Colour Your Life Quotes

Only once in your life, I truly believe, you find someone who can completely turn your world around. You tell them things that you’ve never shared with another soul and they absorb everything you say and actually want to hear more. You share hopes for the future, dreams that will never come true, goals that were never achieved and the many disappointments life has thrown at you. When something wonderful happens, you can’t wait to tell them about it, knowing they will share in your excitement. They are not embarrassed to cry with you when you are hurting or laugh with you when you make a fool of yourself. Never do they hurt your feelings or make you feel like you are not good enough, but rather they build you up and show you the things about yourself that make you special and even beautiful. There is never any pressure, jealousy or competition but only a quiet calmness when they are around. You can be yourself and not worry about what they will think of you because they love you for who you are. The things that seem insignificant to most people such as a note, song or walk become invaluable treasures kept safe in your heart to cherish forever. Memories of your childhood come back and are so clear and vivid it’s like being young again. Colours seem brighter and more brilliant. Laughter seems part of daily life where before it was infrequent or didn’t exist at all. A phone call or two during the day helps to get you through a long day’s work and always brings a smile to your face. In their presence, there’s no need for continuous conversation, but you find you’re quite content in just having them nearby. Things that never interested you before become fascinating because you know they are important to this person who is so special to you. You think of this person on every occasion and in everything you do. Simple things bring them to mind like a pale blue sky, gentle wind or even a storm cloud on the horizon. You open your heart knowing that there’s a chance it may be broken one day and in opening your heart, you experience a love and joy that you never dreamed possible. You find that being vulnerable is the only way to allow your heart to feel true pleasure that’s so real it scares you. You find strength in knowing you have a true friend and possibly a soul mate who will remain loyal to the end. Life seems completely different, exciting and worthwhile. Your only hope and security is in knowing that they are a part of your life.

somewhere i have never travelled, gladly beyond any experience, your eyes have their silence: in your most frail gesture are things which enclose me, or which i cannot touch because they are too near your slightest look easily will unclose me though i have closed myself as fingers, you open always petal by petal myself as Spring opens (touching skilfully, mysteriously) her first rose or if your wish be to close me, i and my life will shut very beautifully, suddenly, as when the heart of this flower imagines the snow carefully everywhere descending; nothing which we are to perceive in this world equals the power of your intense fragility: whose texture compels me with the colour of its countries, rendering death and forever with each breathing (i do not know what it is about you that closes and opens; only something in me understands the voice of your eyes is deeper than all roses) nobody, not even the rain, has such small hands

You said, ‘I’m going to leave him because my love for you makes any other life a lie.’ I’ve hidden those words in the lining of my coat. I take them out like a jewel thief when no-one’s watching. They haven’t faded. Nothing about you has faded. You are still the colour of my blood. You are my blood. When I look in the mirror it’s not my own face I see. Your body is twice. Once you once me. Can I be sure which is which?

You start dying slowly if you do not travel, if you do not read, If you do not listen to the sounds of life, If you do not appreciate yourself. You start dying slowly When you kill your self-esteem; When you do not let others help you. You start dying slowly If you become a slave of your habits, Walking everyday on the same paths… If you do not change your routine, If you do not wear different colours Or you do not speak to those you don’t know. You start dying slowly If you avoid to feel passion And their turbulent emotions; Those which make your eyes glisten And your heart beat fast. You start dying slowly If you do not change your life when you are not satisfied with your job, or with your love, If you do not risk what is safe for the uncertain, If you do not go after a dream, If you do not allow yourself, At least once in your lifetime, To run away from sensible advice.

If you are a woman, if you're a person of colour, if you are gay, lesbian, bisexual, transgender, if you are a person of size, if you are a person od intelligence, if you are a person of integrity, then you are considered a minority in this world. And it's going to be really hard to find messages of self-love and support anywhere. Especially women's and gay men's culture. It's all about how you have to look a certain way or else you're worthless. You know when you look in the mirror and you think 'oh, I'm so fat, I'm so old, I'm so ugly', don't you know, that's not your authentic self? But that is billions upon billions of dollars of advertising, magazines, movies, billboards, all geared to make you feel shitty about yourself so that you will take your hard earned money and spend it at the mall on some turn-around creme that doesn't turn around shit. When you don't have self-esteem you will hesitate before you do anything in your life. You will hesitate to go for the job you really wanna go for, you will hesitate to ask for a raise, you will hesitate to call yourself an American, you will hesitate to report a rape, you will hesitate to defend yourself when you are discriminated against because of your race, your sexuality, your size, your gender. You will hesitate to vote, you will hesitate to dream. For us to have self-esteem is truly an act of revolution and our revolution is long overdue.

When you're born a light is switched on, a light which shines up through your life. As you get older the light still reaches you, sparkling as it comes up through your memories. And if you're lucky as you travel forward through time, you'll bring the whole of yourself along with you, gathering your skirts and leaving nothing behind, nothing to obscure the light. But if a Bad Thing happens part of you is seared into place, and trapped for ever at that time. The rest of you moves onward, dealing with all the todays and tomorrows, but something, some part of you, is left behind. That part blocks the light, colours the rest of your life, but worse than that, it's alive. Trapped for ever at that moment, and alone in the dark, that part of you is still alive.

1. Find your own style and have the courage to stick to it. 2. Choose your clothes for your way of life. 3. Make your wardrobe as versatile as an actress. It should be able to play many roles. 4. Find your happiest colours - the ones that make you feel good. 5. Care for your clothes, like the good friends they are!

I hear the question upon your lips: What is it to be a colour? Colour is the touch of the eye, music to the deaf, a word out of the darkness. Because I’ve listened to souls whispering – like the susurrus of the wind – from book to book and object to object for tens or thousands of years, allow me to say that my touch resembles the touch of angels. Part of me, the serious half, calls out to your vision while the mirthful half sours through the air with your glances. I’m so fortunate to be red! I’m fiery. I’m strong. I know men take notice of me and that I cannot be resisted. I do not conceal myself: For me, delicacy manifests itself neither in weakness nor in subtlety, but through determination and will. So, I draw attention to myself. I’m not afraid of other colours, shadows, crowds or even of loneliness. How wonderful it is to cover a surface that awaits me with my own victorious being! Wherever I’m spread, I see eyes shine, passions increase, eyebrows rise and heartbeats quicken. Behold how wonderful it is to live! Behold how wonderful to see. I am everywhere. Life begins with and returns to me. Have faith in what I tell you.

Tell your heart to keep beating and stand strong, and eventually you will bounce back to see colour in the world.

You can’t colour your world with someone’s paint.

After sleeping through a hundred million centuries we have finally opened our eyes on a sumptuous planet, sparkling with colour, bountiful with life. Within decades we must close our eyes again. Isn't it a noble, an enlightened way of spending our brief time in the sun, to work at understanding the universe and how we have come to wake up in it? This is how I answer when I am asked -- as I am surprisingly often -- why I bother to get up in the mornings. To put it the other way round, isn't it sad to go to your grave without ever wondering why you were born? Who, with such a thought, would not spring from bed, eager to resume discovering the world and rejoicing to be a part of it?

To me, you are still nothing more than a little boy who is just like a hundred thousand other little boys. And I have no need of you. And you, on your part, have no need of me. To you, I am nothing more than a fox like a hundred thousand other foxes. But if you tame me, then we shall need each other. To me, you will be unique in all the world. To you, I shall be unique in all the world..." But if you tame me, it will be as if the sun came to shine on my life . I shall know the sound of a step that will be different from all the others. Other steps send me hurrying back underneath the ground. Yours will call me, like music, out of my burrow. And then look: you see the grain-fields down yonder? I do not eat bread. Wheat is of no use to me. The wheat fields have nothing to say to me. And that is sad. But you have hair that is the colour of gold. Think how wonderful that will be when you have tamed me! The grain, which is also golden, will bring me back the thought of you. And I shall love to listen to the wind in the wheat..." The fox gazed at the little prince, for a long time. "Please, tame me!" he said.

Booze makes you stupid and like it. It makes you fall around and not care. And eventually, stupid is the only way you know how to be. Cocaine makes you feel important, that life matters, that you matter. That the music is better than it really is. That every conversation is profound and that all pretenses have been stripped away. Ecstasy makes you dance all night and love your friends so much, in a way that you've never been able to tell them about before. Acid makes you see pretty colours and makes things breathe. But Sadness, there is nothing like Sadness.

If you want to know what’s your boss is really like, go to his office with a resignation letter. You will then see your boss’s true colours. You will then see his emotions without any filters. No boss can ever fake himself in front of an employee who has just resigned.

I will hold the colour gold in my hands and show you how beautiful this life can be even when your eyes have forgotten how to see the light.

