transition of value creates an emotion, feeling comes into play. Although they're often mistaken for each other, feeling is not emotion. Emotion is a short-term experience that peaks and burns rapidly. Feeling is a long-term, pervasive, sentient background that colors whole days, weeks, even years of our lives. Indeed, a specific feeling often dominates a personality. Each of the core emotions in life - pleasure and pain - has many variations. So which particular negative or positive emotion will we experience? The answer is found in the feeling that surrounds it. For, like adding pigment to a pencil sketch or an orchestra to a melody, feeling makes emotion specific.

Then eventually Westwood arrived. He looked nothing like Reacher expected, but the reality fit the bill just as well as the preconceptions had. He was an outdoors type, not a lab rat, and sturdy rather than pencil-necked. He looked like a naturalist or an explorer. He had short but unruly hair, fair going gray, and a beard of the same length and color. He was red in the face from sunburn and had squint lines around his eyes. He was forty-five, maybe. He was wearing clothing put together from high-tech fabrics and many zippers, but it was all old and creased. He had hiking boots on his feet, with speckled laces like miniature mountain-climbing ropes. He was toting a canvas bag about as big as a mail carrier’s.

Eyes closed, she imagined the butterflies soaring over the petals, riding the tail of the breeze. She imagined a fairy leading their dance, her wings shimmering in the sun. Then one of the butterflies seemed to come alive in her mind, like a character on the silver screen. Twirling in the sunlight that spilled through the window. She was pale blue, laced with gold, and Libby could see her, inside and out, every detail on her slender body, every color on her wardrobe of wings. Libby released her legs and sprung down onto the rug on her floor. Under her bed was a box with her old sketchbook and colored pencils. She hadn't wanted to draw in a long time. She'd only wanted to be among the flowers and butterflies. But if she couldn't be with her friends, perhaps she could entertain them in her room. The sketchbook in hand, she hopped back on the bed and began drawing the blue butterfly who'd twirled in the lamplight, but her butterfly looked so dull on the paper. Nothing like the butterfly she'd seen moments before. She- Libby Doyle- was a creator, and her creation begged her for more. Rushing to the bathroom, she filled a paper cup with water. In her parents' bedroom were tubes of special paint. And a brush. Mummy once told her she'd kept the paints to remember her father- Libby's granddad- but what better way to remember him than to use his paints to birth another life? 'Life.' She wanted to breathe light and color and life into her friends.

Take a good look at this tomato,” he heard a vaguely familiar-looking woman on the television say, a pencil sticking out from behind her head. “You might not believe you have anything in common with this fruit, but you do. DNA. Up to sixty percent. Now turn and look at the person next to you. Does she look familiar? She may or may not. Still, you and she share even more: ninety-nine point nine percent of your DNA—as you each do with every other human on earth.” She set the tomato down and held up a photograph of Rosa Parks. “That’s why I stand with our leaders of the civil rights movement, including the very brave Rosa Parks. Discrimination based on skin color is not only scientifically ludicrous, it’s also a sign of profound ignorance.

Do you have a piece of paper I could write on?” I jump up too fast. “Sure. Just one? Do you—of course you need something to write with. Sorry. Here.” I grab him a paper from my deskdrawer and one of my myriad pencils, and he uses the first Children of Hypnos book as a flat surface to write on. When I’m sure he’s writing something for me to read right now, I say, “I thought you only needed to do that when other people were around?” He etches one careful line after the next. He frowns, shakes his head. “Sometimes it’s . . . tough to say things. Certain things.” His voice is hardly a whisper. I sit down beside him again, but his big hand blocks my view of the words. He stops writing, leaves the paper there, and stares. Then he hands it to me and looks the other direction. Can I kiss you? “Um,” is a delightfully complex word. “Um” means “I want to say something but don’t know what it is,” and also “You have caught me off guard,” and also “Am I dreaming right now? Someone please slap me.” I say “um,” then. Wallace’s entire head-neck region is already flushed with color, but the “um” darkens it a few shades, and goddammit, he was nervous about asking me and I made it worse. What good is “um” when I should say “YES PLEASE NOW”? Except there’s no way I’m going to say “YES PLEASE NOW” because I feel like my body is one big wired time bomb of organs and if Wallace so much as brushes my hand, I’m going to jump out of my own skin and run screaming from the house. I’ll like it too much. Out of control. No good. I say, “Can I borrow that pencil?” He hands me the pencil, again without looking. Yes, but not right now. I know it sounds weird. Sorry. I don’t think it’ll go well if I know it’s coming. I will definitely freak out and punch you in the face or scream bloody murder or something like that. Surprising me with it would probably work better. I am giving you permission to surprise me with a kiss. This is a formal invitation for surprise kisses. I don’t like writing the word “kiss.” It makes my skin crawl. Sorry. It’s weird. I’m weird. Sorry. I hope that doesn’t make you regret asking. I hand the paper and pencil back. He reads it over, then writes: No regret. I can do surprises. That’s it. That’s it? Shit. Now he’s going to try to surprise me with a kiss. At some point. Later today? Tomorrow? A week from now? What if he never does it and I spend the rest of the time we hang out wondering if he will? What have I done? This was a terrible idea. I’m going to vomit. “Be right back,” I say, and run to the bathroom to curl up on the floor. Just for like five minutes. Then I go back to my room and sit down beside Wallace. As I’m moving myself into position, his hand falls over mine, and I don’t actually jump out of my skin. My control shakes for a moment, but I turn in to it, and everything smooths out. I flip my hand over. He flexes his fingers so I can fit mine in the spaces between. And we sit there, shoulder to shoulder, with our hands resting on the bed between us. It’s not so bad

I am a Painter. I write in Images. I play all day with Color and Materials and Brushes and Pencils. Sometimes I erase in frustration, or cover up with more layers of paint, or scream and redo, or sometimes it just works the first time I do it, but at the end of the day there is always a Story, and that Story becomes part of my Journey. I don't know anyplace in particular as Home, but my Spirit House is wherever I am. I live Wild right under its roof with Hopes and Dreams and Adventure and Risk. My Spirit House has no foundation and floats freely through Time and Space, traveling through all Dimensions without Obstacle. Sometimes it is Lonely to be that Traveler, but then I realize that it is the Story of the Paintings that is my connection to the Earth.

