Coloured Glass Quotes

As for myself, I am splintered by great waves. I am coloured glass from a church window long since shattered. I find pieces of myself everywhere, and I cut myself handling them.

We are the hollow men We are the stuffed men Leaning together Headpiece filled with straw. Alas! Our dried voices, when We whisper together Are quiet and meaningless As wind in dry grass Or rats' feet over broken glass In our dry cellar Shape without form, shade without colour, Paralysed force, gesture without motion; - The Hollow Men

The sun,--the bright sun, that brings back, not light alone, but new life, and hope, and freshness to man--burst upon the crowded city in clear and radiant glory. Through costly-coloured glass and paper-mended window, through cathedral dome and rotten crevice, it shed its equal ray.

La Vie En Rose. It is the French way of saying, 'I am looking at the world through rose-coloured glasses.

He was like a shattered stained-glass window: something beautiful that's broken; a million colours fallen on the ground where no light can get through.

The One remains, the many change and pass; Heaven’s light forever shines, Earth’s shadows fly; Life, like a dome of many-coloured glass, Stains the white radiance of Eternity, Until Death tramples it to fragments.—Die, If thou wouldst be with that which thou dost seek! Follow where all is fled!—Rome’s azure sky, Flowers, ruins, statues, music, words are weak The glory they transfuse with fitting truth to speak.

Life, like a dome of many-coloured glass Stains the white radiance of Eternity

I bought a piece of God, ground to dust and mixed with alcohol in a glass bottle the colour of molasses.

They say that depression makes you see everything in a negative light. I disagree. It makes you see things for what they are. It makes you take off the fucking rose-tinted glasses and look around and see the world as it really is- cruel, harsh and unfair. It makes you see people in their true colours- stupid, shallow and self-absorbed. All that ridiculous optimism, all that carpe diem and life-is-what-you-make-of-it. Words, jsut empty words in an attempt to give meaning to an existence taht is both doomed and futile.

At the end of the street was a large glass box with a female mannequin inside it, dressed as a gypsy fortune teller. “Now,” said Wednesday, “at the start of any quest or enterprise it behooves us to consult the Norns.” He dropped a coin into the slot. With jagged, mechanical motions, the gypsy lifted her arm and lowered it once more. A slip of paper chunked out of the slot. Wednesday took it, read it, grunted, folded it up and put it in his pocket. “Aren’t you going to show it to me? I’ll show you mine,” said Shadow. “A man’s fortune is his own affair,” said Wednesday, stiffly. “I would not ask to see yours.” Shadow put his own coin into the slot. He took his slip of paper. He read it. EVERY ENDING IS A NEW BEGINNING. YOUR LUCKY NUMBER IS NONE. YOUR LUCKY COLOUR IS DEAD. Motto: LIKE FATHER, LIKE SON. Shadow made a face. He folded the fortune up and put it inside his pocket.

How then does light return to the world after the eclipse of the sun? Miraculously. Frailly. In thin stripes. It hangs like a glass cage. It is a hoop to be fractured by a tiny jar. There is a spark there. Next moment a flush of dun. Then a vapour as if earth were breathing in and out, once, twice, for the first time. Then under the dullness someone walks with a green light. Then off twists a white wraith. The woods throb blue and green, and gradually the fields drink in red, gold, brown. Suddenly a river snatches a blue light. The earth absorbs colour like a sponge slowly drinking water. It puts on weight; rounds itself; hangs pendent; settles and swings beneath our feet.

Our sweet illusions are half of them conscious illusions, like effects of colour that we know to be made up of tinsel, broken glass and rags.