What would it be life to forget your favourite colour? Or the girl that smashed up your heart?

the rain is coming. little sister, the night broke. the thunder cracked my brain finally. the rain is coming, i promise you. i didn’t mean to but your tears will bring life back. purple flowers grow, the colour blood looks in the veins. they’ll sprout out of my chest. i promise you they’ll crack the ground, grow over the freeways, down the slopes to the sea. i’ll be in their faces. i’ll be in the waves, coming down from the sky. i’ll be inside the one who holds you. and then i won’t be.

What did he say? You can't always pick your friends. Well, he's damn right there. I have two friends here: a fifteen year old who sees people in colours and a salsa-mad Dutch woman. I didn't pick them, they just turned up in my life, and I'm really glad.

This is what I want you all to do. I want you to open a new document and type up a list of three problems in your life. Not the universe's life - your own. Underneath, type the solutions." "If we know the solutions," said Belle, "they're not problems." "Exactly," said Denny. "You do know the answers to most of your problems. Somewhere deep inside, you know.

....one of those long, romantic novels, six hundred and fifty pages of small print, translated from French or German or Hungarian or something -- because few of the English ones have the exact feeling I mean. And you read one page of it or even one phrase of it, and then you gobble up all the rest and go about in a dream for weeks afterwards, for months afterwards -- perhaps all your life, who knows? -- surrounded by those six hundred and fifty pages, the houses, the streets, the snow, the river, the roses, the girls, the sun, the ladies' dresses and the gentlemen's voices, the old, wicked, hard-hearted women and the old, sad women, the waltz music -- everything. What is not there you put in afterwards, for it is alive, this book, and it grows in your head. 'The house I was living in when I read that book,' you think, or 'This colour reminds me of that book.

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

Shine in any season of your life! Head on with confidence in your life’s pilgrim! In deep faith, countless hope and unconditional love blessed by the Almighty. Newness of each rising day, bringing forth colourful sunsets. Enkindle your soul once more with courage, joy and love, flowing in a river of awakening & sharing: with a heart who once knew that hurt, pain, loss… means to SHINE!

Yesterday, when we were packing, Julius asked me, "If you could rub Tulip out of your past life, would you do it?" And I had to shake my head. I can't regret the times we had together. Sometimes I worry I won't have times like that again, that there will be no lit nights, no incandescent days. But I know it's not true. There can be colour in a million ways. I know I'll find it on my own.

Someone once told me to always live for the little things in life. Live for 5am sunrises and 5pm sunsets where you'll see colours in the sky that don't usually belong. Live for road trips and bike rides with music in your ears and the wind in your hair. Live for days when you're surrounded by your favourite people who make you realise that the world is not a cold, harsh place. Live for the little things because they will make you realise that this is what life is about, this is what it means to be alive.

We are going to die, and that makes us the lucky ones. Most people are never going to die because they are never going to be born. The potential people who could have been here in my place but who will in fact never see the light of day outnumber the sand grains of Arabia. Certainly those unborn ghosts include greater poets than Keats, scientists greater than Newton. We know this because the set of possible people allowed by our DNA so massively exceeds the set of actual people. In the teeth of these stupefying odds it is you and I, in our ordinariness, that are here. After sleeping through a hundred million centuries we have finally opened our eyes on a sumptuous planet, sparkling with colour, bountiful with life. Within decades we must close our eyes again. Isn't it a noble, an enlightened way of spending our brief time in the sun, to work at understanding the universe and how we have come to wake up in it? This is how I answer when I am asked -- as I am surprisingly often -- why I bother to get up in the mornings. To put it the other way round, isn't it sad to go to your grave without ever wondering why you were born? Who, with such a thought, would not spring from bed, eager to resume discovering the world and rejoicing to be a part of it?

One day love will be the death of me. Your love, in fact, specifically. You're the vice I can't control my lust for. You're the colour in my life that I seek for. However, you'd rather not fight, but walk away. Therefore, in the like of all tragedies, you will be the death of me.

Your life will be colourful if you just add colours to your life! It is your own decisions that will determine to have a miserable or a marvellous life!

I’d love to tearfully absorb you in every way and I’d love to play with your hair, read your eyes, feel disarmed in your presence. I’d love to experience a seizure of full-silenced tenderness with you and at the same time dwell on your Dionysian idiosyncrasy of red, slightly heated wine, constant passion and chaos; How can I even imprison this desire into mere letters structured together in order to form a coherent meaning? There is no meaning. Darling! Darling! You can flash “meaning” down the toilet if you wish. Still, I’d love to share a life full of richness with you: Richness not in terms of events, incidents, facts or experiences; but richness in terms of a colourful, adventurous, enthusiastically unraveling life. I’d love to lose all privileges of existence as long as I might have a small chance of walking on water with you.

You might find it alarming to think that your doctor will not actually need to see you in person but might make a diagnosis based on the position of the stars, the colour and smell of your urine, and the taste of your blood.

...-smells and sounds I'd grown up with and known every year of my life until then but that had suddenly turned on me and acquired an inflection forever coloured by the events of the summer.

Life rushed at her after her father died, as if to remind her that there can be no less life, that there can be no deprivation of life, that life is an endless and eternal living, even if your father is dead.

By now you must have guessed: I come from another planet. But I will never say to you, Take me to your leaders. Even I - unused to your ways though I am - would never make that mistake. We ourselves have such beings among us, made of cogs, pieces of paper, small disks of shiny metal, scraps of coloured cloth. I do not need to encounter more of them. Instead I will say, Take me to your trees. Take me to your breakfasts, your sunsets, your bad dreams, your shoes, your nouns. Take me to your fingers; take me to your deaths. These are worth it. These are what I have come for.

Every sacrifice is another colour of your Rainbow!

Seasons are like life. Some seasons are better than others. Some have more sun and rainbows. Others have storms and tornadoes. Some have both. You have to accept that, and bring colour and light to the season you're in as best you can, and always look forward to the next season.

Gods work! Silence so great it hurts your ears, colour so bright it hurts your staring eyes. A vicious ruined class of man could cry at such scenes because it seems to tell him that his life is not approved. The remnant of innocence burns in his breast like a ember of the very sun.

Look at any randomly selected piece of your world. Encoded deep in the biology of every cell in every blade of grass, in every insect’s wing, in every bacterium cell, is the history of the third planet from the Sun in a Solar System making its way lethargically around a galaxy called the Milky Way. Its shape, form, function, colour, smell, taste, molecular structure, arrangement of atoms, sequence of bases, and possibilities for the future are all absolutely unique. There is nowhere else in the observable Universe where you will see precisely that little clump of emergent, living complexity. It is wonderful.

You taste injustice, even if it’s fictional, really taste it,it has a way of doing that. Sometimes, you can never put the shoe on the other foot. We can’t go back in time and know what it was like to be a black person then. Even today, when things are supposed to be so much better, not one of you can understand what it’s like to be black, to live with the knowledge of what happened to your ancestry and still face injustice. But that book makes us taste it and, reading it, we know how bitter that taste is and we know we don’t like it. But that bitter wakes you up, and when you wake up, you open your mind to things in this world, you make yourself think. Then you’ll decide you don’t like the taste of injustice, not for you and not for anyone, and you’ll understand that even though all the battles can’t be won, that doesn’t mean you won’t fight.

Frida Kahlo had found her passion in colour, she painted with intensity and she cherished her loves with every ounce of her bones. She stood up for things of importance, and she never ever apologised for who she was

Supermarkets this large and clean and modern are a revelation to me. I spent my life in small steamy delicatessens with slanted display cabinets full of trays that hold soft wet lumpy matter in pale colours. High enough cabinets so you had to stand on tiptoes to give your order. Shouts, accents. In cities no one notices specific dying. Dying is a quality of the air. It's everywhere and nowhere. Men shout as they die to be noticed, remembered for a second or two. To die in an apartment instead of a house can depress the soul, I would imagine, for several lives to come. In a town there are houses, plants in bay windows. People notice dying better. The dead have faces, automobiles. If you don't know a name you know a street name, a dog's name. 'He drove an orange Mazda.' You know a couple of useless things about a person that become major facts of identification and cosmic placement when he dies suddenly, after a short illness, in his own bed, with a comforter and matching pillows, on a rainy Wednesday afternoon, feverish, a little congested in the sinuses and chest, thinking about his dry cleaning.

But I couldn't respond. My culture had taught me all the wrong things well. So I lay completely still, and gave no reaction at all. But the soul has no culture. The soul has no nations. The soul has no colour or accent or way of life. The soul is forever. The soul is one. And when the heart has its moment of truth and sorrow, the soul can't be stilled. I clenched my teeth against the stars. I closed my eyes. I surrendered to sleep. One of the reasons why we crave love, and seek it so desperately, is that love is the only cure for loneliness, and shame, and sorrow. But some feelings sink so deep into the heart that only loneliness can help you find them again. Some truths about yourself are so painful that only shame can help you live with them. And some things are just so sad that only your soul can do the crying for you.