BLUE pencils, blue noses, blue movies, laws, blue legs and stockings, the language of birds, bees, and flowers as sung by longshoremen, that lead-like look the skin has when affected by cold, contusion, sickness, fear; the rotten rum or gin they call blue ruin and the blue devils of its delirium; Russian cats and oysters, a withheld or imprisoned breath, the blue they say that diamonds have, deep holes in the ocean and the blazers which English athletes earn that gentlemen may wear; afflictions of the spirit—dumps, mopes, Mondays—all that’s dismal—low-down gloomy music, Nova Scotians, cyanosis, hair rinse, bluing, bleach; the rare blue dahlia like that blue moon shrewd things happen only once in, or the call for trumps in whist (but who remembers whist or what the death of unplayed games is like?), and correspondingly the flag, Blue Peter, which is our signal for getting under way; a swift pitch, Confederate money, the shaded slopes of clouds and mountains, and so the constantly increasing absentness of Heaven (ins Blaue hinein, the Germans say), consequently the color of everything that’s empty: blue bottles, bank accounts, and compliments, for instance, or, when the sky’s turned turtle, the blue-green bleat of ocean (both the same), and, when in Hell, its neatly landscaped rows of concrete huts and gas-blue flames; social registers, examination booklets, blue bloods, balls, and bonnets, beards, coats, collars, chips, and cheese . . . the pedantic, indecent and censorious . . . watered twilight, sour sea: through a scrambling of accidents, blue has become their color, just as it’s stood for fidelity.

Red Red is the wine, red are the carnations. Red is beautiful. Red flowers and red. Color itself is beautiful. The red color is red. Red is the flag, red the poppy. Red are the lips and the mouth. Red are the reality and the Fall. Red are many Blue Leaves. Yellow Yellow is the sand of the earth. Yellow is the color of the bronze forests. Yellow is the hearts of flowers. Yellow are the asters. Yellow is the meadow. of money. the franc is yellow.–brunette. i have seen a yellow franc. yellow is for example my pencil. Violet The color was rose-red then blue came along and cried viola viola violeta. violet was lovely but only in the sky. quite simply this color was lovely you violet. The cry of violet colors. Blue The Red Color. The Yellow Color. The Dark Green. The Sky ELLENO The Patentender The Pedestal, The Ship. The Rainbow. The Sea The Shoreleaves The Water The Leaf Vein The Kleyf (R) “r.” The Locks + The Lock.

that white is a color. It is not a mere absence of color; it is a shining and affirmative thing, as fierce as red, as definite as black. When, so to speak, your pencil grows red-hot, it draws roses; when it grows white-hot, it draws stars. And one of the two or three defiant verities of the best religious morality, of real Christianity, for example, is exactly this same thing; the chief assertion of religious morality is that white is a color. Virtue is not the absence of vices or the avoidance of moral dangers; virtue is a vivid and separate thing, like pain or a particular smell. Mercy does not mean not being cruel or sparing people revenge or punishment; it means a plain and positive thing like the sun, which one has either seen or not seen. Chastity does not mean abstention from sexual wrong; it means something flaming, like Joan of Arc. In a word, God paints in many colors; but He never paints so gorgeously, I had almost said so gaudily, as when He paints in white.

When I moved to the U.S. at six, I was unrecognizable to my mother. I was angry, chronically dissatisfied, bratty. On my second day in America, she ran out of the room in tears after I angrily demanded that she buy me a pack of colored pencils. You're not you! she sputtered between sobs, which brought me to a standstill. She couldn't recognize me. That's what she told me later, that this was not the daughter she had last seen. Being too young, I didn't know enough to ask: But what did you expect? Who am I supposed to be to you? But if I was unrecognizable to her, she was also unrecognizable to me. In this new country, she was disciplinarian, restrictive, prone to angry outbursts, easily frustrated, so fascist with arbitrary rules that struck me, even as a six-year-old, as unreasonable. For most of my childhood and adolescence, my mother was my antagonist. Whenever she'd get mad, she'd take her index finger and poke me in the forehead. You you you you you, she'd say, as if accusing me of being me. She was quick to blame me for the slightest infractions, a spilled glass, a way of sitting while eating, my future ambitions (farmer or teacher), the way I dressed, what I ate, even the way I practiced English words in the car..She was the one to deny me: the extra dollar added to my allowance; an extra hour to my curfew; the money to buy my friends' birthday presents, so that I was forced to gift them, no matter what the season, leftover Halloween candy. In those early days, we lived so frugally that we even washed, alongside the dishes in the sink, used sheets of cling wrap for reuse. She was the one to punish me, sending me to kneel in the bathtub of the darkened bathroom, carrying my father's Casio watch with an alarm setting to account for when time was up. Yet it was I who would kneel for even longer, going further and further, taking more punishment just to spite her, just to show that it meant nothing. I could take more. The sun moved across the bathroom floor, from the window to the door.

I think you should consider your alternatives." "What alternatives?" "Me." She tilted her head down to hide her smile. "You aren't on the list." "I don't care about the damn list, and I don't care about the game. I want you, Layla. And if I have to leave the office-" "I don't want you to leave the office," she said softly. "I like sharing the space with you. I like being with you. I like that you're caring and protective. I like that you line up your pencils, and color-code your files, and that your shoes are always polished, and your ties are perfectly knotted. I like that you are funny and sarcastic, and some of the best times I've had have been interviewing people with you. I like how loyal you are, even though you support the wrong baseball team. I like that you pretend not to know any movies but you can list almost every horror film ever made. And I like the way you kiss." His face softened and he gave a satisfied smile. "You like my kisses?" "Very much." "What else do you like?" Layla licked her lips. "Take me to your place and I'll show you.

Then eventually Westwood arrived. He looked nothing like Reacher expected, but the reality fit the bill just as well as the preconceptions had. He was an outdoors type, not a lab rat, and sturdy rather than pencil-necked. He looked like a naturalist or an explorer. He had short but unruly hair, fair going gray, and a beard of the same length and color. He was red in the face from sunburn and had squint lines around his eyes. He was forty-five, maybe. He was wearing clothing put together from high-tech fabrics and many zippers, but it was all old and creased. He had hiking boots on his feet, with speckled laces like miniature mountain-climbing ropes. He was toting a canvas bag about as big as a mail carrier’s. He paused inside the door, and identified Chang instantly, because she was the only woman in the place. He slid in opposite, across the worn vinyl, and hauled his bag after him. He put his forearm on the table and said, “I assume your other colleague is still missing. Mr. Keever, was it?” Chang nodded and said, “We hit the wall, as far as he’s concerned. We’re dead-ended. We can trace him so far, but no further.

