Colour Blindness Quotes

We are all equal in the fact that we are all different. We are all the same in the fact that we will never be the same. We are united by the reality that all colours and all cultures are distinct & individual. We are harmonious in the reality that we are all held to this earth by the same gravity. We don't share blood, but we share the air that keeps us alive. I will not blind myself and say that my black brother is not different from me. I will not blind myself and say that my brown sister is not different from me. But my black brother is he as much as I am me. But my brown sister is she as much as I am me.

And a face above mine, white and beautiful, eyes as large as the moon. You saved me. A hand on my cheek, cool and dry. Why did you save me? Words welling up on a tide: No, the opposite. Eyes the colour of a dawn sky, a crown of blond hair, so bright and white and blinding I could swear it was a halo.

It's not blind people who are blind - It's those racist arseholes who see a colour with their eyes wide open, then have a fucking problem with it

The mind is an incredibly complex machine, Stuart. Nobody fully understands the workings of it. Everyone has their own perception of the lives they lead and the environment in which they live them. For most of us, the perceptions are complimentary, so we accept reality as a collective experience. For instance, who is to say you see the colour of this t-shirt in the same way I do. We both perceive it as green, but whether or not we see the same colour, we can’t say. It doesn’t matter though as long as we all agree. Nevertheless, if a person comes in and says my t-shirt is red and everyone else says it is green then we have to question his or her perception of my t-shirt. There has to be a reason why their perception is different to ours. Of course, in that case, we would suspect colour blindness, a condition in which the receptors in the eye send erroneous signals to the brain. For whatever reason, Stuart, we are all seeing green, but you see red. We need to find out what is causing your brain to do that.

The half-circle of blinding turquoise ocean is this love’s primal scene. That this blue exists makes my life a remarkable one, just to have seen it. To have seen such beautiful things. To find oneself placed in their midst. Choiceless. I returned there yesterday and stood again upon the mountain.

The downfall of the attempts of governments and leaders to unite mankind is found in this- in the wrong message that we should see everyone as the same. This is the root of the failure of harmony. Because the truth is, we should not all see everyone as the same! We are not the same! We are made of different colours and we have different cultures. We are all different! But the key to this door is to look at these differences, respect these differences, learn from and about these differences, and grow in and with these differences. We are all different. We are not the same. But that's beautiful. And that's okay.In the quest for unity and peace, we cannot blind ourselves and expect to be all the same. Because in this, we all have an underlying belief that everyone should be the same as us at some point. We are not on a journey to become the same or to be the same. But we are on a journey to see that in all of our differences, that is what makes us beautiful as a human race, and if we are ever to grow, we ought to learn and always learn some more.

A phenomenon often seen. A sceptic adhering to a believer; that is as simple as the law of the complementary colours. What we lack attracts us. Nobody loves the light like the blind man...

God is colourblind. But we are not God. God does not need to see colour and difference. God is far bigger than all of that. We are human. We are destined to grow and learn from each other and with each other and there is no growing, there is no learning, there is no wonder and no majesty in life if we were like God. We were meant to see colour and difference.To deny these is to lack respect. To blind ourselves to these is to fool one another. To shun these is to deny ourselves growth and knowledge.

Describe snow to someone who's lived in the desert. Depict the colour blue for a blind man. Almost impossible to fashion the word.

To everyone stuck in a room void of light – Be brave enough to open the blinds. There is a world full of colour beyond the walls of your mind.

She was blind and insensible to many things, and dimly knew it; but to all that was light and air, perfume and colour, every drop of blood in her responded. She loved the roughness of the dry mountain grass under her palms, the smell of the thyme into which she crushed her face, the fingering of the wind in her hair and through her cotton blouse, and the creak of the larches as they swayed to it.

Colour blindness does not accept the legitimacy of structural racism or a history of white racial dominance.

How many times have your true colours faded just because the world was colour blind.

Maybe this had been something like the colour blindness of the ancient Greeks, before words had ushered in vision - we do not see that which we have no language to understand.

Sabrina suggested they burn their orange monkey sweaters and blue heart covered pants but Daphne refused. Granny took Sabrina aside and apologised for the outfit, saying that Mr. Canis might not have been the right choice to shop for girls. After all, he was colour-blind.

Think of how strange the colours and sights of the world would be for a blind man abruptly made to see or a man deaf from birth hearing the playing of a hundred flutes

Racism is one of the most common results of the combination of stupidity and the ability to see.

I wish those people who write so glibly about this being a holy War, and the orators who talk so much about going on no matter how long the War lasts and what it may mean, could see a case--to say nothing of 10 cases--of mustard gas in its early stages--could see the poor things burnt and blistered all over with great mustard-coloured suppurating blisters, with blind eyes--sometimes temporally, sometimes permanently--all sticky and stuck together, and always fighting for breath, with voices a mere whisper, saying that their throats are closing and they know they will choke.

Now, on the contrary, here he was , plunged into a whiteness so luminous, so total, that it swallowed up rather than absorbed, not just colours, but the very things and beings , thus making them twice as invisible

Wisps of arctic blue and green and purple buzzed and whirled within those sharp spikes, sending out a wild coruscation of coloured light. The aurora was mesmerizing and blinding at the same time, and little disco balls hoped that they could grow up to be half as brilliant one day.

They walked as it were in a black vapour wrought of veritable darkness itself that, as it was breathed, brought blindness not only to eyes but to the mind, so that even the memory of colours and of forms and of any light faded out of thought. Night had always been, and always would be, and night was all.

What is a woman’s life? Do not think, because she is not a man, she does not fight. The bedchamber is her tilting ground, where she shows her colours, and her theatre of war is the sealed room where she gives birth. She knows she may not come alive out of that bloody chamber. Before her lying-in, if she is prudent, she settles her affairs. If she dies, she will be lamented and forgotten. If the child dies, she will be blamed. If she lives, she must hide her wounds. Her injuries are secret, and her sisters talk about them behind the hand. It is Eve’s sin, the long continuing punishment it incurred, that tears at her from the inside and shreds her. Whereas we bless an old soldier and give him alms, pitying his blind or limbless state, we do not make heroes of women mangled in the struggle to give birth. If she seems so injured that she can have no more children, we commiserate with her husband.

If the blind can find joy in music, and the deaf can discover it with colours, I will do my best to always find the sun in the darkness because my life isn’t one sad ending—it’s a series of endless happy beginnings.

In my contact with people I find that, as a rule, it is only the little, narrow people who live for themselves, who never read good books, who do not travel, who never open up their souls in a way to permit them to come into contact with other souls -- with the great outside world. No man whose vision is bounded by colour can come into contact with what is highest and best in the world. In meeting men, in many places, I have found that the happiest people are those who do the most for others; the most miserable are those who do the least. I have also found that few things, if any, are capable of making one so blind and narrow as race prejudice. I often say to our students, in the course of my talks to them on Sunday evenings in the chapel, that the longer I live and the more experience I have of the world, the more I am convinced that, after all, the one thing that is most worth living for -- and dying for, if need be -- is the opportunity of making some one else more happy and more useful.

If love was red then she was colour blind.

He let himself be storm-tossed, riding her billowing sea. When she held him like this he could see nothing, but the colour of his blindness was the colour of waves breaking

No man whose vision is bounded by colour can come into contact with what is highest and best in the world. In meeting men, in many places, I have found that the happiest people are those who do the most for others; the most miserable are those who do the least. I have also found that few things, if any, are capable of making one so blind and narrow as race prejudice.

in everyday matters we see that it is impossible to explain the charm of poetry to one whose ear is insusceptible of cadence and rhythm, or the glories of colour to one who is stone-blind.