Do some interesting things that you have never done before! Add more colours to your life; enrich your existence with every kind of oddities!

A life without imagination would not be a life well lived. Colour your thoughts and paint the shared skies with your dreams for all to see.

For the ink is the same each day - but the words are blooming in colours no one has ever seen; for my words are flowers, and your love is a garden.

It is not sufficient, he emphasized, to colour (colorare) the mind with wisdom; it must be pickled (macerare) in it, as it were, soaked in it (inficere), and entirely transformed by it.

Fate, they say, fate- the clay that molds the events of your life, and it was the same fate that had thrown the stone of her heart on the building of his expectations. But then wasn't it his fault that he had constructed the building of glass? Hadn't he failed to cement the bricks of his love with trust and colour them with security? There was no insurance for broken hearts, no ointment for wounded souls and there would never be one, he knew.

It tugs at me, filling me with the kind of seasick nostalgia that can hit you in the gut when you find an old concert ticket in your purse or an old coin machine ring you got down at the boardwalk on a day when you went searching for mermaids in the surf with your best friend. That punch of nostalgia hits me now and I start to sink down on the sky-coloured quilt, feeling the nubby fabric under my fingers, familiar as the topography of my hand.

UP You wake up filled with dread. There seems no reason for it. Morning light sifts through the window, there is birdsong, you can't get out of bed. It's something about the crumpled sheets hanging over the edge like jungle foliage, the terry slippers gaping their dark pink mouths for your feet, the unseen breakfast--some of it in the refrigerator you do not dare to open--you will not dare to eat. What prevents you? The future. The future tense, immense as outer space. You could get lost there. No. Nothing so simple. The past, its density and drowned events pressing you down, like sea water, like gelatin filling your lungs instead of air. Forget all that and let's get up. Try moving your arm. Try moving your head. Pretend the house is on fire and you must run or burn. No, that one's useless. It's never worked before. Where is it coming form, this echo, this huge No that surrounds you, silent as the folds of the yellow curtains, mute as the cheerful Mexican bowl with its cargo of mummified flowers? (You chose the colours of the sun, not the dried neutrals of shadow. God knows you've tried.) Now here's a good one: you're lying on your deathbed. You have one hour to live. Who is it, exactly, you have needed all these years to forgive?

Why must we be put down when we try to get away? Why must we all grow up when we could just play and play? Good things in life are free, can't buy everything, that's true Only one thing wrong with that, what it don't buy I don't use " "A change of speed, a change of style. A change of scene, with no regrets, A chance to watch, admire the distance, Still occupied, though you forget. Different colours, different shades, Over each mistakes were made. I took the blame." "It's just second nature, It's what we've been shown, We're living by your rules

Liberty On my notebooks from school On my desk and the trees On the sand, on the snow I write your name On every page read On all the white sheets Stone blood paper or ash I write your name On the golden images On the soldier’s weapons On the crowns of kings I write your name On the jungle, the desert The nests and the bushes On the echo of childhood I write your name On the wonder of nights On the white bread of days On the seasons engaged I write your name On all my blue rags On the pond mildewed sun On the lake living moon I write your name On the fields, the horizon The wings of the birds On the windmill of shadows I write your name On the foam of the clouds On the sweat of the storm On dark insipid rain I write your name On the glittering forms On the bells of colour On physical truth I write your name On the wakened paths On the opened ways On the scattered places I write your name On the lamp that gives light On the lamp that is drowned On my house reunited I write your name On the bisected fruit Of my mirror and room On my bed’s empty shell I write your name On my dog greedy tender On his listening ears On his awkward paws I write your name On the sill of my door On familiar things On the fire’s sacred stream I write your name On all flesh that’s in tune On the brows of my friends On each hand that extends I write your name On the glass of surprises On lips that attend High over the silence I write your name On my ravaged refuges On my fallen lighthouses On the walls of my boredom I write your name On passionless absence On naked solitude On the marches of death I write your name On health that’s regained On danger that’s past On hope without memories I write your name By the power of the word I regain my life I was born to know you And to name you LIBERTY

You are not who you think you are. You are not who they want you to be. You are not merely your colour, class, gender - and so on - these are quite narrow things. You are not the ideas you are given and gather. You are not what you own or lay claim to. You are not even your life story - for that changes through time, perspective, emphasis and many things. You are what resides before, between and beyond all these things." - R. Ogunlaru

If I were you, Mr. Lascelles," said Childermass, softly, "I would speak more guardedly. You are in the north now. In John Uskglass's own country. Our towns and cities and abbeys were built by him. Our laws were made by him. He is our minds and hearts and speech. Were it summer you would see a carpet of tiny flowers beneath every hedgerow, of a bluish-white colour. We call them John’s Farthings. When the weather is contrary and we have warm weather in winter or it rains in summer the country people say that John Uskglass is in love again and neglects his business. And when we are sure of something we say it is as safe as a pebble in John Uskglass’s pocket.” Lascelles laughed. “Far be it from me, Mr. Childermass, to disparage your quaint country sayings. But surely it is one thing to pay lip-service to one’s history and quite another to talk of bringing back a King who numbered Lucifer himself among his allies and overlords? No one wants that, do they? I mean apart from a few Jihannites and madmen?” “I am a North Englishman, Mr. Lascelles,” said Childermass. “Nothing would please me better than that my King should come home. It is what I have wished for all my life.

NINA Your life is beautiful. TRIGORIN I see nothing especially lovely about it. [He looks at his watch] Excuse me, I must go at once, and begin writing again. I am in a hurry. [He laughs] You have stepped on my pet corn, as they say, and I am getting excited, and a little cross. Let us discuss this bright and beautiful life of mine, though. [After a few moments' thought] Violent obsessions sometimes lay hold of a man: he may, for instance, think day and night of nothing but the moon. I have such a moon. Day and night I am held in the grip of one besetting thought, to write, write, write! Hardly have I finished one book than something urges me to write another, and then a third, and then a fourth--I write ceaselessly. I am, as it were, on a treadmill. I hurry for ever from one story to another, and can't help myself. Do you see anything bright and beautiful in that? Oh, it is a wild life! Even now, thrilled as I am by talking to you, I do not forget for an instant that an unfinished story is awaiting me. My eye falls on that cloud there, which has the shape of a grand piano; I instantly make a mental note that I must remember to mention in my story a cloud floating by that looked like a grand piano. I smell heliotrope; I mutter to myself: a sickly smell, the colour worn by widows; I must remember that in writing my next description of a summer evening. I catch an idea in every sentence of yours or of my own, and hasten to lock all these treasures in my literary store-room, thinking that some day they may be useful to me. As soon as I stop working I rush off to the theatre or go fishing, in the hope that I may find oblivion there, but no! Some new subject for a story is sure to come rolling through my brain like an iron cannonball. I hear my desk calling, and have to go back to it and begin to write, write, write, once more. And so it goes for everlasting. I cannot escape myself, though I feel that I am consuming my life. To prepare the honey I feed to unknown crowds, I am doomed to brush the bloom from my dearest flowers, to tear them from their stems, and trample the roots that bore them under foot. Am I not a madman? Should I not be treated by those who know me as one mentally diseased? Yet it is always the same, same old story, till I begin to think that all this praise and admiration must be a deception, that I am being hoodwinked because they know I am crazy, and I sometimes tremble lest I should be grabbed from behind and whisked off to a lunatic asylum. The best years of my youth were made one continual agony for me by my writing. A young author, especially if at first he does not make a success, feels clumsy, ill-at-ease, and superfluous in the world. His nerves are all on edge and stretched to the point of breaking; he is irresistibly attracted to literary and artistic people, and hovers about them unknown and unnoticed, fearing to look them bravely in the eye, like a man with a passion for gambling, whose money is all gone. I did not know my readers, but for some reason I imagined they were distrustful and unfriendly; I was mortally afraid of the public, and when my first play appeared, it seemed to me as if all the dark eyes in the audience were looking at it with enmity, and all the blue ones with cold indifference. Oh, how terrible it was! What agony!

The search for any kind of love, I now believe, is a continual process of looking in and out. Looking inwards to understand yourself, to be curious about your needs and desires and gifts and flaws, to develop generosity and self-compassion. Then looking outwards to use the power those things give you to love other people, and the life you are living too. What I had learnt is that you don’t really find love at all; you create it, by understanding that you are part of something bigger. A small speck of colour vital to a picture of life.

Never ever feel inferior because of the colour of your skin. Great is your soul.

Live a colourful life. If you can't, develop your own Photoshop and colour it!

Life isn’t black and white, but you can’t call it colourful either. It is actually what you make of it, so how you look at it matters a lot.