He's right,you know," Edward was saying almost before I'd made it into my room. I had crept through the house unnecessarily. No one was home. "Your assertions have lost a bit of their value these days, Mr. Willing." "You know," he repeated. I tossed my coat onto the bed. The stark black and white of my quilt was broken by a purple stain now, the result of a peaceful interlude with grape juice turning into a gentle wrestling match.The stain was the size of my palm and shaked like, I thought, an alligator. Alex insisted it was a map of Italy. Later, we'd dripped the rest of the juice onto the thick pages of my drawing pad, finding pictures in the splotches like the Rorschach inkblots used in psychology. "Well," he'd said in response to my pagoda, antheater, and Viking, "verdict's in.You're nuts." The pictures were tacked to my wall, unaccustomed spots of color. I'd penciled in our choices. Viking (E), pineapple (A). Lantern (E), cheese (A). Crown (E), birthday cake (A) were over my desk, over Edward. I turned on my computer. It binged cheerfully at me. I had mail. From: abainbr@thewillingschool.org To: fmarino@thewillingschool.org Date: December 15, 3:50 p.m. Subect: Should you choose to accept... Tuesday. I'll pick you up at 10:00 a.m. Ask no questions. Tell no one. -Alex "Ah, subterfuge" came from over the desk. "Shut up, Edward," I said.

We know nothing about how those earliest known surface glazes themselves were developed. Nevertheless, we can infer the methods of prehistoric invention by watching technologically “primitive” people today, such as the New Guineans with whom I work. I already mentioned their knowledge of hundreds of local plant and animal species and each species’ edibility, medical value, and other uses. New Guineans told me similarly about dozens of rock types in their environment and each type’s hardness, color, behavior when struck or flaked, and uses. All of that knowledge is acquired by observation and by trial and error. I see that process of “invention” going on whenever I take New Guineans to work with me in an area away from their homes. They constantly pick up unfamiliar things in the forest, tinker with them, and occasionally find them useful enough to bring home. I see the same process when I am abandoning a campsite, and local people come to scavenge what is left. They play with my discarded objects and try to figure out whether they might be useful in New Guinea society. Discarded tin cans are easy: they end up reused as containers. Other objects are tested for purposes very different from the one for which they were manufactured. How would that yellow number 2 pencil look as an ornament, inserted through a pierced ear-lobe or nasal septum? Is that piece of broken glass sufficiently sharp and strong to be useful as a knife? Eureka!

I'll bet My. Pinter knows his way around a rifle. She scowled. He probably thought he was a grand shot, anyway. For a man whose lineage was reputedly unsavory, Mr. Pinter was so high in the instep that she privately called him Proud Pinter or Proper Pinter. He'd told Gabe last week that most lords were good for only two things-redistributing funds from their estates into the gaming hells and brothels in London, and ignoring their duty to God and country. She knew he was working for Oliver only because he wanted the money and prestige. Secretly, he held them all in contempt. Which was probably why he was being so snide about her marrying. "Be that as it may," she said, "I'm interested in marriage now." She strode over to the fireplace to warm her hands. "That's why I want you to investigate my potential suitors." "Why me?" She shot him a sideways glance. "Have you forgotten that Oliver hired you initially for that very purpose?" His stiffening posture told her that he had. With a frown, he drew out the notebook and pencil he always seemed to keep in his pocket. "Very well. Exactly what do you want me to find out?" Breathing easier, she left the fire. "The same thing you found out for my siblings-the truth about my potential suitors' finances, their eligibility for marriage, and...well..." He paused in scratching his notes to arch an eyebrow at her. "Yes?" She fiddled nervously with the gold bracelet she wore. This part, he might balk at. "And their secrets. Things I can use in my...er...campaign. Their likes, their weaknesses, whatever isn't obvious to the world." His expression chilled her even with the fire at her back. "I'm not sure I understand." "Suppose you learn that one of them prefers women in red. That could be useful to me. I would wear red as much as possible." Amusement flashed in his eyes. "And what will you do if they all prefer different colors?" "It's just an example," she said irritably.

Catherine broke off as she saw something among the drafts of structures and landscapes and the pages of notes. A pencil sketch of a woman … a naked woman reclining on her side, light hair flowing everywhere. One slender thigh rested coyly over the other, partially concealing the delicate shadow of a feminine triangle. And there was an all-too-familiar pair of spectacles balanced on her nose. Catherine picked up the sketch with a trembling hand, while her heart lurched in hard strikes against her ribs. It took several attempts before she could speak, her voice high and airless. “That’s me.” Leo had lowered to the carpeted floor beside her. He nodded, looking rueful. His own color heightened until his eyes were startlingly blue in contrast. “Why?” she whispered. “It wasn’t meant to be demeaning,” he said. “It was for my own eyes, no one else’s.” She forced herself to look at the sketch again, feeling horribly exposed. In fact, she couldn’t have been more embarrassed had he actually been viewing her naked. And yet the rendering was far from crude or debasing. The woman had been drawn with long, graceful lines, the pose artistic. Sensuous. “You … you’ve never seen me like this,” she managed to say, before adding weakly, “Have you?” A self-deprecating smile touched his lips. “No, I haven’t yet descended to voyeurism.” He paused. “Did I get it right? It’s not easy, guessing what you look like beneath all those layers.” A nervous giggle struggled through her mortification. “If you did, I certainly wouldn’t admit it.” She put the sketch onto the pile, facedown. Her hand was shaking. “Do you draw other women this way?” she asked timidly. Leo shook his head. “I started with you, and so far I haven’t moved on.” Her flush deepened. “You’ve done other sketches like this? Of me unclothed?” “One or two.” He tried to look repentant. “Oh, please, please destroy them.” “Certainly. But honesty compels me to tell you that I’ll probably only do more. It’s my favorite hobby, drawing you naked.” Catherine moaned and buried her face in her hands. Her voice slipped out between the tense filter of her fingers. “I wish you would take up collecting something instead.