What kind of man are you, really? What colour is your hair? What is the shape of your eyes? What do you look like?... I wish I hadn't blinded myself... I want to see you face. I bet you look kind.

You painted it pink?' Price asked with a grin. 'That’s lavender, you colour-blind eejit,' I said. McCallister saw that Price clearly hadn’t got the message yet. 'Hey lads, you know why Price nearly failed the police entrance exam? He thought a polygon was a dead parrot.' The lads chuckled dutifully and somebody punched Price on the shoulder.

I didn't want realism anyway: I wanted things to be highly coloured, simple in outline, without ambiguity, which is what most children want when it comes to the stories of their parents. They want a postcard.

Bran said, "Why should some of the Riders of the Dark be dressed all in white and the rest all in black?" "Without colour...." Will said reflectively. "I don't know. Maybe because the Dark can only reach people at extremes-- blinded by their own shining ideas, or locked up in the darkness of their own heads.

It is a common sentence that Knowledge is power; but who hath duly Considered or set forth the power of Ignorance? Knowledge slowly builds up what Ignorance in an hour pulls down. Knowledge, through patient and frugal centuries, enlarges discovery and makes record of it; Ignorance, wanting its day’s dinner, lights a fire with the record, and gives a flavor to its one roast with the burned souls of many generations. Knowledge, instructing the sense, refining and multiplying needs, transforms itself into skill and makes life various with a new six days’ work; comes Ignorance drunk on the seventh, with a firkin of oil and a match and an easy “Let there not be,” and the many-coloured creation is shriveled up in blackness. Of a truth, Knowledge is power, but it is a power reined by scruple, having a conscience of what must be and what may be; whereas Ignorance is a blind giant who, let him but wax unbound, would make it a sport to seize the pillars that hold up the long-wrought fabric of human good, and turn all the places of joy dark as a buried Babylon.

Talent is colour-blind, untouched by the colour of skin.

I have about as much artistic talent as a cluster of colour-blind hedgehogs in a bag.

On the opposite side of the street, children gather around a blind man who sells colourful balloons.

(When chlorophyll chewing gum came into fashion two decades later, it was that colour.)

..how interest can draw a film across the eyes, so think, that total blindness could do no more; and how it is our duty therefore to trust not to the reasonings of interested men, or to their way of colouring a transaction. William Wilberforce, 12th May 1789, Against the slave trade

Sometimes he missed the monochrome world of his first two incarnations. It had felt like a simpler, cleaner time; so many centuries had passed before he realised he’d just been colour blind.

AUNT SHADIE: I see you - and don't worry, you're not white. ROSE: I'm pretty sure I'm white. I'm English. AUNT SHADIE: White is blindness - it has nothing to do with the colour of your skin.

Water everywhere, falling in thundering cataracts, singular drops, and draping sheets. Kellhus paused next to one of the shining braziers, peered beneath the bronze visage that loomed orange and scowling over his father, watched him lean back into absolute shadow. “You came to the world,” unseen lips said, “and you saw that Men were like children.” Lines of radiance danced across the intervening waters. “It is their nature to believe as their fathers believed,” the darkness continued. “To desire as they desired … Men are like wax poured into moulds: their souls are cast by their circumstances. Why are no Fanim children born to Inrithi parents? Why are no Inrithi children born to Fanim parents? Because these truths are made, cast by the particularities of circumstance. Rear an infant among Fanim and he will become Fanim. Rear him among Inrithi and he will become Inrithi … “Split him in two, and he would murder himself.” Without warning, the face re-emerged, water-garbled, white save the black sockets beneath his brow. The action seemed random, as though his father merely changed posture to relieve some vagrant ache, but it was not. Everything, Kellhus knew, had been premeditated. For all the changes wrought by thirty years in the Wilderness, his father remained Dûnyain … Which meant that Kellhus stood on conditioned ground. “But as obvious as this is,” the blurred face continued, “it escapes them. Because they cannot see what comes before them, they assume nothing comes before them. Nothing. They are numb to the hammers of circumstance, blind to their conditioning. What is branded into them, they think freely chosen. So they thoughtlessly cleave to their intuitions, and curse those who dare question. They make ignorance their foundation. They confuse their narrow conditioning for absolute truth.” He raised a cloth, pressed it into the pits of his eyes. When he withdrew it, two rose-coloured stains marked the pale fabric. The face slipped back into the impenetrable black. “And yet part of them fears. For even unbelievers share the depth of their conviction. Everywhere, all about them, they see examples of their own self-deception … ‘Me!’ everyone cries. ‘I am chosen!’ How could they not fear when they so resemble children stamping their feet in the dust? So they encircle themselves with yea-sayers, and look to the horizon for confirmation, for some higher sign that they are as central to the world as they are to themselves.” He waved his hand out, brought his palm to his bare breast. “And they pay with the coin of their devotion.

Note what the catalogue says about colour and height and time of flowering, choose the appropriate shade of crayon and mark position of plant on plan. You will soon see what would make good neighbours nd what would be fatal. Last year I dumped a lot of seeds haphazardly in a hurry and got mesembryanthemums and a new ‘electric orange’ calendula mingled with a scarlet eschscholtzia and even the thought of it makes me shudder yet. The conjunction of paralytic pink, blinding blood-orange and genuine clear scarlet was practically un-lookable at. I expected it to blow up at any moment, …

Myriads of professing Christians nowadays seem utterly unable to distinguish things that differ. Like people afflicted with colour-blindness, they are incapable of discerning what is true and what is false, what is sound and what is unsound. If a preacher of religion is only clever and eloquent and earnest, they appear to think he is all right, however strange and heterogeneous his sermons may be. They are destitute of spiritual sense, apparently, and cannot detect error. Popery or Protestantism, an atonement or no atonement, a personal Holy Ghost or no Holy Ghost, future punishment or no future punishment, ‘high church’ or ‘low church’ or ‘broad church,’ Trinitarianism, Arianism, or Unitarianism—nothing comes amiss to them; they can swallow it all, even if they cannot digest it! Carried away by a fancied liberality and charity, they seem to think everybody is right and nobody is wrong, every clergyman is sound and none are unsound, everybody is going to be saved and nobody going to be lost. Their religion is made of negatives; and the only positive thing about them is that they dislike distinctness and think all extreme and decided and positive views are very naughty and very wrong!

Colours blind the eye. Sounds deafen the ear. Flavours numb the taste. Thoughts weaken the mind. Desires wither the heart. The Master observes the world but trusts his inner vision. He allows things to come and go. His heart is open to the sky.

The famous field altar came from the Jewish firm of Moritz Mahler in Vienna, which manufactured all kinds of accessories for mass as well as religious objects like rosaries and images of saints. The altar was made up of three parts, lberally provided with sham gilt like the whole glory of the Holy Church. It was not possible without considerable ingenuity to detect what the pictures painted on these three parts actually represented. What was certain was that it was an altar which could have been used equally well by heathens in Zambesi or by the Shamans of the Buriats and Mongols. Painted in screaming colors it appeared from a distance like a coloured chart intended for colour-blind railway workers. One figure stood out prominently - a naked man with a halo and a body which was turning green, like the parson's nose of a goose which has begun to rot and is already stinking. No one was doing anything to this saint. On the contrary, he had on both sides of him two winged creatures which were supposed to represent angels. But anyone looking at them had the impression that this holy naked man was shrieking with horror at the company around him, for the angels looked like fairy-tale monsters and were a cross between a winged wild cat and the beast of the apocalypse. Opposite this was a picture which was meant to represent the Holy Trinity. By and large the painter had been unable to ruin the dove. He had painted a kind of bird which could equally well have been a pigeon or a White Wyandotte. God the Father looked like a bandit from the Wild West served up to the public in an American film thriller. The Son of God on the other hand was a gay young man with a handsome stomach draped in something like bathing drawers. Altogether he looked a sporting type. The cross which he had in his hand he held as elegantly as if it had been a tennis racquet. Seen from afar however all these details ran into each other and gave the impression of a train going into a station.