You have the lovers, they are nameless, their histories only for each other, and you have the room, the bed, and the windows. Pretend it is a ritual. Unfurl the bed, bury the lovers, blacken the windows, let them live in that house for a generation or two. No one dares disturb them. Visitors in the corridor tip-toe past the long closed door, they listen for sounds, for a moan, for a song: nothing is heard, not even breathing. You know they are not dead, you can feel the presence of their intense love. Your children grow up, they leave you, they have become soldiers and riders. Your mate dies after a life of service. Who knows you? Who remembers you? But in your house a ritual is in progress: It is not finished: it needs more people. One day the door is opened to the lover's chamber. The room has become a dense garden, full of colours, smells, sounds you have never known. The bed is smooth as a wafer of sunlight, in the midst of the garden it stands alone. In the bed the lovers, slowly and deliberately and silently, perform the act of love. Their eyes are closed, as tightly as if heavy coins of flesh lay on them. Their lips are bruised with new and old bruises. Her hair and his beard are hopelessly tangled. When he puts his mouth against her shoulder she is uncertain whether her shoulder has given or received the kiss. All her flesh is like a mouth. He carries his fingers along her waist and feels his own waist caressed. She holds him closer and his own arms tighten around her. She kisses the hand besider her mouth. It is his hand or her hand, it hardly matters, there are so many more kisses. You stand beside the bed, weeping with happiness, you carefully peel away the sheets from the slow-moving bodies. Your eyes filled with tears, you barely make out the lovers, As you undress you sing out, and your voice is magnificent because now you believe it is the first human voice heard in that room. The garments you let fall grow into vines. You climb into bed and recover the flesh. You close your eyes and allow them to be sewn shut. You create an embrace and fall into it. There is only one moment of pain or doubt as you wonder how many multitudes are lying beside your body, but a mouth kisses and a hand soothes the moment away.

Those who have darkness in their minds turn their bodies into darkness as well! Life is colourful; be like a rainbow, use every colour! Don’t get stuck in one colour, be colourful! Black, red, yellow, green, let all the colours be your colours! Those who have colourful minds will have colourful bodies as well!

You can take Lucas to watch football when he’s older,’ she once told me. Ah, the rheumy-eyed grandpa on the terraces inducting the lad into the mysteries of soccer: how to loathe people wearing different coloured shirts, how to feign injury, how to blow your snot on to the pitch – See, son, you press hard on one nostril to close it, and explode the green stuff out of the other. How to be vain and overpaid and have your best years behind you before you’ve even understood what life’s about. Oh yes, I look forward to taking Lucas to the football.

We must all find pointless causes to live for, or why bother with breath? Because, on reflection, once you have seen your own face and recognised the colour of your eyes, tasted the air and smelled the soil, drunk from the purest fountains and the dirtiest wells, that is the kindest thing you can say about life. Its's not nothing.

She saw beauty in ordinary little things and took pleasure in it (and this was just as well because she had had very little pleasure in her life). She took pleasure in a well-made cake, a smoothly ironed napkin, a pretty blouse, laundered and pressed; she liked to see the garden well dug, the rich soil brown and gravid; she loved her flowers. When you are young you are too busy with yourself... you haven't time for ordinary little things but, when you leave youth behind, your eyes open and you see magic and mystery all around you: magic in the flight of a bird, the shape of a leaf, the bold arch of a bridge against the sky, footsteps at night and a voice calling in the darkness, the moment in a theatre before the curtain rises, the wind in the trees, or (in winter) an apple-branch clothed with pure white snow and icicles hanging from from a stone and sparkling with rainbow colours.

Celebrate life through the music through the spoken word through the splatter of colour on paper or wood or iron or canvas But celebrate your life Celebrate your ability to feel joy and sadness Celebrate your ability to feel! Only then will we be free to feel

He'd never asked for an exciting life. What he really liked, what he sought on every occasion, was boredom. The trouble was that boredom tended to explode in your face. Just when he thought he'd found it he'd be suddenly involved in what he supposed other people - thoughtless, feckless people - would call an adventure. And he'd be forced to visit many strange lands and meet exotic and colourful people, although not for very long because usually he'd be running. He'd seen the creation of the universe, although not from a good seat, and had visited Hell and the afterlife. He'd been captured, imprisoned, rescued, lost and marooned. Sometimes it had all happened on the same day.

I want to see the Parthenon by moonlight.' I had my way. They floodlight it now, to great advantage I am told, but it was not so then, and since it was late in the year there were few tourists. My companions were all intelligent men, including my own husband, and they had the sense to stay mute. I suppose, being a woman, I confuse beauty with sentiment, but, as I looked on the Parthenon for the first time in my life, I found myself crying. It had never happened to me before. Your sunset weepers I despise. It was not full moon, or anywhere near it. The half circle put me in mind of the labrys, the Cretan double axe, and the pillars were the most ghostly in consequence. What a shock for the modern aesthete, I thought when my crying was done, if he could see the ruddy glow of colour, the painted eyes, the garish lips, the orange-reds and blues that were there once, and Athene herself a giantess on her pedestal touched by the rising sun. Even in those distant times the exigencies of a state religion had brought their own traffic, the buying and selling of doves, of trinkets: to find himself, a man had to go to the woods, to the hills. "Come on," said Stephen. "It's beautiful and stark, if you like, but so is St. Pancras station at 4 A.M. It depends on your association of ideas." We crammed into Burns's small car, and went back to our hotel. ("The Chamois")

THE WEEPING WILLOW Flowing was the water showing in its mirror the willow trees. The weeping willows in the water were washing their hair! Striking the willows with their sparkling, bare swords the red horsemen were running to where the sun sets! Suddenly like a bird as if struck in the wing a wounded horseman rolled down from his horse! He didn't shout, he did'nt call back those who go along, he just looked with brimming eyes at the shining horseshoes of departing riders! O what a pity! What a pity for him that no more he shall lie on the foaming necks of galloping horses, no more he shall play his sword behind the white armies! The sounds of the horseshoes fades away slowly, the horsemen vanish at where the sun sets! Horsemen horsemen red horsemen, their horses winged with wind! Their horses winged with... Their horses winged... Their horses... Horse... Life has passed like the wind winged horsemen! The voice of the flowing water ceased. The shadows shadowed the colours wiped off. Black coverings came down over his blue eyes, the weeping willows hung down over his yellow hair! Weep not weeping willow weep not, in the mirror of the black water clasp not your hands! clasp not your hands! weep not!

This is the definition of clutter: things that exist in your outer life to distract you from the inner things that you're avoiding. If you avoid something, it grows.... The great thing is, the reverse is also true: when you honestly look at something, it shrinks. When you see the situation for what it is, bypassing the emotional layers that coloured it and made it into a clutter monster, it becomes simple. That's how peaceful clutter busting is. You're honestly looking at each layer of distraction, questioning the thing, letting it go, and realizing what's underneath. Looking directly at something has the power of a magnifying glass in the sun. The sun is you; the glass, your attention

In a sense, one could speak of the secret life of colour. Despite its outward beckoning, like true beauty, colour is immensely hesitant in giving away its secrets. Painters learn to respect the hesitancy of colour and endeavour to refine their skill to become worthy of its revelations. A painter learns the language of colour slowly. As with any language, you struggle for a long time outside the language. There is a willed deliberateness to how you sequence the strange words to make a sentence.Then one day the language lets you in to where the words dance to your thoughts with ease and fluency. Perhaps for the painter there is a day when colour lets him in, when his palette sings with synergy and delight.

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.

Ivanov: You only qualified last year, my dear friend, you're still young and confident, but I am thirty-five. I have the right to give you some advice. Don't marry a Jew or a psychopath or a bluestocking but choose yourself someone ordinary, someone a shade of grey, with no bright colour and no superfluous noises. In general, construct your whole life on a conventional pattern. The greyer, the more monotonous the background, the better. My dear fellow, don't do battle against thousands all on your own, don't tilt against windmills, don't beat your head against walls... And may God preserve you from all kinds of rational farming, newfangled schools, fiery speeches... Shut yourself in your shell and do your little God-given business... It's snugger, healthier and more honest.

Ah, the rheumy-eyed grandpa on the terraces inducting the lad into the mysteries of soccer: how to loathe people wearing different coloured shirts, how to feign injury, how to blow your snot onto the pitch—See, son, you press hard on one nostril to close it, and explode the green stuff out of the other. How to be vain and overpaid and have your best years behind you before you’ve even understood what life’s about. Oh yes, I look forward to taking Lucas to the football. But

But if you tame me, it will be as if the sun came to shine on my life . I shall know the sound of a step that will be different from all the others. Other steps send me hurrying back underneath the ground. Yours will call me, like music, out of my burrow. And then look: you see the grain-fields down yonder? I do not eat bread. Wheat is of no use to me. The wheat fields have nothing to say to me. And that is sad. But you have hair that is the colour of gold. Think how wonderful that will be when you have tamed me! The grain, which is also golden, will bring me back the thought of you. And I shall love to listen to the wind in the wheat...