Christine's heart is thumping wildly. She lets herself be led (her aunt means her nothing but good) into a tiled and mirrored room full of warmth and sweetly scented with mild floral soap and sprayed perfumes; an electrical apparatus roars like a mountain storm in the adjoining room. The hairdresser, a brisk, snub-nosed Frenchwoman, is given all sorts of instructions, little of which Christine understands or cares to. A new desire has come over her to give herself up, to submit and let herself be surprised. She allows herself to be seated in the comfortable barber's chair and her aunt disappears. She leans back gently, and, eyes closed in a luxurious stupor, senses a mechanical clattering, cold steel on her neck, and the easy incomprehensible chatter of the cheerful hairdresser; she breathes in clouds of fragrance and lets aromatic balms and clever fingers run over her hair and neck. Just don't open your eyes, she thinks. If you do, it might go away. Don't question anything, just savor this Sundayish feeling of sitting back for once, of being waited on instead of waiting on other people. Just let our hands fall into your lap, let good things happen to you, let it come, savor it, this rare swoon of lying back and being ministered to, this strange voluptuous feeling you haven't experienced in years, in decades. Eyes closed, feeling the fragrant warmth enveloping her, she remembers the last time: she's a child, in bed, she had a fever for days, but now it's over and her mother brings some sweet white almond milk, her father and her brother are sitting by her bed, everyone's taking care of her, everyone's doing things for her, they're all gentle and nice. In the next room the canary is singing mischievously, the bed is soft and warm, there's no need to go to school, everything's being done for her, there are toys on the bed, though she's too pleasantly lulled to play with them; no, it's better to close her eyes and really feel, deep down, the idleness, the being waited on. It's been decades since she thought of this lovely languor from her childhood, but suddenly it's back: her skin, her temples bathed in warmth are doing the remembering. A few times the brisk salonist asks some question like, 'Would you like it shorter?' But she answers only, 'Whatever you think,' and deliberately avoids the mirror held up to her. Best not to disturb the wonderful irresponsibility of letting things happen to you, this detachment from doing or wanting anything. Though it would be tempting to give someone an order just once, for the first time in your life, to make some imperious demand, to call for such and such. Now fragrance from a shiny bottle streams over her hair, a razor blade tickles her gently and delicately, her head feels suddenly strangely light and the skin of her neck cool and bare. She wants to look in the mirror, but keeping her eyes closed in prolonging the numb dreamy feeling so pleasantly. Meanwhile a second young woman has slipped beside her like a sylph to do her nails while the other is waving her hair. She submits to it all without resistance, almost without surprise, and makes no protest when, after an introductory 'Vous etes un peu pale, Mademoiselle,' the busy salonist, employing all manner of pencils and crayons, reddens her lips, reinforces the arches of her eyebrows, and touches up the color of her cheeks. She's aware of it all and, in her pleasant detached stupor, unaware of it too: drugged by the humid, fragrance-laden air, she hardly knows if all this happening to her or to some other, brand-new self. It's all dreamily disjointed, not quite real, and she's a little afraid of suddenly falling out of the dream.

The opponent seemed to shift slightly in the seat. His index finger tapped a card, just a couple strokes. There it was the card that ruined his hand. Her hazel eyes release the player across from her to steal a glance registering the emotion of observers around the table then to her best friend. Sophie looks like a Nervous Nelly-she, always worries. She knows the girl will put too much emphasis on a lost hand. The striking man with his lusty brown eyes tries to draw Sophie closer. Now that he has folded and left the game, he is unnecessary, and the seasoned flirt easily escapes his reach. He leaves with a scowl; Sophie turns and issues knowing wink. Ell’s focus is now unfettered, freeing her again to bring down the last player. When she wins this hand, she will smile sweetly, thank the boys for their indulgence, and walk away $700 ahead. The men never suspected her; she’s no high roller. She realizes she and Sophie will have to stay just a bit. Mill around and pay homage to the boy’s egos. The real trick will be leaving this joint alone without one of them trying to tag along. Her opponent is taking his time; he is still undecided as to what card to keep—tap, tap. He may not know, but she has an idea which one he will choose. He attempts to appear nonchalant, but she knows she has him cornered. She makes a quick glance for Mr. Lusty Brown-eyes; he has found a new dame who is much more receptive than Sophie had been. Good, that small problem resolved itself for them. She returns her focuses on the cards once more and notes, her opponent’s eyes have dilated a bit. She has him, but she cannot let the gathering of onlookers know. She wants them to believe this was just a lucky night for a pretty girl. Her mirth finds her eyes as she accepts his bid. From a back table, there is a ruckus indicating the crowd’s appreciation of a well-played game as it ends. Reggie knew a table was freeing up, and just in time, he did not want to waste this evening on the painted and perfumed blonde dish vying for his attention. He glances the way of the table that slowly broke up. He recognizes most of the players and searches out the winner amongst them. He likes to take on the victor, and through the crowd, he catches a glimpse of his goal, surprised that he had not noticed her before. The women who frequent the back poker rooms in speakeasies all dress to compete – loud colors, low bodices, jewelry which flashes in the low light. This dame faded into the backdrop nicely, wearing a deep gray understated yet flirty gown. The minx deliberately blended into the room filled with dark men’s suits. He chuckles, thinking she is just as unassuming as can be playing the room as she just played those patsies at the table. He bet she had sat down all wide-eyed with some story about how she always wanted to play cards. He imagined she offered up a stake that wouldn’t be large but at the same time, substantial enough. Gauging her demeanor, she would have been bold enough to have the money tucked in her bodice. Those boys would be eager after she teased them by retrieving her stake. He smiled a slow smile; he would not mind watching that himself. He knew gamblers; this one was careful not to call in the hard players, just a couple of marks, which would keep the pit bosses off her. He wants to play her; however, before he can reach his goal, the skirt slips away again, using her gray camouflage to aid her. Hell, it is just as well, Reggie considered she would only serve as a distraction and what he really needs is the mental challenge of the game not the hot release of some dame–good or not. Off in a corner, the pit boss takes out a worn notepad, his meaty hands deftly use a stub of a pencil to enter the notation. The date and short description of the two broads quickly jotted down for his boss Mr. Deluca. He has seen the pair before, and they are winning too often for it to be accidental or to be healthy.

Despite an icy northeast wind huffing across the bay I sneak out after dark, after my mother falls asleep clutching her leather Bible, and I hike up the rutted road to the frosted meadow to stand in mist, my shoes in muck, and toss my echo against the moss-covered fieldstone corners of the burned-out church where Sunday nights in summer for years Father Thomas, that mad handsome priest, would gather us girls in the basement to dye the rose cotton linen cut-outs that the deacon’s daughter, a thin beauty with short white hair and long trim nails, would stitch by hand each folded edge then steam-iron flat so full of starch, stiffening fabric petals, which we silly Sunday school girls curled with quick sharp pulls of a scissor blade, forming clusters of curved petals the younger children assembled with Krazy glue and fuzzy green wire, sometimes adding tissue paper leaves, all of us gladly laboring like factory workers rather than have to color with crayon stubs the robe of Christ again, Christ with his empty hands inviting us to dine, Christ with a shepherd's staff signaling to another flock of puffy lambs, or naked Christ with a drooping head crowned with blackened thorns, and Lord how we laughed later when we went door to door in groups, visiting the old parishioners, the sick and bittersweet, all the near dead, and we dropped our bikes on the perfect lawns of dull neighbors, agnostics we suspected, hawking our handmade linen roses for a donation, bragging how each petal was hand-cut from a pattern drawn by Father Thomas himself, that mad handsome priest, who personally told the Monsignor to go fornicate himself, saying he was a disgruntled altar boy calling home from a phone booth outside a pub in North Dublin, while I sat half-dressed, sniffing incense, giddy and drunk with sacrament wine stains on my panties, whispering my oath of unholy love while wiggling uncomfortably on the mad priest's lap, but God he was beautiful with a fine chiseled chin and perfect teeth and a smile that would melt the Madonna, and God he was kind with a slow gentle touch, never harsh or too quick, and Christ how that crafty devil could draw, imitate a rose petal in perfect outline, his sharp pencil slanted just so, the tip barely touching so that he could sketch and drink, and cough without jerking, without ruining the work, or tearing the tissue paper, thin as a membrane, which like a clean skin arrived fresh each Saturday delivered by the dry cleaners, tucked into the crisp black vestment, wrapped around shirt cardboard, pinned to protect the high collar.