But her mind can't hold him, she can't fix the memory of what he looks like. It's as if a breeze blows over the water and he's dispersed, into broken colours, into ripples; then he reforms elsewhere, past the nest pillar, taking on his familiar body.

Structural racism is never a case of innocent and pure, persecuted people of colour versus white people intent on evil and malice. Rather, it is about how Britain's relationship with race infects and distorts equal opportunity. I think that we placate ourselves with the fallacy of meritocracy by insisting that we just don't see race. This makes us feel progressive. But this claim to not see race is tantamount to compulsory assimilation. My blackness has been politicised against my will, but I don't want it willfully ignored in an effort to instil some sort of precarious, false harmony. And, though many placate themselves with the colour-blindness lie, the aforementioned drastic differences in life chances along race lines show that while it might be being preached by our institutions, it's not being practised.

Is there any sight more exquisite than a field of canary yellow rapeseed on a day of blinding sunlight? The colour appears to transcend structure and live and dance and breathe. Nature reveals its primordial palette and invites insects to pollinate and Man to dare to dream of creating something so vibrant, shockingly intense and timeless. It is the golden ignition of the divine spark of creativity writ large.

One of the things that people who don't know anything about white rhinoceroses find most interesting about them is their colour. It isn't white. Not even remotely. It's a rather handsome dark grey. Not even a sort of pale grey that might arguably pass as an off-white, just plain dark grey. People therefore assume that zoologists are either perverse or colour-blind, but it's not that, it's that they are illiterate. "White" is a mistranslation of the Afrikaans word "weit" meaning "wide", and it refers to the animal's mouth, which is wider than that of the black rhino.

The five colours will blind a man’s sight. The five sounds will deaden a mans hearing. The five tastes will spoil a man’s palate. Chasing and hunting will drive a man wild. Things hard to get will do harm to a man’s conduct. Therefore the sage makes provision for the stomach and not for the eye.

Sanderson, who was also blind, gave excellent lectures on colour, and taught others the theory of ideas which they had and he had not. In the social sphere these gifted ones are mostly women; they can watch a world which they never saw, and estimate forces of which they have only heard. We call it intuition.

The word God can mean whatever you believe it to mean, for me it is the conscious stream of life from which we all come, and to which we can stay connected throughout our lives as a source of peace, wisdom, love, support, knowing, inspiration, vitality, security, balance, and inner strength. I think that awareness is paramount, because in awareness we gain understanding, which then enables us to regain our feeling of empowerment. We need to feel empowered to make our choices conciously, about how to deal with changes in life, rather than reacting in fear (which tends to make us blind and weak). If we are aware, we can be realistic yet postive, and we can properly focus our intentions. Awareness can be quite sensual (which can add to your sense of feeling empowered). Think about how your body moves as you live your life, how amazing it is; think about nature, observe the intricate beautiful details of natural thngs, and of things we create, and breathe deeply to soak it all in.. Focus on the taste of food, the feel of textures in cloth, the feel of you partner's hand in yours; smell the sea breeze, listen to the wind in the trees, witness the colours of the leaves, the children playing; and be thankful for this life we are experiencing - this life we can all help to keep wonderful. Feel the wonder of being alive flood into you anytime you want, by taking a deep breath and letting the experience of these things fill you, even just by remembering. We all have that same stream of life within us, so you are a part of everything. Each one of us has the power to make a difference to everything. Breathe in that vital connection to the life source and sensual beauty everywhere, Feel loved and strong.

Justice, in British India, was far from blind: it was highly attentive to the skin colour of the defendant.

Does acid cure you of colour-blindness?’ asks Dean. ‘No,’ says Jerry, ‘but it makes you wonder if you’ve actually been living not in the real world but only a description of it.

I wanted things to be highly coloured, simple in outline, without ambiguity, which is what most children want when it comes to the stories of their parents. They want a postcard.

Leaving Things Alone (excerpt) You train your eye and your vision lusts after colour. You train your ear, and you long for delightful sound. You delight in doing good, and your natural kindness is blown out of shape. You delight in righteousness, and you become righteous beyond all reason. You overdo liturgy, and you turn into a ham actor. Overdo your love of music, and you play corn. Love of wisdom leads to wise contriving. Love of knowledge leads to faultfinding. If men would stay as they really are, taking or leaving these eight delights would make no difference. But if they will not rest in their right state, the eight delights develop like malignant tumors. The world falls into confusion. Since man honour these delights, and lust after them, the world has gone stone-blind. When the delight is over, they still will not let go of it: they surround its memory with ritual worship, they fall on their knees to talk about it, play music and sing, fast and discipline themselves in honour of the eight delights. When the delights become a religion, how can you control them?

It’s hard for me to express exactly how I feel about you, Li, ’cause I’ve never felt this way about anyone or anythin’ before. It’s like askin’ a blind man to describe the colour blue.

(T)here is no darkness, not the kind they imagine. Everything is composed of webs and lattices and upheavals of sound and texture... Colour - that's another thing people don't expect. In her imagination, in her dreams, everything has colour. The museum buildings are beige, chestnut, hazel. Its scientists are lilac and lemon yellow and fox brown. Piano chords loll in the speaker of the wireless in the guard room projecting rich blacks and complicated blues down the hall toward the key pound. Church bells send arcs of bronze careening off the windows. Bees are silver, pigeons are ginger and auburn and occasionally golden. The huge cypress trees she and her father pass on their morning walk are shimmering kaleidoscopes, each needle a polygon of light.

What kind of man are you, really? What colour is your hair? What is the shape of your eyes? What do you look like?... I wish I hadn't blinded myself... I want to see your face. I bet you look kind.

Colour-blindness is a childish, stunted analysis of racism. It starts and ends at 'discriminating against a person because of the colour of their skin is bad', without any accounting for the ways in which structural power manifests in these exchanges. With an analysis so immature, this definition of racism is often used to silence people of colour attempting to articulate the racism we face. When people of colour point this out, they're accused of being racist against white people, and the accountability avoidance continues. Colour-blindness does not accept the legitimacy of structural racism or a history of white racial dominance.