He meditated resentfully on the physical texture of life. Had it always been like this? Had food always tasted like this? He looked round the canteen. A low-ceilinged, crowded room, its walls grimy from the contact of innumerable bodies; battered metal tables and chairs, placed so close together that you sat with elbows touching; bent spoons, dented trays, coarse white mugs; all surfaces greasy, grime in every crack; and a sourish, composite smell of bad gin and bad coffee and metallic stew and dirty clothes. Always in your stomach and in your skin there was a sort of protest, a feeling that you had been cheated of something that you had a right to. It was true that he had no memories of anything greatly different. In any time that he could accurately remember, there had never been quite enough to eat, one had never had socks or underclothes that were not full of holes, furniture had always been battered and rickety, rooms underheated, tube trains crowded, houses falling to pieces, bread dark-coloured, tea a rarity, coffee filthy-tasting, cigarettes insufficient -- nothing cheap and plentiful except synthetic gin. And though, of course, it grew worse as one's body aged, was it not a sign that this was not the natural order of things, if one's heart sickened at the discomfort and dirt and scarcity, the interminable winters, the stickiness of one's socks, the lifts that never worked, the cold water, the gritty soap, the cigarettes that came to pieces, the food with its strange evil tastes? Why should one feel it to be intolerable unless one had some kind of ancestral memory that things had once been different?

I think that one of the worst things you can do to a person, is cast them in a negative light and paint them in negative hues, by using the malicious thoughts that are in your mind. We all have some kind of tape recorder in the back of our minds, a film strip, and there are lots of negative thoughts embedded onto that filstrip, and our minds act like projectors; projecting all of those images onto the new canvas that stands in front of us! It is a dark and harmful art that one engages in, when one paints the new canvas in old colours! We have to let it go, we just have to let it go. A person isn't all the other things that have happened to you; a person is a beautiful canvas with a painting that's already there and you need to sit still and see clearly and look at that painting. Then you need to be very careful what colours you dip your paintbrush into before making any new marks on what stands in front of you. Don't make the mistake of harming others and yourself, by painting them in colours that are not their own.

You spent so much time explaining yourself, your work, to others – what it meant, what you were trying to accomplish, why you were trying to accomplish it, why you had chosen the colours and subject matter and materials and application and technique that you had – that it was a relief to simply be with another person to whom you didn't have to explain anything.

Nothing is perfect," sighed the fox. "My life is very monotonous. I run after the chickens; the men run after me. All the chickens are the same; all the men are the same. Consequently, I get a little bored. But if you tame me, my days will be as if filled with sunlight. I shall know the sound of a footstep different from all the rest. ...You see the fields of corn? Well, I don't eat bread. Corn is of no use to me. Corn fields remind me of nothing. Which is sad. On the other hand, your hair is the colour of gold. So think how wonderful it will be when you have tamed me. The corn, which is golden, will remind me of you. And I will come to love the sound of the wind in the field of corn. The fox fell silent and looked steadily at the little prince for a long time. "Please," he said, "tame me!

The maple brings tourists who come to marvel at the blazing colours of the autumn leaves and it brings cash dollars in the form of the unctuous, faintly metallic syrup that Americans like to pour all over their breakfast, on waffles and pancakes certainly, but on bacon too. Sounds alarming to English ears, but actually it is rather delicious. Like crack, crystal meth, and Chocolate HobNobs, one nibble and you're hooked for life.

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.

One of those awfully simple and beautiful days with you that makes me afraid of dying, makes me afraid of not being. When the soft 6 o’clock sun is slowly sinking behind the harbour, and your smile, effortless and tidy, makes time take flight. You save me from death but also from lifeless living. With you, nothing's wasted on me. The music of the breeze, the colours of children’s footsteps, the dancing trees—I drink them all and, what’s more, you drink these with me. One of those insignificant days when we do nothing and achieve nothing, and yet, chasing the ducks and sharing my last stick of gum with you is everything.

In The Sunset Sky The sunset sky dazzling with the golden hues, Taking bow in brilliant sparkle of experience Is it not a climax, of the story so far, that was today? Or is it building anticipation of the night yet to come. Watch the days go, some proud of their accomplishments Some leaving sighs of disappointments, Leaving all in awe of its Amaranthine twists and turns And the fortunate get to see the moon trying to steal the show from setting sun, Oh she is such a show off, isn't she, basking in reflected glory Its magical, the sunset sky,Puzzling, sometimes just like a riddle, Leaving the nature stunned and amazed For it has been filling the canvas whole day with colours And now the sunset threatens to hide them all And in dark all the colours will be same A cue for the wise. Sunset sky has so much to offer, is she not a fine exampleof how uncertain a life can be Often reminding no matter what you planned, there will besome unexpected returns For End has its own brain, its own script Charting its own course So why just the beginning,every moment of the life should be grand, meted with equal passion and fervor She has been so clever; the sunset sky Leaving Twinkling cryptic messages for the night sky For even the dark has sparkle and hope if you keep your head up, A constant reminder that exuberance is an attitude of deep,rich, warm hearts I want my sunset sky to be grand, magical, and full of stories of my life that has been And its memories to linger on in this world, in the tomorrow and a few more years to come

You know those people you meet who just feel safe? They radiate certainty and belonging, like everything will be okay for them, because they know how to make things okay. If you’re lucky enough to spend a day with them they will go on with their lives and let you be a tourist in there. They make each moment their own, in small ways, like having preferences about the music, the colours, the smells, the direction, the order of things. And they will talk about their lives in a way that doesn’t leave any space for questioning. It’s not like … hello, this is my life, do you think it’s okay? Like I do … It’s more like: “Hey, this is my life! It’s nice, isn’t it? Now show me yours!

Actually, using the Daleks would be a masterstroke. Everyone loves Doctor Who - who wouldn't be thrilled by the sight of a real-life Dalek squadron rolling down the high street, glinting in the sun? The sheer excitement would genuinely make the accompanying loss of liberty seem worthwhile. To liven things up even more, our rasping pepperpot overlords would be colour-coded. Blue Daleks would deal with minor infractions, and would spend most of their time issuing warnings and administering minor shocks - but they'd also be chummy and approachable, and willing to pose for photographs with your nephew. Red Daleks, on the other hand, would be emotionless killing machines. Imagine the atmosphere outside a pub on a hot summer's day: a Red Dalek trundles past, and the convivial hubbub suddenly fades to a whisper. Everyone stiffens. And then he turns the corner and a communal sigh of relief goes up, and the drinking continues and the jukebox plays louder and louder... community spirit lives again. Admit it: it'd be fantastic.

Conspiracy theories have long been used to maintain power: the Soviet leadership saw capitalist and counter-revolutionary conspiracies everywhere; the Nazis, Jewish ones. But those conspiracies were ultimately there to buttress an ideology, whether class warfare for Communists or race for Nazis. With today’s regimes, which struggle to formulate a single ideology – indeed, which can’t if they want to maintain power by sending different messages to different people – the idea that one lives in a world full of conspiracies becomes the world view itself. Conspiracy does not support the ideology; it replaces it. In Russia this is captured in the catchphrase of the country’s most important current affairs presenter: ‘A coincidence? I don’t think so!’ says Dmitry Kiselev as he twirls between tall tales that dip into history, literature, oil prices and colour revolutions, which all return to the theme of how the world has it in for Russia. And as a world view it grants those who subscribe to it certain pleasures: if all the world is a conspiracy, then your own failures are no longer all your fault. The fact that you achieved less than you hoped for, that your life is a mess – it’s all the fault of the conspiracy. More importantly, conspiracy is a way to maintain control. In a world where even the most authoritarian regimes struggle to impose censorship, one has to surround audiences with so much cynicism about anybody’s motives, persuade them that behind every seemingly benign motivation is a nefarious, if impossible-to-prove, plot, that they lose faith in the possibility of an alternative, a tactic a renowned Russian media analyst called Vasily Gatov calls ‘white jamming’. And the end effect of this endless pile-up of conspiracies is that you, the little guy, can never change anything. For if you are living in a world where shadowy forces control everything, then what possible chance do you have of turning it around? In this murk it becomes best to rely on a strong hand to guide you. ‘Trump is our last chance to save America,’ is the message of his media hounds. Only Putin can ‘raise Russia from its knees’. ‘The problem we are facing today is less oppression, more lack of identity, apathy, division, no trust,’ sighs Srdja. ‘There are more tools to change things than before, but there’s less will to do so.