1. Give your toddler some large tubular pasta and a shoelace.  Show her how to thread the shoelace through the pasta. 2. Take an empty long wrapping paper tube and place one end on the edge of the sofa and the other end on the floor.  Give him a small ball such as a Ping Pong ball to roll down the tube.   3. Give her some individually wrapped toilet tissues, some boxes of facial tissue or some small tins of food such as tomato paste.  Then let her have fun stacking them.     4. Wrap a small toy and discuss what might be inside it.  Give it to him to unwrap. Then rewrap as he watches.  Have him unwrap it again.    5. Cut  such fruits as strawberries and bananas into chunks.  Show her how to slide the chunks onto a long plastic straw.  Then show her how you can take off one chunk at a time, dip it into some yogurt and eat it.   6. Place a paper towel over a water-filled glass.  Wrap a rubber band around the top of the glass to hold the towel in place.  Then place a penny on top of the paper towel in the centre of the glass.  Give your child a pencil to poke holes in the towel until the penny sinks to the bottom of the glass.   7. You will need a small sheet of coarse sandpaper and various lengths of chunky wool.  Show him how to place these lengths of wool on the sandpaper and how the strands stick to it.   8. Use a large photo or picture and laminate it or put it between the sheets of clear contact paper.  Cut it into several pieces to create a puzzle.   9. Give her two glasses, one empty and one filled with water.  Then show her how to use a large eyedropper in order to transfer some of the water into the empty glass.   10. Tie the ends/corners of several scarves together.  Stuff the scarf inside an empty baby wipes container and pull a small portion up through the lid and then close the lid.  Let your toddler enjoy pulling the scarf out of the container.   11. Give your child some magnets to put on a cookie sheet.  As your child puts the magnets on the cookie sheet and takes them off, talk about the magnets’ colours, sizes, etc.   12. Use two matching sets of stickers. Put a few in a line on a page and see if he can match the pattern.  Initially, you may need to lift an edge of the sticker off the page since that can be difficult to do.    13. You will need a piece of thin Styrofoam or craft foam and a few cookie cutters.  Cut out shapes in the Styrofoam with the cookie cutters and yet still keep the frame of the styrofoam intact.  See if your child can place the cookie cutters back into their appropriate holes.        14. Give her a collection of pompoms that vary in colour and size and see if she can sort them by colour or size into several small dishes. For younger toddlers, put a sample pompom colour in each dish.   15. Gather a selection of primary colour paint chips or cut squares of card stock or construction paper.  Make sure you have several of the same colour.  Choose primary colours.  See if he can match the colours.  Initially, he may be just content to play with the colored chips stacking them or making patterns with them.

This Girl I Knew Glasses, bad bangs, patched blue jeans, creek-stained tennis shoes caked in mud, a father who sells vacuum cleaners, a mother skinny as a nun, a little brother with straw-colored hair and a scowling, confused look in the pews at church: this girl I knew. House at the edge of town, crumbling white stucco. Dog on a chain. Weeds. Wildcat Creek trickling brown and frothy over rocks out back, past an abandoned train trestle and the wreck of an old school bus left to rot. This girl I knew, in whatever room is hers, in that house with its dust-fogged attic windows, its after-dinner hours like onions soft in a pan. Her father sometimes comes for her, runs a hand through her hair. Her mother washes every last stick of silverware, every dish. The night sky presses down on their roof, a long black yawn spiked with stars, bleating crickets. The dog barks once, twice. Outside town, a motorcycle revs its engine: someone bearing down. Then nothing. Sleep. This girl I knew dreams whatever this girl I knew dreams. In the morning it’s back to school, desks, workbooks, an awkwardly held pencil in the cramped claw of a hand. The cigarette and rosewater scent of Ms. Thompson at the blackboard. The flat of Ms. Thompson’s chest, sunburned and freckled, where her sweater makes a V. You should be nice to her, my mother says about this girl I knew. I don’t want to be nice to her, I say to my mother. At recess this girl I knew walks around the playground, alone, talking to herself: elaborate conversations, hand gestures, hysterical laughing. On a dare from the other girls this girl I knew picks a dandelion, pops its head with her thumbnail, sucks the milky stem. I don’t want to be nice to her. Scabbed where she’s scratched them, mosquito bites on her ankles break and bleed. Fuzzy as a peach, the brown splotch of a birthmark on her arm. The way her glasses keep slipping down her nose. The way she pushes them up.

It will produce branches and bear fruit and become a splendid cedar….” —Ezekiel 17:23 (NIV) I e-mailed my siblings: “Prayers appreciated for a talk I’m giving on Thursday afternoon.” Several responded, relaying the sentiment “God is with you, and so are we.” At the appointed hour, I encouraged participants to compare their prayers to trees. I displayed photographs and artists’ renderings of gnarly olive trees, weeping willows, deserted palms, orange-laden orchards…. I handed out colored pencils and suggested they draw a tree that represented their recent prayers. “Imagine Jesus as the trunk—the core ‘vine’—and your prayers as the branches. Then consider the big picture: Whom is your prayer tree shading or protecting? Where is it in the seasonal cycles—producing hopeful spring blossoms or mature fruit? Do your prayer-branches reach for the sky in praise or bend close to the ground with requests? Is your tree in a solitary setting, or do you prefer praying when you’re surrounded by peers, as in a grove?” Eventually I asked them to explain their pictures. A husband had sketched two leafy trees side by side, representing his prayers with his wife. A mother had envisioned a passel of umbrella-shaped twigs, symbolizing parental prayers of protection. When I was packing up, a woman who’d held back earlier showed me a nearly hidden detail of her flourishing tree. At the base of the trunk, underneath grassy cover, she’d outlined deep roots. “They represent the grounding of my family, my upbringing.” “Oh my!” I smiled. “You introduced a whole new dimension.” I drove home with a revitalized prayer—like limbs stretching upward with thanksgiving—for my natal family and many others who have enriched my relationship with God. Lord, thank You for the grounding of my faith through my family and the family of God. —Evelyn Bence Digging Deeper: Ps 103:17–18; Prv 22:6