XXIV. And more than that - a furlong on - why, there! What bad use was that engine for, that wheel, Or brake, not wheel - that harrow fit to reel Men's bodies out like silk? With all the air Of Tophet's tool, on earth left unaware Or brought to sharpen its rusty teeth of steel. XXV. Then came a bit of stubbed ground, once a wood, Next a marsh it would seem, and now mere earth Desperate and done with; (so a fool finds mirth, Makes a thing and then mars it, till his mood Changes and off he goes!) within a rood - Bog, clay and rubble, sand, and stark black dearth. XXVI. Now blotches rankling, coloured gay and grim, Now patches where some leanness of the soil's Broke into moss, or substances like boils; Then came some palsied oak, a cleft in him Like a distorted mouth that splits its rim Gaping at death, and dies while it recoils. XXVII. And just as far as ever from the end! Naught in the distance but the evening, naught To point my footstep further! At the thought, A great black bird, Apollyon's bosom friend, Sailed past, not best his wide wing dragon-penned That brushed my cap - perchance the guide I sought. XXVIII. For, looking up, aware I somehow grew, Spite of the dusk, the plain had given place All round to mountains - with such name to grace Mere ugly heights and heaps now stolen in view. How thus they had surprised me - solve it, you! How to get from them was no clearer case. XXIX. Yet half I seemed to recognise some trick Of mischief happened to me, God knows when - In a bad dream perhaps. Here ended, then Progress this way. When, in the very nick Of giving up, one time more, came a click As when a trap shuts - you're inside the den. XXX. Burningly it came on me all at once, This was the place! those two hills on the right, Crouched like two bulls locked horn in horn in fight; While to the left a tall scalped mountain ... Dunce, Dotard, a-dozing at the very nonce, After a life spent training for the sight! XXXI. What in the midst lay but the Tower itself? The round squat turret, blind as the fool's heart, Built of brown stone, without a counterpart In the whole world. The tempest's mocking elf Points to the shipman thus the unseen shelf He strikes on, only when the timbers start. XXXII. Not see? because of night perhaps? - why day Came back again for that! before it left The dying sunset kindled through a cleft: The hills, like giants at a hunting, lay, Chin upon hand, to see the game at bay, - Now stab and end the creature - to the heft!' XXXIII. Not hear? When noise was everywhere! it tolled Increasing like a bell. Names in my ears Of all the lost adventurers, my peers - How such a one was strong, and such was bold, And such was fortunate, yet each of old Lost, lost! one moment knelled the woe of years. XXXIV. There they stood, ranged along the hillsides, met To view the last of me, a living frame For one more picture! In a sheet of flame I saw them and I knew them all. And yet Dauntless the slug-horn to my lips I set, And blew. 'Childe Roland to the Dark Tower came.

We had this thing with blue and grey: what Mark called blue, I called grey and what he saw as blue, I saw it as grey. Maybe that colour-blindness was part of our joint demise. That we blended our lives, instead of keeping them separate, we became one – not just regularly in the bed – but overall in the way we were heading to legalise our ties. Was that a misguided way of defining love? Could one stay close to the same person for life?

[H]ow am I to communicate this truth to a person who has scarcely ever felt intellectual pleasure? I may as well attempt to explain the nature and beauty of colours to a blind man. […] There is no common measure between us.

The girls cannot contain their joy. They must start rehearsing immediately. They teach Saluni a new song that they have composed at the swamps. It is about croaking frogs in their green and brown colours and how the girls caught them and pierced their eyes with sharp sticks and set them free to hop about in wonderful blindness. It is a haunting melody. They tell Saluni that the song is all about the fun they had at the swamps today. The blinded frogs will live peacefully because now they won't be bothered by the bright rays of the sun. They won't have to run from danger, because they won't see it. They will therefore be safe since danger only catches those who run away from it.

That the desert was, in its own way, very much alive: a gargantuan sentient being whose shifting colours – one minute soft yellow, the next livid red, here blinding white, there sombre black – were curiously suggestive of changing moods and thought patterns. Its varied shapes and textures – dunes slumping into gravel flats, salt pans rearing into rock hills – likewise gave the unnerving impression that the landscape was moving, bunching and stretching itself, flexing its muscles

But sometimes I do wonder if I'm love-blind the way some people are colour-blind, or most people are ghost-blind. If love (true or false, thick or thin, requited or un-) really is the only glue ever mortars our sad hearts' bricks together, and me not swift enough to recognize the label any time I happened to pass it by. Because: living is transience, after all--people aren't really permanent 'til they're dead, no matter what you might've felt for 'em beforehand. Always changing...

The problem of an ideal kitchen grows more complex as I ponder on it. There are many small things I am sure about: no shelf-papers; no sharp edges or protruding hooks or wires; no ruffled curtains; and no cheap-coloured stove, mauve or green or opalescent like a modern toilet seat. Instead of these things I would have smooth shelves of some material like ebony or structural glass, shelves open or protected by sliding transparent doors. I would have curved and rounded edges, even to the floor, for the sake of cleanliness, and because I hate the decayed colours of a bruise. Instead of curtains I would have Venetian blinds, of four different colours for the seasons of the year. They would be, somehow, on the outside of the glass. And the stove would be black, with copper and earthenware utensils to put on it. It would be a wood stove, or perhaps (of this I am doubtful, unless I am the charwoman and janitor as well as the cook) electrical with place for a charcoal grill.

Communication between people of different nationalities enriches human society and makes it more colourful.. Imagine our Russian intellectuals, the kind, merry, perceptive old women in our villages, our elderly workers, our young lads, our little girls being free to enter the melting pot of ordinary human intercourse with the people of North and South America, of China, France, India, Britain and the Congo. What a rich variety of customs, fashion, cuisine and labour would then be revealed! what a wonderful human community would then come into being, emerging out of so many peculiarities of national characters and ways of life. And the beggarliness, blindness and inhumanity of narrow nationalism and hostility between states would be clearly demonstrated.

In a few steps they were in utter and impenetrable dark. Not since the lightless passages of Moria had Frodo or Sam known such darkness, and if possible here it was deeper and denser. There, there were airs moving, and echoes, and a sense of space. Here the air was still, stagnant, heavy, and sound fell dead. They walked as it were in a black vapour wrought of veritable darkness itself that, as it was breathed, brought blindness not only to the eyes but to the mind, so that even the memory of colours and of forms and of any light faded out of thought.

[O]ur percept is an elaborate computer model in the brain, constructed on the basis of information coming from [the environment], but transformed in the head into a form in which that information can be used. Wavelength differences in the light out there become coded as 'colour' differences in the computer model in the head. Shape and other attributes are encoded in the same kind of way, encoded into a form that is convenient to handle. The sensation of seeing is, for us, very different from the sensation of hearing, but this cannot be directly due to the physical differences between light and sound. Both light and sound are, after all, translated by the respective sense organs into the same kind of nerve impulses. It is impossible to tell, from the physical attributes of a nerve impulse, whether it is conveying information about light, about sound or about smell. The reason the sensation of seeing is so different from the sensation of hearing and the sensation of smelling is that the brain finds it convenient to use different kinds of internal model of the visual world, the world of sound and the world of smell. It is because we internally use our visual information and our sound information in different ways and for different purposes that the sensations of seeing and hearing are so different. It is not directly because of the physical differences between light and sound.

Thomas was greatly interested in Sirius's accounts of his love affairs; about which, by the way, he showed no reticence. To the question, 'What is it that attracts you in her?' young Sirius could only reply, 'She smells so lovely.' Later in life he was able to say more. Some years later I myself discussed the matter with him, and he said, 'Of course it's mostly the luscious smell of her. I can't possibly make you understand the power of it, because you humans are so bad at smells. It's as though your noses were not merely feeble but colour-blind. But think of all that your poets have ever said about the delectable curves and colours of the beloved, and how her appearance seems to express a lovely spirit (often deceptively), and then imagine the whole thing done in terms of fragrance. Morwen's fragrance when she wants me is like the scent of the morning, with a maddening tang in it for which there are no words. It is the scent of a very gentle and fragrant spirit, but unfortunately the spirit of Morwen is nine-tenths asleep, and always will be. But she smells like what she would be if she were really awake.