She passed weeks in bed, hours and hours, just playing the jewel game on her phone. The game was easy and beautiful and she felt she was very good at it. Every time she played, she would think "After this game, you will put down your phone and do something else." But she never put down her phone, and she never did something else. She continued to play the jewel game. She thought, "It's okay, don't worry. You won't play the jewel game forever." But, what if she did play the jewel game forever? She thought about her life as she arranged jewels upon jewels. She thought about her life very slowly. She felt her brain get slow, clear, and focused. Organizing jewels took care of the nervous part of her brain and replaced it with a pleasant sensation of having done a good job cleaning jewels. She felt like she was creating order in the universe as the jewels disappeared. As she was clearing away jewels, she wondered "Isn't it time yet to become part of the world?" What world? After all, the world was also right where she was living. Her bed was as much the world as anything outside it. The world included her phone, her bed, these jewels. The world included her doing this. How could she ever become more a part of it? So she cleaned away the jewels, assured there was nowhere she had to go.

Your gender may not help to make me feel comfortable; but I will absolutely defend your right to live in a way that doesn't require you to make me feel comfortable. Your skin colour may not be my skin colour; but I will absolutely defend your right to live in your own skin just as much as I live in mine. Your religion or absence of any religion may not align with my own beliefs; but I will absolutely defend your right to believe in anything or nothing at all. Since I'm a human too, I will defend your birthright to be the kind of human that you are.

His room was a sickly dual-tone of crimson and charcoal, like an Untitled Rothko, the colours bleeding into each other horribly and then rather serenely. The overall effect was overwhelmingly unapologetic but it grew on you like a wart on your nose you didn't realise it was a part of your identity until one day it simply was. His room was his identity. Fiercely bold, avant-garde but never monotonous. He was red, he was black, he was bored, and he was fire. At least to me he seemed like fire. A tornado of fire that burned all in its wake leaving only the wretched brightness of annihilation. His room was where he charmed and disarmed us. We were his playthings. Nobody plays with fire and leaves unscarred. The fire soon seeps into chard and soot. The colours of his soul, his aura, and probably his heart if he didn't stop smoking.

Where are you now? What roads are you treading? We have so many new roads now, right across the steppe all the way to the Altai and Siberia. Many brave souls are toiling there. Perhaps you're among them? You left, my Jamilia, across the wide steppe without a backward glance. Perhaps you are weary, perhaps you have lost faith in your self? Just lean on Daniyar's shoulder. Have him sing to you his song of love, of life, of the earth. May the steppe come alive and blossom in all its glory. May you recall that August night. Keep on, Jamilia, have no regrets; you've found your hard-sought happiness. When I gaze at them long enough I can hear Daniyar's voice. He is calling to me, too, to take the highroad, which means it is time for me to get ready. I shall cross the steppe back to my village and find fresh colours there. May Daniyar's song resound and may Jamilia's heart beat with every stroke of my brush.

Women with dark skin are sharing selfies on social media after decades of being underrepresented in the mainstream media. From what I have observed much of the dark skin adoration on social media appears to come from us - black women. We tend to use the appreciation hashtags with our own pictures of photographs of dark skin women whom we feel are stunning. While I am loving this fierceness.. There is just one sidetone to this revolution: I feel as if we are much more appreciated if we show more skin. The timelines are filled with absolutely beautiful dark-skinned women but most sadly most of the time they are all oiled up and showing their body parts in different angles. Now, I am definitely in to art and as a model I know that this comes with the territory. But we most not forget that we are Queens.. We need to stop degrading ourselves for likes on the gram. You don't have to be naked to show the world you're beautiful. You my sister are an African Queen. I feel as if black women are only appreciated if they wear very provocative clothes or if they do naked photoshoots. To me, it's degrading and reminds me of the time that we couldn't ride the bus because we were black. Women were seen as servants. The black women that weren't servants were sex slaves. We are not objects, we are not meat and people need to stop looking at us as sex objects. BUT we need to start respecting ourselves first! A black woman is a woman first and it should not even be necessary to specify the colour but this is the society we live in and I feel like I had to share this.

Poem: Roses And Rue (To L. L.) Could we dig up this long-buried treasure, Were it worth the pleasure, We never could learn love's song, We are parted too long. Could the passionate past that is fled Call back its dead, Could we live it all over again, Were it worth the pain! I remember we used to meet By an ivied seat, And you warbled each pretty word With the air of a bird; And your voice had a quaver in it, Just like a linnet, And shook, as the blackbird's throat With its last big note; And your eyes, they were green and grey Like an April day, But lit into amethyst When I stooped and kissed; And your mouth, it would never smile For a long, long while, Then it rippled all over with laughter Five minutes after. You were always afraid of a shower, Just like a flower: I remember you started and ran When the rain began. I remember I never could catch you, For no one could match you, You had wonderful, luminous, fleet, Little wings to your feet. I remember your hair - did I tie it? For it always ran riot - Like a tangled sunbeam of gold: These things are old. I remember so well the room, And the lilac bloom That beat at the dripping pane In the warm June rain; And the colour of your gown, It was amber-brown, And two yellow satin bows From your shoulders rose. And the handkerchief of French lace Which you held to your face - Had a small tear left a stain? Or was it the rain? On your hand as it waved adieu There were veins of blue; In your voice as it said good-bye Was a petulant cry, 'You have only wasted your life.' (Ah, that was the knife!) When I rushed through the garden gate It was all too late. Could we live it over again, Were it worth the pain, Could the passionate past that is fled Call back its dead! Well, if my heart must break, Dear love, for your sake, It will break in music, I know, Poets' hearts break so. But strange that I was not told That the brain can hold In a tiny ivory cell God's heaven and hell.

It goes something like this. You'’re walking along minding your own business, or you'’re on the underground or you’'re on a bus or something, but generally you’'re not paying much attention. And suddenly you look around and see all these other people and think, ‘Hey, they can look at me and see me and I can see in my mind what I think they see, and when I’'m gone they’'re going to keep on walking and they’r'e going to go and live their lives, and their thoughts are going to be just like mine, but different, but real and solid and alive and full of feeling and confusion and colour just like life, and, hey, isn’t that cool!’ And it is. And roughly around this time you'’re going to notice that you can feel trains under your feet or pipes bubbling, and you can hear the sound of traffic and voices and stuff; and then you’'ll probably look up at the things around you and think, ‘Those buildings with the lights on look almost alive, like giant trees lit up with their own constellation of stars in every window,’ or maybe not if you'’re underground; and you’'ll realise that you can see the city all around, and it’'s so full of lives and life, and they'’re all buzzing around you, and every single individual is real and alive and passionate and full of mystery, and it'’s not just Joe Bloggs walking by who’'s like this, but that every part of the city is crawling with life. And you'’ll think, ‘Hey, that'’s pretty damn sweet, everywhere I look there'’s life,’ and roughly around that point you'’ll realise you can hear rats and pigeons and thoughts and spells and colours and electricity, and that’'s probably when you started going a bit mad.

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.

Close your eyes and stare into the dark. My father's advice when I couldn't sleep as a little girl. He wouldn't want me to do that now but I've set my mind to the task regardless. I'm staring beyond my closed eyelids. Though I lie still on the ground, I feel perched at the highest point I could possibly be; clutching at a star in the night sky with my legs dangling above cold black nothingness. I take one last look at my fingers wrapped around the light and let go. Down I go, falling, then floating, and, falling again, I wait for the land of my life. I know now, as I knew as that little girl fighting sleep, that behind her gauzed screen of shut-eye, lies colour. It taunts me, dares me to open my eyes and lose sleep. Flashes of red and amber, yellow and white speckle my darkness. I refuse to open them. I rebel and I squeeze my eyelids together tighter to block out the grains of light, mere distractions that keep us awake but a sign that there's life beyond. But there's no life in me. None that I can feel, from where I lie at the bottom of the staircase. My heart beats quicker now, the lone fighter left standing in the ring, a red boxing glove pumping victoriously into the air, refusing to give up. It's the only part of me that cares, the only part that ever cared. It fights to pump the blood around to heal, to replace what I'm losing. But it's all leaving my body as quickly as it's sent; forming a deep black ocean of its own around me where I've fallen. Rushing, rushing, rushing. We are always rushing. Never have enough time here, always trying to make our way there. Need to have left here five minutes ago, need to be there now. The phone rings again and I acknowledge the irony. I could have taken my time and answered it now. Now, not then. I could have taken all the time in the world on each of those steps. But we're always rushing. All, but my heart. That slows now. I don't mind so much. I place my hand on my belly. If my child is gone, and I suspect this is so, I'll join it there. There.....where? Wherever. It; a heartless word. He or she so young; who it was to become, still a question. But there, I will mother it. There, not here. I'll tell it; I'm sorry, sweetheart, I'm sorry I ruined your chances - our chances of a life together.But close your eyes and stare into the darkness now, like Mummy is doing, and we'll find our way together. There's a noise in the room and I feel a presence. 'Oh God, Joyce, oh God. Can you hear me, love? Oh God. Oh God, please no, Hold on love, I'm here. Dad is here.' I don't want to hold on and I feel like telling him so. I hear myself groan, an animal-like whimper and it shocks me, scares me. I have a plan, I want to tell him. I want to go, only then can I be with my baby. Then, not now. He's stopped me from falling but I haven't landed yet. Instead he helps me balance on nothing, hover while I'm forced to make the decision. I want to keep falling but he's calling the ambulance and he's gripping my hand with such ferocity it's as though I'm all he has. He's brushing the hair from my forehead and weeping loudly. I've never heard him weep. Not even when Mum died. He clings to my hand with all of his strength I never knew his old body had and I remember that I am all he has and that he, once again just like before, is my whole world. The blood continues to rush through me. Rushing, rushing, rushing. We are always rushing. Maybe I'm rushing again. Maybe it's not my time to go. I feel the rough skin of old hands squeezing mine, and their intensity and their familiarity force me to open my eyes. Lights fills them and I glimpse his face, a look I never want to see again. He clings to his baby. I know I lost mind; I can't let him lose his. In making my decision I already begin to grieve. I've landed now, the land of my life. And still my heart pumps on. Even when broken it still works.