When we got down to business, Putin continued to insist that our plans were aimed at Russia because Iran was not a near-term threat to either the United States or Europe. He shared with us a map featuring circles that showed the ranges of different Iranian missiles and the few countries they could reach. He said the circles, which appeared to be hand-drawn with a grammar school compass and colored pencils, represented the best estimates of Russian intelligence. I flippantly told him he needed a new intelligence service. He was not amused.

What did I really appreciate getting when I was deployed? Believe it or not, coloring books and colored pencils. Coloring is very calming. Sometimes I’d do it at night when I couldn’t sleep, and I’d share them with other people, and we’d all color.

colored pencils to fill in blank spaces. Being

Brennan’s contribution to The Wedding Night (March 8, 1935), starring Gary Cooper and Anna Sten—the Russian beauty Samuel Goldwyn was promoting as the next European import to rival Greta Garbo and Marlene Dietrich—was of a different order. The anxious producer, worried about Sten’s accent (even though she was playing a Polish American), began to take notice of Brennan in a seemingly forgettable role he nevertheless freshened with his rapid-fire delivery. Brennan is Bill Jenkins, a cackling Connecticut cab driver, spitting tobacco juice (actually licorice) and showing the tobacco fields to Tony Barrett (Gary Cooper), an alcoholic writer modeled on F. Scott Fitzgerald and trying to dry out in a country hideaway. Goldwyn had been much impressed with the velocity of dialogue in It Happened One Night (February 23, 1934) and wanted his actors to perform at the same screwball speed. Brennan manages this feat more deftly than the picture’s ostensible stars, although Cooper perks up when doing scenes with Brennan. Unfortunately Sten did not the have the same opportunity. “I never even met Anna Sten,” Brennan told biographer Carol Easton. When Jenkins drives up to deliver a telegram to Barrett, walking along the road, neither the writer nor Jenkins has a pencil to use to reply to Barrett’s wife, who wants him to return to the city. So Barrett simply gives a verbal response: “My work won’t let me. Love Tony.” Jenkins repeats the message twice to fix it in his mind, but as soon as he drives off the message gets garbled: “My love won’t work me.” He tries again: “My work won’t love me.” Not satisfied, he begins again: “My work won’t love me.” In frustration, he spits, and says, “Gosh, I’m losin’ my memory.” His role is inconsequential, and yet so necessary to the local color that director King Vidor works Brennan into a scene whenever he can. Brennan would have made his character even more authentic if Goldwyn had not complied with a request from the Breen Office, the enforcers of the Production Code, that Brennan’s use of “damn” and “hell” be cut from the film.

The beauty of inflections Or the beauty of innuendoes, The blackbird whistling Or just after. I begged him, “Miguel, write! Write something! Try!” He hadn’t written a thing for months, he rarely had his homework, and in class he couldn’t sit still. Miguel was immensely confident, capable of unusual, interesting thought, yet lazy and disorganized, angry and socially awkward. He often drew while other children wrote, but he wasn’t very good at it, and what he drew upset me. “May I see?” Miguel had scrunched his drawing in a corner of the page. It was typically sloppy and mostly indecipherable. There were scratchy men with limbs that didn’t bend, and there were guns and bombs. At least he had a bird, an eagle decently drawn, but even it was bleeding from the heart. There were blotches of explosion and lots of smudgy death, not the joyful ruin happy children draw, no flashing zigzag lines and gaudy color. “Oh, Miguel,” I sighed. “Why are your pictures always so violent?” He smiled, happy to be noticed, and continued drawing. We had had this conversation many times before. “It worries me, Miguel. It makes me feel like you’re not happy.” “Oh, I’m happy, Mr. Swope. I just like drawing violence, that’s all.” I knew him well enough to say, “This picture makes me think you’re going to grow up and be a mass murderer, Miguel, and I think you can do a little better than that.” Miguel giggled as he kept on drawing. “Do me a favor. Stop drawing and try to write. Write at least one way of looking at a tree, okay? You can do this.” “Okay,” he said, and cheerfully pulled out his writing folder. It grows big but he is small although big things are happening inside.    MIGUEL There are no euphonies here, and even though his poem isn’t perfectly clear, it has some interesting innuendo going on, a lot of promise. I gave it a Good!!! But it’s hard to know what I responded to—the poem itself, or the boy behind it; my student as he was, or as I wanted him to be.

But also because the London I paint is colored by the pencil I hold, and the pencil I hold wants a picture with an ending we can all bear. Malcolm

For the benefit of kids, "chart art" pulls them away from electronic screens, both big and small. They can enjoy pencils and colors in their hands, while they create pictures that evolve on paper. "Griddles" will get their thought process going, along with problem solving, and discovery - not to mention hand-eye coordination and motor development. It's also a learning tool for numbers and letters on the printed page

Color is gradually applied, or layered, dark to light (on a white or light-colored surface), building increasingly complex values, hues and textures. Although every colored pencil type works well with layering, harder pencils have a slight edge over the softer varieties because the points maintain their sharpness longer.

the address before moving on to the next letter, dated February of 1935. Her first words were to ask why he had never written to her. She supposed that he was very busy, or that the letter might have been lost in the post. She wrote her address again in large letters decorated with colored pencils and lined with tiny blue flowers. She was doing well and enjoying her life in London. The letter was short. She asked that he write back again at the end and that he might even come to see her that summer. He lay back on the bed, staring up at the ceiling and thinking of her as she wrote the letter. He ripped open the next envelope. This letter was only a few words. May 12, 1935 Dear Christopher, Please reply to this. I am worried. I can’t come back to see you but wish that I could. Your father told me that you are trying to move on, but please just let me know that you are all right, that you don’t hate me.

BIC, a French company initially started with all kinds of writing products, i.e., pencils and other stationery products like ballpoint pens, markers, colors etc. But later on, they shifted from paper products to other unrelated products vis-à-vis stationery items. They started producing razors, lighters, perfumes, etc.