Here’s a thought for you. If you were blind you wouldn’t understand the concept of colour, of pigments and shades. You wouldn’t understand visual perception at all. You’d be completely unaware of it. But what if there’s something else? Some aspect of something magical and mysterious that is all around us, yet we can’t see it, we can’t feel it, we can’t taste it, and we can’t smell it. In fact, we have no organ in our body capable of discovering it and observing it. We can’t track it down, we can’t stumble across it, and we can’t smoke it out. We’re not born with the organ to bring it to light, and so it can’t be revealed to us in any other way. And what if these enchanted, otherworldly aspects, for want of a better word, are strands in a cosmic web that connects all your tribe, so wherever you wander in the world, there’s a spiritual force that continues to connect you to your tribe?

Live blindly and upon the hour. The Lord, Who was the Future, died full long ago. Knowledge which is the Past is folly. Go, Poor, child, and be not to thyself abhorred. Around thine earth sun-winged winds do blow And planets roll; a meteor draws his sword; The rainbow breaks his seven-coloured chord And the long strips of river-silver flow: Awake! Give thyself to the lovely hours. Drinking their lips, catch thou the dream in flight About their fragile hairs' aerial gold. Thou art divine, thou livest,—as of old Apollo springing naked to the light, And all his island shivered into flowers.

She had a singular insight into life, considering that she had never mixed with it. There are instances of persons who, without clear ideas of the things they criticize have yet had clear ideas of the relations of those things. Blacklock, a poet blind from birth, could describe visual objects with accuracy; Professor Sanderson, who was also blind, gave excellent lectures on colour, and taught others the theory of ideas which they had and he had not. In the social sphere these gifted ones are mostly women; they can watch a world which they never saw, and estimate forces of which they have only heard. We call it intuition.

She had a singular insight into life, considering that she had never mixed with it. There are instances of persons who, without clear ideas of the things they criticize, yet have had a clear idea of the relations of those things. Blacklock, a poet blind from birth, could describe visual objects with accuracy; Professor Sanderson, who was also blind, gave excellent lectures on colour, and taught others the theory of ideas which they had and he had not. In the social sphere these gifted ones are mostly women; they can watch a world which they never saw, and estimate forces of which they have only heard. We call it intuition.

She had a singular insight into life, considering that she had never mixed with it. There are instances of persons who, without clear ideas of the things they criticize, yet have had a clear ideas of the relations of those things. Blacklock, a poet blind from birth, could describe visual objects with accuracy; Professor Sanderson, who was also blind, gave excellent lectures on colour, and taught others the theory of ideas which they had and he had not. In the social sphere these gifted ones are mostly women; they can watch a world which they never saw, and estimate forces of which they have only heard. We call it intuition.

She had a singular insight into life, considering that she had never mixed with it. There are instances of persons who, without clear ideas of the things they criticize have yet had clear ideas of the relations of those things. Blacklock, a poet blind from his birth, could describe visual objects with accuracy; Professor Sanderson, who was also blind, gave excellent lectures on colour, and taught others the theory of ideas which they had and he had not. in the social sphere these gifted ones are mostly women; they can watch a world which they never saw, and estimate forces of which they have only heard. We call it intuition.

To fill the days up of his dateless year Flame from Queen Helen to Queen Guenevere? For first of all the sphery signs whereby Love severs light from darkness, and most high, In the white front of January there glows The rose-red sign of Helen like a rose: And gold-eyed as the shore-flower shelterless Whereon the sharp-breathed sea blows bitterness, A storm-star that the seafarers of love Strain their wind-wearied eyes for glimpses of, Shoots keen through February's grey frost and damp The lamplike star of Hero for a lamp; The star that Marlowe sang into our skies With mouth of gold, and morning in his eyes; And in clear March across the rough blue sea The signal sapphire of Alcyone Makes bright the blown bross of the wind-foot year; And shining like a sunbeam-smitten tear Full ere it fall, the fair next sign in sight Burns opal-wise with April-coloured light When air is quick with song and rain and flame, My birth-month star that in love's heaven hath name Iseult, a light of blossom and beam and shower, My singing sign that makes the song-tree flower; Next like a pale and burning pearl beyond The rose-white sphere of flower-named Rosamond Signs the sweet head of Maytime; and for June Flares like an angered and storm-reddening moon Her signal sphere, whose Carthaginian pyre Shadowed her traitor's flying sail with fire; Next, glittering as the wine-bright jacinth-stone, A star south-risen that first to music shone, The keen girl-star of golden Juliet bears Light northward to the month whose forehead wears Her name for flower upon it, and his trees Mix their deep English song with Veronese; And like an awful sovereign chrysolite Burning, the supreme fire that blinds the night, The hot gold head of Venus kissed by Mars, A sun-flower among small sphered flowers of stars, The light of Cleopatra fills and burns The hollow of heaven whence ardent August yearns; And fixed and shining as the sister-shed Sweet tears for Phaethon disorbed and dead, The pale bright autumn's amber-coloured sphere, That through September sees the saddening year As love sees change through sorrow, hath to name Francesca's; and the star that watches flame The embers of the harvest overgone Is Thisbe's, slain of love in Babylon, Set in the golden girdle of sweet signs A blood-bright ruby; last save one light shines An eastern wonder of sphery chrysopras, The star that made men mad, Angelica's; And latest named and lordliest, with a sound Of swords and harps in heaven that ring it round, Last love-light and last love-song of the year's, Gleams like a glorious emerald Guenevere's.

The thing that impressed me most was that Eddie should have been bitter and he was not. He had used the incident for his own entertainment and mine. Whether he also used it for my edification I do not know. But I thought about this old man then. And his people. Thought about how they’d been slaughtered, almost wiped out, forced to live on settlements that were more like concentration camps, then poked, prodded, measured and taped, had photos of their sacred business printed in colour in heavy academic anthropological texts, had their sacred secret objects stolen and taken to museums, had their potency and integrity drained from them at every opportunity, had been reviled and misunderstood by almost every white in the country, and then finally left to rot with their cheap booze and our diseases and their deaths, and I looked at this marvellous old half-blind codger laughing his socks off as if he had never experienced any of it, never been the butt of a cruel ignorant bigoted contempt, never had a worry in his life, and I thought, OK old man, if you can, me too.

And so passed one morning and every morning and day but the people growing gentle and together, like old bulbs without promise of bloom, thrown to the rubbish heap and sinking in the filth and blindness to sprout a seperate community of dark, touching tendril and root to yet invisible colour of maimed flowers, narcissus, daffodil, tulip, and crocus-leaf stained with blade of snow.

The other dangerous delusion from which those who are wilfully or otherwise blind to realities suffer, is summed up in the word "integration." To be integrated into a population means to become for all practical purposes indistinguishable from its other members. Now, at all times, where there are marked physical differences, especially of colour, integration is difficult though, over a period, not impossible. There are among the Commonwealth immigrants who have come to live here in the last fifteen years or so, many thousands whose wish and purpose is to be integrated and whose every thought and endeavour is bent in that direction. But to imagine that such a thing enters the heads of a great and growing majority of immigrants and their descendants is a ludicrous misconception, and a dangerous one.

Sometimes I really can't express how much I feel, but I can tell for a fact that some past years have been a victorious rollercoaster ride with God in it. Some days colourful, some days black and white, some days faith bigger than a mustard seed, other days I'm filled with blind doubt about what tomorrow holds. But in all of this, I'm beautifully me and constantly running the race through the father's grace.

The war takes place in black and white. For those on the sidelines that is. For those who are actually in it there are many different colours, excessive colours, too bright, too red and orange, too liquid and incandescent, but for the others the war is like a newsreel- grainy, smeared, with bursts of staccato noise and large numbers of grey-skinned people rushing or plodding or falling down, everything elsewhere.