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.

But the greatest human problems are not social problems, but decisions that the individual has to make alone. The most important feelings of which man is capable emphasise his separateness from other people, not his kinship with them. The feelings of a mountaineer towards a mountain emphasise his kinship with the mountain rather than with the rest of mankind. The same goes for the leap of the heart experienced by a sailor when he smells the sea, or for the astronomer’s feeling about the stars, or for the archaeologist’s love of the past. My feeling of love for my fellowmen makes me aware of my humanness; but my feeling about a mountain gives me an oddly nonhuman sensation. It would be incorrect, perhaps, to call it ‘superhuman’; but it nevertheless gives me a sense of transcending my everyday humanity. Maslow’s importance is that he has placed these experiences of ‘transcendence’ at the centre of his psychology. He sees them as the compass by which man gains a sense of the magnetic north of his existence. They bring a glimpse of ‘the source of power, meaning and purpose’ inside himself. This can be seen with great clarity in the matter of the cure of alcoholics. Alcoholism arises from what I have called ‘generalised hypertension’, a feeling of strain or anxiety about practically everything. It might be described as a ‘passively negative’ attitude towards existence. The negativity prevents proper relaxation; there is a perpetual excess of adrenalin in the bloodstream. Alcohol may produce the necessary relaxation, switch off the anxiety, allow one to feel like a real human being instead of a bundle of over-tense nerves. Recurrence of the hypertension makes the alcoholic remedy a habit, but the disadvantages soon begin to outweigh the advantage: hangovers, headaches, fatigue, guilt, general inefficiency. And, above all, passivity. The alcoholics are given mescalin or LSD, and then peak experiences are induced by means of music or poetry or colours blending on a screen. They are suddenly gripped and shaken by a sense of meaning, of just how incredibly interesting life can be for the undefeated. They also become aware of the vicious circle involved in alcoholism: misery and passivity leading to a general running-down of the vital powers, and to the lower levels of perception that are the outcome of fatigue. ‘The spirit world shuts not its gates, Your heart is dead, your senses sleep,’ says the Earth Spirit to Faust. And the senses sleep when there is not enough energy to run them efficiently. On the other hand, when the level of will and determination is high, the senses wake up. (Maslow was not particularly literary, or he might have been amused to think that Faust is suffering from exactly the same problem as the girl in the chewing gum factory (described earlier), and that he had, incidentally, solved a problem that had troubled European culture for nearly two centuries). Peak experiences are a by-product of this higher energy-drive. The alcoholic drinks because he is seeking peak experiences; (the same, of course, goes for all addicts, whether of drugs or tobacco.) In fact, he is moving away from them, like a lost traveller walking away from the inn in which he hopes to spend the night. The moment he sees with clarity what he needs to do to regain the peak experience, he does an about-face and ceases to be an alcoholic.

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.

float before I could swim. Ellis never believed it was called Dead-Man’s Float, thought I’d made it up. I told him it was a survival position after a long exhausting journey. How apt. All I see below is blue light. Peaceful and eternal. I’m holding my breath until my body throbs as one pulse. I roll over and suck in a deep lungful of warm air. I look up at the starry starry night. The sound of water in and out of my ears, and beyond this human shell, the sound of cicadas fills the night. I dreamt of my mother. It was an image, that’s all, and a fleeting one, at that. She was faded with age, like a discarded offcut on the studio floor. In this dream, she didn’t speak, just stepped out of the shadows, a reminder that we are the same, her and me, cut from the same bruised cloth. I understand how she got up one day and left, how instinctively she trusted the compulsion to flee. The rightness of that action. We are the same, her and me. She walked out when I was eight. Never came back. I remember being collected from school by our neighbour Mrs Deakin, who bought me sweets on the way home and let me play with a dog for as long as I wanted. Inside the house, my father was sitting at the table, drinking. He was holding a sheet of blue writing paper covered in black words, and he said, Your mother’s gone. She said she’s sorry. A sheet of writing paper covered in words and just two for me. How was that possible? Her remnant life was put in bags and stored in the spare room at the earliest opportunity. Stuffed in, not folded – clothes brushes, cosmetics all thrown in together, awaiting collection from the Church. My mother had taken only what she could carry. One rainy afternoon, when my father had gone next door to fix a pipe, I emptied the bags on to the floor and saw my mother in every jumper and blouse and skirt I held up. I used to watch her dress and she let me. Sometimes, she asked my opinion about colours or what suited her more, this blouse or that blouse? And she’d follow my advice and tell me how right I was. I took off my clothes and put on a skirt first, then a blouse, a cardigan, and slowly I became her in miniature. She’d taken her good shoes, so I slipped on a pair of mid-height heels many sizes too big, of course, and placed a handbag on my arm. I stood in front of the mirror, and saw the infinite possibilities of play. I strutted, I

How can I further encourage you to go about the business of life? Young women, I would say, and please attend, for the peroration is beginning, you are, in my opinion, disgracefully ignorant. You have never made a discovery of any sort of importance. You have never shaken an empire or led an army into battle. The plays of Shakespeare are not by you, and you have never introduced a barbarous race to the blessings of civilization. What is your excuse? It is all very blessings of civilisation. What is you excuse? it is all very well for you to say, pointing to the streets and squares and forests of the globe swarming with black and white and coffee-coloured inhabitants, all busily engaged in traffic and enterprise and love-making, we have had other work on our hands. Without our doing, those seas would be unsailed and those fertile lands a desert. We have borne and bred and washed and taught, perhaps to the age of six or seven years, the one thousand six hundred and twenty-three million human beings who are, according to statistics, at present in existence, and that, allowing that some had help, takes time. There is truth in what you say—I will not deny it. But at the same time may I remind you that there have been at least two colleges for women in existence in England since the year 1886; that after the year 1880 a married woman was allowed by the law to possess her own property; and that in 1919—which is a whole nine years ago—she was given a vote? May I also remind you that most of the professions have been open to you for close to ten years now? When you reflect upon these immense privileges and the length of time during which they have been enjoyed, and the fact that there must be at this moment some two thousand women capable of earning over five hundred a year in one way or another, you will agree that the excuse of lack of opportunity, training, encouragement, leisure and money no longer holds good. Moreover, the economists are telling us that Mrs. Seton has had too many children. You must, of course, go on bearing children, but, so they say, in twos and threes, not in tens and twelves. Thus, with some time on your hands and with some book learning in your brains—you have had enough of the other kind, and are sent to college partly, I suspect, to be uneducated—surely you should embark upon another stage of your very long, very laborious and highly obscure career. A thousand pens are ready to suggest what you should do and what effect you will have. My own suggestion is a little fantastic, I admit; I prefer, therefore, to put it in the form of fiction.