Lauren Finch is pretty. Not just because she has good skin and the right clothes. She has the right everything. She’s universally appealing. Her nose is tiny, her eyebrows are close to her eyes, and everything about her is bright and brilliant, like someone turned up the highlights on her real-life filter. She doesn’t have to wonder if guys will like her because of her race. Nobody will tell her she’s “pretty, for a white girl.” She’s just pretty, period. I don’t stand a chance. Because I will never be bright and brilliant like Lauren. I have pale skin and dark hair, and my eyes are too small. She’s colors and candy; I’m pencils and smudges.

A formless blob begins to morph and then evolves into a humanoid shape. A male body is revealed to her. A twenty-year-old man that looks a bit older than her, but no more than a few years at most. He has pale skin but a tan pigmentation to his dermal membrane, similarly to those who have descended from Hispanic or Spanish heritage. His eyes are heterochromatic, gleaming like gems in this uncanny realm. Identical to the eyes of her beloved cat: one shines with the radiance of a sapphire, while the other glows with a fiery dissimilarity, resembling a diametrical ruby. Somehow, though different in color, the blankness of his eyes are far from antithetical to the pair that were painted in the picture of her dream from days ago, that seemed to have come right out of a Dalí painting. Invoking the memory of the dead-eyed stare that continually to haunts her. He is very handsome with a large forehead, and slick ebony hair. His eyebrows are incredibly expressive, as if they were sketched on with a pencil. And he had a teardrop mole underneath his right eye. He had long eyelashes and a porcelain doll mouth. He is adorned in all white: a long-sleeved white sweater with white pants and a pair of white combat boots. Although he has manifested himself in such a beautiful form, Juniper doesn't feel any attraction towards him. When she blushes, it is only from humiliation. Their eyes are locked together in an encumbrance of space-time.

Here's today our topic is how to draw a sketch and which application is the best for this purpose? So let's start with one of the best applications."Pencil sketch" is the best application for this purpose. You can easily make pictures with the help of this application and this application makes your pictures as real. It’s not easy to make a drawing or real pencil sketch of your face with the help of hand but, Now use this application pencil sketch photo editor, photo sketch app & sparkle effect make outstanding simple or coloring photo sketch on one single click. Pencil sketch photo editor, photo to sketch & sparkle effect best tool to convert your Wonderful pictures into pencil sketch photo editor, photo to sketch, or colorful outline sketches.

She picked out the most delicious food she could find, brought it home. She’d gotten things that were meaningful, that would connect with this magical time she’d had in the Camargue. Coquilles St. Jacques, glistening pink with the red roe still attached; small local crabs, just like the favouilles they’d seen last night; pencil-thin stalks of asparagus, as green as the fields all around the Manade; delicate squash blossoms, to be stuffed with a duxelles of mushrooms and herbs, the color bright saffron, reminiscent of the garland of flowers painted in the Dempseys’ kitchen.

Other Kinds of Fun LARGE MOTOR SKILLS ♦  Take a walk on a balance beam, along the curb, or even down a line on the sidewalk. ♦  Play catch (start with a large, slightly deflated ball). ♦  Jump over things (anything more than a few inches, though, will be too high for most kids this age). ♦  Throw, kick, roll, and toss balls of all sizes. ♦  Ride a tricycle. ♦  Spin around till you drop. ♦  Pound, push, pull, and kick. ♦  Make music using drums, xylophones, flutes, and anything else you have handy. ♦  Play Twister. SMALL MOTOR SKILLS ♦  Puzzles (fewer than twenty pieces is probably best). You might even want to cut up a simple picture from a magazine and see whether your toddler can put it back together. ♦  Draw on paper or with chalk on the sidewalk. ♦  Sculpt with clay or other molding substance. ♦  Finger paint. ♦  Play with string and large beads. ♦  Pour water or sand or seeds from one container to another. ♦  Get a big box (from a dishwasher or refrigerator), then build, paint and decorate a house together. THE BRAIN ♦  Matching games. ♦  Alphabet and number games (put colorful magnetic letters and numbers on the fridge and leave them low enough for the child to reach). ♦  Lots of dress-up clothes. ♦  Dolls of all kinds (including action figures). ♦  Pretending games with “real” things (phones, computer keyboards). ♦  Imaginary driving trips where you talk about all the things you see on the road. Be sure to let your toddler drive part of the way. ♦  Sorting games (put all the pennies, or all the triangles, or all the cups together). ♦  Arranging games (big, bigger, biggest). ♦  Smelling games. Blindfold your toddler and have him identify things by their scent. ♦  Pattern games (small-big/small-big). ♦  Counting games (How many pencils are there?). A FEW FUN THINGS FOR RAINY DAYS (OR ANYTIME) ♦  Have pillow fights. ♦  Make a really, really messy art project. ♦  Cook something—kneading bread or pizza dough is especially good, as is roasting marshmallows on the stove (see pages 214–20 for more). ♦  Go baby bowling (gently toss your toddler onto your bed). ♦  Try other gymnastics (airplane rides: you’re on your back, feet up in the air, baby’s tummy on your feet, you and baby holding hands). ♦  Dance and/or sing. ♦  Play hide-and-seek. ♦  Stage a puppet show. ♦  If it’s not too cold, go outside, strip down to your underwear, and paint each other top-to-bottom with nontoxic, water-based paints. Otherwise, get bundled up and go for a long, wet, sloppy, muddy stomp in the rain. If you don’t feel like getting wet, get in the car and drive through puddles.

An administrator at a middle school in New Haven, Connecticut, began a professional development activity by writing the reasons teachers gave for sending a student to the office on the blackboard. He then went down the list with the group and asked whether they felt the infractions listed were legitimate reasons for referring a student to the principal’s office for punishment. In a public setting with their colleagues present, no one would defend sending a student to the office for chewing gum, wearing a hat, or forgetting to bring a pencil. Yet, these and other minor infractions were the reasons given on the bulk of the referrals. He pointed out that Black and Latino boys received over 80 percent of these referrals; and he engaged the staff in a discussion of the implications of these practices. Holding educators accountable for racial imbalances in discipline need not result in finger-pointing or recriminations about racist intentions that cannot be proved. However, if educators are going to reduce the disproportionate discipline meted out to poor children of color, they must accept responsibility for racial disparities in discipline patterns. Analyzing their approaches to maintaining order can help educators to identify alternative methods for producing positive learning environments. Alternatives are essential if schools are to stop using discipline as a strategy for weeding out those they deem undesirable or difficult to teach and instead to use discipline to reconnect students to learning.