But trivial as are the topics they are not utterly without a connecting thread of motive. As the reader's eye strays, with hearty relief, from these pages, it probably alights on something, a bed-post or a lamp-post, a window blind or a wall. It is a thousand to one that the reader is looking at something that he has never seen: that is, never realised. He could not write an essay on such a post or wall: he does not know what the post or wall mean. He could not even write the synopsis of an essay; as "The Bed-Post; Its Significance—Security Essential to Idea of Sleep—Night Felt as Infinite—Need of Monumental Architecture," and so on. He could not sketch in outline his theoretic attitude towards window-blinds, even in the form of a summary. "The Window-Blind—Its Analogy to the Curtain and Veil—Is Modesty Natural?—Worship of and Avoidance of the Sun, etc., etc." None of us think enough of these things on which the eye rests. But don't let us let the eye rest. Why should the eye be so lazy? Let us exercise the eye until it learns to see startling facts that run across the landscape as plain as a painted fence. Let us be ocular athletes. Let us learn to write essays on a stray cat or a coloured cloud. I have attempted some such thing in what follows; but anyone else may do it better, if anyone else will only try.

After three years of music-hall and theatre I'm still the same: always ready too soon. Ten thirty-five. . . . I'd better open that book lying on the make-up shelf, even though I've read it over and over again, or the copy of Paris-Sport the dresser was marking just now with my eyebrow pencil; otherwise I'll find myself all alone, face to face with that painted mentor who gazes at me from the other side of the looking-glass, with deep-set eyes under lids smeared with purplish grease-paint. Her cheek-bones are as brightly coloured as garden phlox and her blackish-red lips gleam as though they were varnished. She gazes at me for a long time and I know she is going to speak to me. She is going to say: "Is that you there? All alone, therr in that cage where idle, impatient, imprisoned hands have scored the white walls with interlaced initials and embellished them with crude, indecent shapes? On those plaster walls reddened nails, like yours, have unconsciously inscribed the appeal of the forsaken. Behind you a feminine hand has carved Marie, and the name ends in a passionate mounting flourish, like a cry to heaven. Is it you there, all alone under that ceiling booming and vibrating beneath the feet of dancers, like the floor of a mill in action? Why are you there, all alone? And why not somewhere else?" Yes, this is the dangerous, lucid hour. Who will knock at the door of my dressing-room, what face will come between me and the painted-mentor peering at me from the other side of the looking-glass? Chance, my master and my friend, will, I feel sure, deign once again to send me the spirits of his unruly kingdom. All my trust is now in him----and in myself. But above all in him, for when I go under he always fishes me out, seizing and shaking me like a life-saving dog whose teeth tear my skin a little every time. So now, whenever I despair, I no longer expect my end, but some bit of luck, some commonplace little miracle which, like a glittering link, will mend again the necklace of my days. Faith, that is what it is, genuine faith, as blind as it sometimes pretends to be, with all the dissembling renunciations of faith, and that obstinacy which makes it continue to hope even at the moment if crying. "I am utterly forsaken!" There is no doubt that, if ever my heart were to call my master Chance by another name, I should make an excellent Catholic.

Innuendo One two three four Ooh ooh While the sun hangs in the sky and the desert has sand While the waves crash in the sea and meet the land While there's a wind and the stars and the rainbow Till the mountains crumble into the plain Oh yes, we'll keep on trying Tread that fine line Oh, we'll keep on trying Yeah Just passing our time Oh oh While we live according to race, colour or creed While we rule by blind madness and pure greed Our lives dictated by tradition, superstition, false religion Through the eons and on and on Oh, yes, we'll keep on trying, yeah We'll tread that fine line Oh oh we'll keep on trying Till the end of time Till the end of time Through the sorrow all through our splendor Don't take offence at my innuendo Duh duh duh duh duh duh duh Duh duh duh duh duh duh duh duh duh duh duh You can be anything you want to be Just turn yourself into anything you think that you could ever be Be free with your tempo, be free, be free Surrender your ego be free, be free to yourself Oh oh, yeah If there's a God or any kind of justice under the sky If there's a point, if there's a reason to live or die Ha, if there's an answer to the questions we feel bound to ask Show yourself destroy our fears release your mask Oh yes, we'll keep on trying Hey, tread that fine line (Yeah) yeah We'll keep on smiling, yeah (Yeah) (yeah) (yeah) And whatever will be will be We'll just keep on trying We'll just keep on trying Till the end of time Till the end of time Till the end of time

The toleration of those that differ from others in matters of religion is so agreeable to the Gospel of Jesus Christ, and to the genuine reason of mankind, that it seems monstrous for men to be so blind as not to perceive the necessity and advantage of it in so clear a light. I will not here tax the pride and ambition of some, the passion and uncharitable zeal of others. These are faults from which human affairs can perhaps scarce ever be perfectly freed; but yet such as nobody will bear the plain imputation of, without covering them with some specious colour; and so pretend to commendation, whilst they are carried away by their own irregular passions. But, however, that some may not colour their spirit of persecution and unchristian cruelty with a pretence of care of the public weal and observation of the laws; and that others, under pretence of religion, may not seek impunity for their libertinism and licentiousness; in a word, that none may impose either upon himself or others, by the pretences of loyalty and obedience to the prince, or of tenderness and sincerity in the worship of God; I esteem it above all things necessary to distinguish exactly the business of civil government from that of religion and to settle the just bounds that lie between the one and the other. If this be not done, there can be no end put to the controversies that will be always arising between those that have, or at least pretend to have, on the one side, a concernment for the interest of men's souls, and, on the other side, a care of the commonwealth.

An age-old city is like a pond. With its colours and reflections. Its chills and murk. Its ferment, its sorcery, its hidden life. A city is like a woman, with a woman’s desires and dislikes. Her abandon and restraint. Her reserve - above all, her reserve. To get to the heart of a city, to learn its most subtle secrets, takes infinite tenderness, and patience sometimes to the point of despair. It calls for an artlessly delicate touch, a more or less unconditional love. Over centuries. Time works for those who place themselves beyond time. You’re no true Parisian, you do not know your city, if you haven’t experienced its ghosts. To become imbued with shades of grey, to blend into the drab obscurity of blind spots, to join the clammy crowd that emerges, or seeps, at certain times of day from the metros, railway stations, cinemas or churches, to feel a silent and distant brotherhood with the lonely wanderer, the dreamer in his shy solitude, the crank, the beggar, even the drunk - all this entails a long and difficult apprenticeship, a knowledge of people and places that only years of patient observation can confer.

So you're not upset about the fact that I was...tracking you?" He flashed his dimple at me. "Think we can call a spade a spade. You were stalking me." I grunted, not agreeing but not denying it either. "But no." Matty smiled shyly, toying with a button on my shirt. My cock twitched as his fingertip grazed my skin. "I'm not upset about that. Actually, I think it's quite...flattering. Like maybe you were thinking of me as much as I was thinking of you." Fuck. I was on dangerous ground here. "You shouldn't look at it that way. It's toxic, red flag behaviour." His teeth sank into his lower lip as he looked up at me from under his lashes. "Did I ever tell you I'm colour blind?

That is no more what it is like to be a bat than the following is a good picture of what it is like to see colour: use an instrument to measure the wavelength of the light that is entering your eye: if it is long, you are seeing red, if it is short you are seeing violet or blue. It happens to be a physical fact that the light that we call red has a longer wavelength than the light that we call blue. Different wavelengths switch on the red-sensitive and the blue-sensitive photocells in our retinas. But there is no trace of the concept of wavelength in our subjective sensation of the colours. Nothing about ‘what it is like’ to see blue or red tells us which light has the longer wavelength.