Have you ever been in a place where history becomes tangible? Where you stand motionless, feeling time and importance press around you, press into you? That was how I felt the first time I stood in the astronaut garden at OCA PNW. Is it still there? Do you know it? Every OCA campus had – has, please let it be has – one: a circular enclave, walled by smooth white stone that towered up and up until it abruptly cut off, definitive as the end of an atmosphere, making room for the sky above. Stretching up from the ground, standing in neat rows and with an equally neat carpet of microclover in between, were trees, one for every person who’d taken a trip off Earth on an OCA rocket. It didn’t matter where you from, where you trained, where your spacecraft launched. When someone went up, every OCA campus planted a sapling. The trees are an awesome sight, but bear in mind: the forest above is not the garden’s entry point. You enter from underground. I remember walking through a short tunnel and into a low-lit domed chamber that possessed nothing but a spiral staircase leading upward. The walls were made of thick glass, and behind it was the dense network you find below every forest. Roots interlocking like fingers, with gossamer fungus sprawled symbiotically between, allowing for the peaceful exchange of carbon and nutrients. Worms traversed roads of their own making. Pockets of water and pebbles decorated the scene. This is what a forest is, after all. Don’t believe the lie of individual trees, each a monument to its own self-made success. A forest is an interdependent community. Resources are shared, and life in isolation is a death sentence. As I stood contemplating the roots, a hidden timer triggered, and the lights faded out. My breath went with it. The glass was etched with some kind of luminescent colourant, invisible when the lights were on, but glowing boldly in the dark. I moved closer, and I saw names – thousands upon thousands of names, printed as small as possible. I understood what I was seeing without being told. The idea behind Open Cluster Astronautics was simple: citizen-funded spaceflight. Exploration for exploration’s sake. Apolitical, international, non-profit. Donations accepted from anyone, with no kickbacks or concessions or promises of anything beyond a fervent attempt to bring astronauts back from extinction. It began in a post thread kicked off in 2052, a literal moonshot by a collective of frustrated friends from all corners – former thinkers for big names gone bankrupt, starry-eyed academics who wanted to do more than teach the past, government bureau members whose governments no longer existed. If you want to do good science with clean money and clean hands, they argued, if you want to keep the fire burning even as flags and logos came down, if you understand that space exploration is best when it’s done in the name of the people, then the people are the ones who have to make it happen.

NAMING THE EARTH (a poem of light for national poetry day) And the world will be born again in circles of steaming breath and beams of light as each one of us directs our inner eye upon its name. Hear the cry of wings, the sigh of leaves and grass, smell the new sweet mist rising as the pathway is cleared at last. Stones stand ready - they have known since ages and ages ago that they were not alone. Water carries the planet's energy into skies and down to earth and bones. The cold parts steadily as we come together, bodies and hearts warm, hands tingling. We are silent but our eyes are singing. We look, we feel, we know, we trust each other's souls, we have no need to speak. Not now, but later, when the time is right, the name will ring within the iron core of each other's listening - and the very earth's being. Every creature, every plant, will hear it calling, tolling like a bell - a sound we've always felt but never dared to hope to hear reverberating - true at last, at every level of existence. The poets come together to open the intimate centre. Believe in life and air - breathe the light itself, for these are the energies and rhythms that we need to see, to touch, to reach, to identify, to say, the NAME. Colours on your skin fuse and dissolve - leave the river clean for pure space and time to enter and flow in. We all become one fluid stream of stillness and motion, of flaring thought pulses discovering weird pools and twists within where darkness hides from the flames in our eyes but will not snare us. We probe deeper still, journeying towards a unity which will be more raw and yet also more formed than anything written or spoken before. Our fragile bodies fall away - and the trees, and the roots of trees, guide us - lead us away from the faces we remember seeing each day in the mirror - into an ocean of dreams seething with warmth, love, where the beginning is real, ripe, evolving. And the world is born again in circles of steaming breath and beams of light. An ache - a signal - a trembling moment - and the time is right to say the name. We sing as one whole voice of the universal - all the words, the names of every tiny thirsting thing, and they ring out together as one sound, one energy, one sense, one vibration, one breath. And the world listens, beats, shines, glows - IS - Exists!

Oh I'll die I'll die I'll die My skin is in blazing furore I do not know what I'll do where I'll go oh I am sick I'll kick all Arts in the butt and go away Shubha Shubha let me go and live in your cloaked melon In the unfastened shadow of dark destroyed saffron curtain The last anchor is leaving me after I got the other anchors lifted I can't resist anymore, a million glass panes are breaking in my cortex I know, Shubha, spread out your matrix, give me peace Each vein is carrying a stream of tears up to the heart Brain's contagious flints are decomposing out of eternal sickness other why didn't you give me birth in the form of a skeleton I'd have gone two billion light years and kissed God's ass But nothing pleases me nothing sounds well I feel nauseated with more than a single kiss I've forgotten women during copulation and returned to the Muse In to the sun-coloured bladder I do not know what these happenings are but they are occurring within me I'll destroy and shatter everything draw and elevate Shubha in to my hunger Shubha will have to be given Oh Malay Kolkata seems to be a procession of wet and slippery organs today But i do not know what I'll do now with my own self My power of recollection is withering away Let me ascend alone toward death I haven't had to learn copulation and dying I haven't had to learn the responsibility of shedding the last drops after urination Haven't had to learn to go and lie beside Shubha in the darkness Have not had to learn the usage of French leather while lying on Nandita's bosom Though I wanted the healthy spirit of Aleya's fresh China-rose matrix Yet I submitted to the refuge of my brain's cataclysm I am failing to understand why I still want to live I am thinking of my debauched Sabarna-Choudhury ancestors I'll have to do something different and new Let me sleep for the last time on a bed soft as the skin of Shubha's bosom I remember now the sharp-edged radiance of the moment I was born I want to see my own death before passing away The world had nothing to do with Malay Roychoudhury Shubha let me sleep for a few moments in your violent silvery uterus Give me peace, Shubha, let me have peace Let my sin-driven skeleton be washed anew in your seasonal bloodstream Let me create myself in your womb with my own sperm Would I have been like this if I had different parents? Was Malay alias me possible from an absolutely different sperm? Would I have been Malay in the womb of other women of my father? Would I have made a professional gentleman of me like my dead brother without Shubha? Oh, answer, let somebody answer these Shubha, ah Shubha Let me see the earth through your cellophane hymen Come back on the green mattress again As cathode rays are sucked up with the warmth of a magnet's brilliance I remember the letter of the final decision of 1956 The surroundings of your clitoris were being embellished with coon at that time Fine rib-smashing roots were descending in to your bosom Stupid relationship inflated in the bypass of senseless neglect Aaaaaaaaaaaaaaaaaaaaaaaah I do not know whether I am going to die Squandering was roaring within heart's exhaustive impatience I'll disrupt and destroy I'll split all in to pieces for the sake of Art There isn't any other way out for Poetry except suicide Shubha Let me enter in to the immemorial incontinence of your labia majora In to the absurdity of woeless effort In the golden chlorophyll of the drunken heart Why wasn't I lost in my mother's urethra? Why wasn't I driven away in my father's urine after his self-coition? Why wasn't I mixed in the ovum -flux or in the phlegm? With her eyes shut supine beneath me I felt terribly distressed when I saw comfort seize S

It is one of the great beauties of our system, that a working-man may raise himself into the power and position of a master by his own exertions and behaviour; that, in fact, every one who rules himself to decency and sobriety of conduct, and attention to his duties, comes over to our ranks; it may not be always as a master, but as an over-looker, a cashier, a book-keeper, a clerk, one on the side of authority and order.' 'You consider all who are unsuccessful in raising themselves in the world, from whatever cause, as your enemies, then, if I under-stand you rightly,' said Margaret' in a clear, cold voice. 'As their own enemies, certainly,' said he, quickly, not a little piqued by the haughty disapproval her form of expression and tone of speaking implied. But, in a moment, his straightforward honesty made him feel that his words were but a poor and quibbling answer to what she had said; and, be she as scornful as she liked, it was a duty he owed to himself to explain, as truly as he could, what he did mean. Yet it was very difficult to separate her interpretation, and keep it distinct from his meaning. He could best have illustrated what he wanted to say by telling them something of his own life; but was it not too personal a subject to speak about to strangers? Still, it was the simple straightforward way of explaining his meaning; so, putting aside the touch of shyness that brought a momentary flush of colour into his dark cheek, he said: 'I am not speaking without book. Sixteen years ago, my father died under very miserable circumstances. I was taken from school, and had to become a man (as well as I could) in a few days. I had such a mother as few are blest with; a woman of strong power, and firm resolve. We went into a small country town, where living was cheaper than in Milton, and where I got employment in a draper's shop (a capital place, by the way, for obtaining a knowledge of goods). Week by week our income came to fifteen shillings, out of which three people had to be kept. My mother managed so that I put by three out of these fifteen shillings regularly. This made the beginning; this taught me self-denial. Now that I am able to afford my mother such comforts as her age, rather than her own wish, requires, I thank her silently on each occasion for the early training she gave me. Now when I feel that in my own case it is no good luck, nor merit, nor talent,—but simply the habits of life which taught me to despise indulgences not thoroughly earned,—indeed, never to think twice about them,—I believe that this suffering, which Miss Hale says is impressed on the countenances of the people of Milton, is but the natural punishment of dishonestly-enjoyed pleasure, at some former period of their lives. I do not look on self-indulgent, sensual people as worthy of my hatred; I simply look upon them with contempt for their poorness of character.