Lauren Finch is pretty. Not just because she has good skin and the right clothes. She has the right everything. She's universally appealing. Her nose is tiny, her eyebrows are close to her eyes, and everything about her is bright and brilliant, like someone turned up the highlights on her real-life filter. She doesn't have to wonder if guys like her because of her race. Nobody will tell her she's "pretty, for a white girl." She's just pretty, period. I don't stand a chance. Because I will never be bright and brilliant like Lauren. I have pale skin and dark hair, and my eyes are too small. She's colors and candy; I'm pencils and smudges.

Lauren Finch is pretty. Not just because she has good skin and the right clothes. She has the right everything. She's universally appealing. Her nose is tiny, her eyebrows are close to her eyes, and everything about her is bright and brilliant, like someone turned up the highlights on her real-life filter. She doesn't have to wonder if guys like her because of her race. Nobody will tell her she's "pretty, for a white girl." She's just pretty, period. I don't stand a chance. Because I will never be bright and brilliant like Lauren. I have pale skin and dark hair, and my eyes are too small. She's colors and candy; I'm pencils and smudges.

One week before my wedding day, upon returning to my hotel room with a tube of borrowed toothpaste, I find a small bird waiting inside the area called the antechamber and know within moments it is my grandmother. I recognize the glittering, hematite eyes, the expression of cunning disapproval. The odor of a gym at close of day encircles her. What is the Internet? the bird says, does not say. Her head is the color of warning: sharp curve, yield-yellow. The eyes on either side of the Cro-Magnon crown are lined the way hers were in shoddy cornflower pencil as if to say, Really look, here. Her hair, that had throughout her life hurled silvery messages skyward, has been replaced by orderly, navy stripes that emanate down her pate like ripples in silk. Under the beak where her unpronounced chin would have been, four regal feathers pose, each marked by an ebony dot. She hovers inches above the sofa’s back, chastened and restless by her new form. The toothpaste lands with a dull thud on the carpet. I’m silent when stunned. No getting me to talk. What is the Internet? my grandmother the bird insists, speaking as if we are in the middle of a conversation, which, in a way, we are. She had called to ask this question ten years before. At the time I considered explaining the technological phenomenon, but she was so old.

Preassessment Sit comfortably. Take a few deep breaths, relax, and answer the following questions in writing. Where is your self-esteem lately? Some answer this simply, as in low, medium, or high, or on a scale from 1 to 10. For some, responses are more complex. For instance, you might note that your self-esteem, in truth, fluctuates, or that, although you are growing stronger, you still struggle with mistakes you make or have made, or with expectations you or others have. There is power and courage in honestly acknowledging what is. Just observe where you are now, without judging yourself or wondering what others might think. How did your family of origin contribute, for good and bad, to your self-esteem? What have you learned to do to increase your self-esteem? What, if anything, can make you inferior as a person? What, if anything, can make you superior as a person? Using an artistic medium—colored pens or pencils, paint, crayons, finger paints, and so forth—draw your opinion of yourself on a separate sheet of paper. There is something revealing and almost magical in expressing without words how you experience yourself. The answers to questions three, four, and five especially can provide insight into what can ultimately strengthen self-esteem, although not in the ways most people think. Did you notice that the very things that raise self-esteem can also threaten it? For example, if getting a raise at work lifts your self-esteem, does failing to get a promotion cause it to fall? If a compliment makes you feel superior, does criticism make you feel inferior? If love raises self-esteem, does a relationship that does not work well destroy it? Many assume that we get value from what we do; from skills, talents, and character traits; or from acceptance from others. While all of these are desirable, I suggest that none of these make good first steps for self-esteem building. Where, then, does human value come from?

Yes,” I call. “Sky,” the receptionist says quietly. I pick up the handset. “Yes,” I say again. “What’s up?” “There’s a really hunky guy standing in front of me, and he’s asking for you,” she whispers into the phone. What hunky guy would be asking about me? “What does he look like?” “He’s about six two,” she starts. “Six three,” I hear someone say. “Oh, six three,” she says. “He’s a big one.” She giggles. My heart jumps. “What color is his hair?” “Blond. And long.” It’s Matt. Oh shit. It’s Matt. “I’ll be right there,” I say. But my heart is thumping like crazy. What is Matt doing here? I hunt around under my desk for my shoes and slide them on. Then I straighten my skirt and run a hand down my hair to smooth it. A minute ago, I had it held up with a pencil. It’s just Matt, I tell myself. It’s Matt. “Do you want me to send him back?” the receptionist asks. She laughs again. “Or I can just keep him?” Definitely not. He’s mine. “I’ll be right there,” I repeat. I look down at my business suit. I hope I look all right. I guess it’s too late now to worry about it. I walk into the reception area and find Matt leaning against the glass doorway. He turns to face me and smiles. “Hi,” he says quietly. I walk toward him, my legs shaky. “What are you doing here?” I ask, but I’m grinning, too. I stop in front of him, one move short of leaning into him for a hug. The receptionist is watching really closely. “I came to see if you want to go to lunch.” He shrugs. He’s wearing black jeans and lace-up boots. A black T-shirt is stretched across his broad chest, and it’s tucked neatly into his jeans. I can see his tattoos. A piece of hair has fallen from his ponytail, and I want to reach up and tuck it behind his ear. “How did you find out where I work?” I ask. I motion for him to follow me. Thank you, I mouth at the receptionist, and she winks at me and gives me a thumbs-up. I shake my head, and Matt walks quietly behind me. “I texted Seth,” he says. “Traitor,” I say, but inside, I’m thrilled. “Did I come at a bad time?” he asks. He looks down at his wrist, even though there’s no watch on it. “I can come back later.” “No, no.” I don’t want him to leave. Ever. I lean against the edge of my desk. “I’m glad you’re here.” His voice is deep and soft when he responds. “I’ve been thinking about you all morning.” He shrugs, looking a little sheepish. “So I figured I’d drop by. I totally understand if you’re too busy, though.” He looks into my eyes. “I might cry if you send me away, but I’ll go.” I’m not going to send him away. Not a chance. “I don’t want you to go,” I say. He grins. “Good.” He looks around my office. “Do you have time for lunch?” “Oh!” I cry. “I thought you were just going to stand there and let me look at you. You actually want to go somewhere?” He laughs. “Yeah. I told you. I’m going to make you fall in love with me. Lunch is step one.” “What’s step two?” I ask impulsively. “If I told you, it wouldn’t work.” I nod. I want it to work. “Don’t tell me.” “Guy’s got to have some secrets.

DEDICATION For Halle. The coolest Mudblood I know. Consider this your Hogwarts letter.