In his work Maladies and Remedies of the Life of the Flesh, published in Leiden under the pseudonym Christianus Democritus, he claimed to have discovered the Elixir of Life—a liquid counterpart to the Philosopher’s Stone—which would heal any ailment and grant eternal life to the person who drank it. He tried, but failed, to exchange the formula for the deed to Frankenstein Castle, and the only use he ever made of his potion—a mixture of decomposing blood, bones, antlers, horns and hooves—was as an insecticide, due to its incomparable stench. This same quality led the German troops to employ the tarry, viscous fluid as a non-lethal chemical weapon (therefore exempt from the Geneva Convention), pouring it into wells in North Africa to slow the advance of General Patton and his men, whose tanks pursued them across the desert sands. An ingredient in Dippel’s elixir would eventually produce the blue that shines not only in Van Gogh’s Starry Night and in the waters of Hokusai’s Great Wave, but also on the uniforms of the infantrymen of the Prussian army, as though something in the colour’s chemical structure invoked violence: a fault, a shadow, an existential stain passed down from those experiments in which the alchemist dismembered living animals to create it, assembling their broken bodies in dreadful chimeras he tried to reanimate with electrical charges, the very same monsters that inspired Mary Shelley to write her masterpiece, Frankenstein; or, The Modern Prometheus, in whose pages she warned of the risk of the blind advancement of science, to her the most dangerous of all human arts.

More than the choking heat, more than the blinding flames that rise up into the night sky, more than the endlessly leaping colours that change shape with every moment, more than all of these is the transforming power of fire. Fire takes solid wooden beams and reduces them to charcoal. It licks at everything with a scarlet tongue and leaves it black. It spreads like the folds of a golden robe over human bodies and what is left is gray and chalky: ash, blown up and up by every breath of wind only to fall like dust on the ground. When it is burning most fiercely, it seems that it might go on forever and devour everything in its path. It does not cower and withdraw in front of princes. Palace and hovel alike are good fuel and nothing more. It is unstoppable. And when it has moved, what remains is desolation.

But, sceptic that he was, he had one fanatical devotion, not for an idea, a creed, an art or a science, but for a man — for Enjolras. Grantaire admired, loved, and venerated Enjolras. The anarchic questioner of all beliefs had attached himself to the most absolute of all that circle of believers. Enjolras had conquered him not by any force of reason but by character. It is a not uncommon phenomenon. The sceptic clinging to a believer is something as elementary as the law of complementary colours. We are drawn to what we lack. No one loves daylight more than a blind man. The dwarf adores the drum-major. The toad has its eyes upturned to Heaven, and for what? — to watch the flight of the birds. Grantaire, earthbound in doubt, loved to watch Enjolras soaring in the upper air of faith. He needed Enjolras. Without being fully aware of it, or seeking to account for it himself, he was charmed by that chaste, upright, inflexible, and candid nature. Instinctively he was attracted to his opposite. His flabby, incoherent, and shapeless thinking attached itself to Enjolras as to a spinal column. He was in any case a compound of apparently incompatible elements, at once ironical and friendly, affectionate beneath his seeming indifference. His mind could do without faith, but his heart could not do without friendship: a profound contradiction, for affection in itself is faith. Such was his nature. There are men who seem born to be two-sided. They are Pollux, Patrocles, Nisus, Ephestion. They can live only in union with the other who is their reverse side; their name is one of a pair, always preceded by the conjunction "and"; their lives are not their own; they are the other side of a destiny which is not theirs. Grantaire was one of those, the reverse side of Enjolras. Truly the satellite of Enjolras, he formed one of that circle of young men, went everywhere with them and was only happy in their company. His delight was to see those figures moving amid the mists of wine, and they bore with him because of his good humour. Enjolras, the believer, despised the sceptic and soberly deplored the drunkard. His attitude towards him was one of pitying disdain. Grantaire was an unwelcome Ephestion. But, roughly treated though he was by Enjolras, harshly repulsed and rejected, he always came back, saying of him: "What a splendid statue!

This is Earth Where each breath and step is none but progression toward death. Where pain is the loud and bloody birthing ground for peace. Our cowardice saves us from nothing in a world where bravery was never a choice. It leaks like sweat from the pores It's dried in the sun of our commitment to live. Where a trillion lives are spinning through the cosmos, at a thousand miles per hour with no destionation in sight. Our faith is placed in the colour of our blood, in the salt of our tears. Where the heart is broken and it keeps of beating just the same. Where love is the only evidence we have that God exists something greater than ourselves and the blindness with which we fumble through life. Our cowardice saves us from nothing in a world where bravery was never a choice. Where no matter how careful you are, you will die. some of us simply arrive at death safely. But in honest defeat, with a life half lived. Drenched in the sweat of our own cowardice, having made no commitment to fully live. Where in some distant desert, a flower opens, offing its frailty to the world. And therein lies its strength. A coward is incapable of love. And so he has no evidence that God exists, something greater than himself. Our cowardice saves us from nothing in a world where bravery was never a choice... So love because This is Earth. This is Earth.

This is Earth Where each breath and step is none but progression toward death. Where pain is the loud and bloody birthing ground for peace. Our cowardice saves us from nothing in a world where bravery was never a choice. It leaks like sweat from the pores It's dried in the sun of our commitment to live. Where a trillion lives are spinning through the cosmos, at a thousand miles per hour with no destination in sight. Our faith is placed in the colour of our blood, in the salt of our tears. Where the heart is broken and it keeps of beating just the same. Where love is the only evidence we have that God exists something greater than ourselves and the blindness with which we fumble through life. Our cowardice saves us from nothing in a world where bravery was never a choice. Where no matter how careful you are, you will die. some of us simply arrive at death safely. But in honest defeat, with a life half lived. Drenched in the sweat of our own cowardice, having made no commitment to fully live. Where in some distant desert, a flower opens, offering its frailty to the world. And therein lies its strength. A coward is incapable of love. And so he has no evidence that God exists, something greater than himself. Our cowardice saves us from nothing in a world where bravery was never a choice... So love because This is Earth. This is Earth.

...the house let out a groan. Like the wood itself was being warped, the house began to moan and shudder- the coloured glass lights in my room tinkling. I jolted upright, twisting to the open window. Clear skies, nothing- Nothing but the darkness leaking into my room from the hall door. I knew that darkness. A kernel of it lived in me. It rushed in from the cracks of the door like a flood. The house shuddered again. I vaulted from bed, yanked the door open, and darkness swept past me on a phantom wind, full of stars and flapping wings and- pain. So much pain, and despair, and guilt and fear. I hurtled into the hall, utterly blind in the impenetrable dark. But there was a thread between us, and I followed it- to where I knew his room was. I fumbled for the handle, then- More night and stars and wind poured out, my hair whipping around me, and I lifted an arm to shield my face as I edged into the room. 'Rhysand.' No response. But I could feel him there- feel that lifeline between us. I followed it until my shins banged into what had to be his bed. 'Rhysand,' I said over the wind and dark. The house shook, the floor-boards clattering under my feet. I patted the bed, feeling sheets and blankets and down, and then- Then a hard taut, male body. But the bed was enormous, and I couldn't get a grip on him. 'Rhysand!' Around and around darkness swirled, the beginning and end of the world.

He hopes at least after pulling himself up from one branch to another he will be able to see farther, discover where the roads lead; but the foliage beneath him is dense, the ground is soon out of sight, and if he raises his eyes toward the top of the tree he is blinded by The Sun, whose piercing rays make the leaves gleam with every colour against the light. However, the meaning of those two children seen in the tarot should also be explained: they must indicate that, looking up, the young man has realized he is no longer alone in the tree; two urchins have preceeded him, scrambling up the boughs. They seem twins: identical, barefoot, golden blond. At this point the young man spoke, asked: “what are you two doing here?” or else: “how far is it to the top?” And the twins replied, indicating with confused gesticulation toward something seen on the horizon of the drawing, beneath the sun’s rays: the walls of a city. But where are these walls located, with respect to the tree? The Ace of Cups portrays, in fact, a city, with many towers and spires and minarets and domes rising above the walls. And also palm fronds, pheasants’ wings, fins of blue moonfish which certainly jut from the city’s gardens, aviaries, aquariums, among which we can imagine the two urchins, chasing each other and vanishing. And this city seems balanced on top of a pyramid, which could also be the top of a great tree; in other words, it would be a city suspended on the highest branches like a bird’s nest, with hanging foundations like the aerial roots of certain plants.

The blacksmith's boy went out with a rifle and a black dog running behind. Cobwebs snatched at his feet, rivers hindered him, thorn branches caught at his eyes to make him blind and the sky turned into an unlucky opal, but he didn't mind. I can break branches, I can swim rivers, I can stare out any spider I meet, said he to his dog and his rifle. The blacksmith's boy went over the paddocks with his old black hat on his head. Mountains jumped in his way, rocks rolled down on him, and the old crow cried, You'll soon be dead. And the rain came down like mattocks. But he only said, I can climb mountains, I can dodge rocks, I can shoot an old crow any day, and he went on over the paddocks. When he came to the end of the day, the sun began falling, Up came the night ready to swallow him, like the barrel of a gun, like an old black hat, like a black dog hungry to follow him. Then the pigeon, the magpie and the dove began wailing and the grass lay down to pillow him. His rifle broke, his hat blew away and his dog was gone and the sun was falling. But in front of the night, the rainbow stood on the mountain, just as his heart foretold. He ran like a hare, he climbed like a fox; he caught it in his hands, the colours and the cold - like a bar of ice, like the column of a fountain, like a ring of gold. The pigeon, the magpie and the dove flew up to stare, and the grass stood up again on the mountain. The blacksmith's boy hung the rainbow on his shoulder instead of his broken gun. Lizards ran out to see, snakes made way for him, and the rainbow shone as brightly as the sun. All the world said, Nobody is braver, nobody is bolder, nobody else has done anything equal to it. He went home as easy as could be with the swinging rainbow on his shoulder.

These beauteous forms, Through a long absence, have not been to me As is a landscape to a blind man's eye: But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them, In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing even into my purer mind With tranquil restoration:—feelings too Of unremembered pleasure: such, perhaps, As have no slight or trivial influence On that best portion of a good man's life, His little, nameless, unremembered, acts Of kindness and of love. Nor less, I trust, To them I may have owed another gift, Of aspect more sublime; that blessed mood, In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world, Is lightened:—that serene and blessed mood, In which the affections gently lead us on,— Until, the breath of this corporeal frame And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things. If this Be but a vain belief, yet, oh! how oft— In darkness and amid the many shapes Of joyless daylight; when the fretful stir Unprofitable, and the fever of the world, Have hung upon the beatings of my heart— How oft, in spirit, have I turned to thee, O sylvan Wye! thou wanderer thro' the woods, How often has my spirit turned to thee! And now, with gleams of half-extinguished thought, With many recognitions dim and faint, And somewhat of a sad perplexity, The picture of the mind revives again: While here I stand, not only with the sense Of present pleasure, but with pleasing thoughts That in this moment there is life and food For future years. And so I dare to hope, Though changed, no doubt, from what I was when first I came among these hills; when like a roe I bounded o'er the mountains, by the sides Of the deep rivers, and the lonely streams, Wherever nature led: more like a man Flying from something that he dreads, than one Who sought the thing he loved. For nature then (The coarser pleasures of my boyish days And their glad animal movements all gone by) To me was all in all.—I cannot paint What then I was. The sounding cataract Haunted me like a passion: the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms, were then to me An appetite; a feeling and a love, That had no need of a remoter charm, By thought supplied, not any interest Unborrowed from the eye.—That time is past, And all its aching joys are now no more, And all its dizzy raptures. Not for this Faint I, nor mourn nor murmur; other gifts Have followed; for such loss, I would believe, Abundant recompense. For I have learned To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes The still sad music of humanity, Nor harsh nor grating, though of ample power To chasten and subdue. And I have felt A presence that disturbs me with the joy Of elevated thoughts; a sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting suns, And the round ocean and the living air, And the blue sky, and in the mind of man: A motion and a spirit, that impels All thinking things, all objects of all thought, And rolls through all things. Therefore am I still A lover of the meadows and the woods And mountains; and of all that we behold From this green earth; of all the mighty world Of eye, and ear,—both what they half create, And what perceive; well pleased to recognise In nature and the language of the sense The anchor of my purest thoughts, the nurse, The guide, the guardian of my heart, and soul Of all my moral being.

These beauteous forms, Through a long absence, have not been to me As is a landscape to a blind man's eye: But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing even into my purer mind, With tranquil restoration:—feelings too Of unremembered pleasure: such, perhaps, As have no slight or trivial influence On that best portion of a good man's life, His little, nameless, unremembered, acts Of kindness and of love. Nor less, I trust, To them I may have owed another gift, Of aspect more sublime; that blessed mood, In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world, Is lightened:—that serene and blessed mood, In which the affections gently lead us on,— Until, the breath of this corporeal frame And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things. If this Be but a vain belief, yet, oh! how oft— In darkness and amid the many shapes Of joyless daylight; when the fretful stir Unprofitable, and the fever of the world, Have hung upon the beatings of my heart— How oft, in spirit, have I turned to thee, O sylvan Wye! thou wanderer thro' the woods, How often has my spirit turned to thee! And now, with gleams of half-extinguished thought, With many recognitions dim and faint, And somewhat of a sad perplexity, The picture of the mind revives again: While here I stand, not only with the sense Of present pleasure, but with pleasing thoughts That in this moment there is life and food For future years. And so I dare to hope, Though changed, no doubt, from what I was when first I came among these hills; when like a roe I bounded o'er the mountains, by the sides Of the deep rivers, and the lonely streams, Wherever nature led: more like a man Flying from something that he dreads, than one Who sought the thing he loved. For nature then (The coarser pleasures of my boyish days, And their glad animal movements all gone by) To me was all in all.—I cannot paint What then I was. The sounding cataract Haunted me like a passion: the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms, were then to me An appetite; a feeling and a love, That had no need of a remoter charm, By thought supplied, nor any interest Unborrowed from the eye.—That time is past, And all its aching joys are now no more, And all its dizzy raptures. Not for this Faint I, nor mourn nor murmur, other gifts Have followed; for such loss, I would believe, Abundant recompence. For I have learned To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes The still, sad music of humanity, Nor harsh nor grating, though of ample power To chasten and subdue. And I have felt A presence that disturbs me with the joy Of elevated thoughts; a sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting suns, And the round ocean and the living air, And the blue sky, and in the mind of man; A motion and a spirit, that impels All thinking things, all objects of all thought, And rolls through all things. Therefore am I still A lover of the meadows and the woods, And mountains; and of all that we behold From this green earth; of all the mighty world Of eye, and ear,—both what they half create, And what perceive; well pleased to recognise In nature and the language of the sense, The anchor of my purest thoughts, the nurse, The guide, the guardian of my heart, and soul Of all my moral being.