BELOVED, gaze in thine own heart, The holy tree is growing there; From joy the holy branches start, And all the trembling flowers they bear. The changing colours of its fruit Have dowered the stars with merry light; The surety of its hidden root Has planted quiet in the night; The shaking of its leafy head Has given the waves their melody, And made my lips and music wed, Murmuring a wizard song for thee. There the Loves a circle go, The flaming circle of our days, Gyring, spiring to and fro In those great ignorant leafy ways; Remembering all that shaken hair And how the wingèd sandals dart, Thine eyes grow full of tender care: Beloved, gaze in thine own heart. Gaze no more in the bitter glass The demons, with their subtle guile, Lift up before us when they pass, Or only gaze a little while; For there a fatal image grows That the stormy night receives, Roots half hidden under snows, Broken boughs and blackened leaves. For all things turn to barrenness In the dim glass the demons hold, The glass of outer weariness, Made when God slept in times of old. There, through the broken branches, go The ravens of unresting thought; Flying, crying, to and fro, Cruel claw and hungry throat, Or else they stand and sniff the wind, And shake their ragged wings; alas! Thy tender eyes grow all unkind: Gaze no more in the bitter glass. - The Two Trees

....you were a jumble of broken bits of glass the sun caught and stained my soul with your colors....

I've always thought a body would have to be sick and dying before they saw the Lord. And I imagined that when He came it would be like looking at the Baptist window: pretty as coloured glass with the sun pouring through, such a shine you don't know it's getting dark. And it's been a spooky feeling. But I'll wager it never happens. I'll wager at the very end a body realizes the Lord has already shown Himself. That things as they are' - her hand circles in a gesture that gathers clouds and kites and grass and Queenie pawing earth over her bone - 'just what they've always senn, was seeing Him. As for me, I could leave the world with today in my eyes.

... cynicism is the only tool that can scrape away the tint off rose-coloured glasses.

November again. It’s more winter than autumn. That’s not mist. It’s fog. The sycamore seeds hit the glass in the wind like – no, not like anything else, like sycamore seeds hitting window glass. There’ve been a couple of windy nights. The leaves are stuck to the ground with the wet. The ones on the paving are yellow and rotting, wanwood, leafmeal. One is so stuck that when it eventually peels away, its leafshape left behind, shadow of a leaf, will last on the pavement till next spring. The furniture in the garden is rusting. They’ve forgotten to put it away for the winter. The trees are revealing their structures. There’s the catch of fire in the air. All the souls are out marauding. But there are roses, there are still roses. In the damp and the cold, on a bush that looks done, there’s a wide-open rose, still. Look at the colour of it.

The undergarments were plain-and folded. Who folded their undergarments? Celeana thought of her enormous closet back home, exploding with colour and different fabrics and patterns, all tossed together. Her undergarments, while expensive, usually wound up in a heap in their drawer. Sam, probably, folded his undergarments. Though, depending on how much of him Arobynn left intact, he might not be able to now. Arobynn would never permanently main her, but Sam might have faired worse. Sam had always been the expendable one.

...I will be no more than a tint of some obscure color, and to their great grandchildren nothing they ever know about, and so what army of strangers and ghosts has shaped and coloured me until back to Adam, until back to when ribs were blown from molten sand into the glass bits that took up the light of this world....

Jace?" She offered him the glass. "I am a man," he told her. "And men do not consume pink beverages. Get the gone, woman and bring me something brown." "Brown?" Isabelle made a face. "Brown is a manly colour," said Jace and yanked on a stray lock of Isabelle's hair with his free hand. "In fact, look-Alec is wearing it." Alec looked mournfully down at his sweater. "It was black," he said. "But then it faded." "You could dress it up with a sequined headband," Magnus suggested.

Part of her wanted simply to sit and stare out of the window, at the lawn, flaky with sodden leaves, and the branches with yellow leaves, or few, or none, she thought, taking pleasure at least in Shakespeare’s rhythm, but also feeling old. She took pleasure, too, in the inert solidity of glass panes and polished furniture and rows of ordered books around her, and the magic trees of life woven in glowing colours on the rugs at her feet.

The colour of the water seems to be the colour of the glass into which it has been poured'.

Life, like a dome of many-coloured glass Stains the white radiance of Eternity, Until Death tramples it to fragments. - Adonais

The One remains, the many change and pass; Heaven's light forever shines, Earth's shadows fly; Life, like a dome of many-coloured glass, Stains the white radiance of Eternity, Until Death tramples it to fragments---Die, If thou wouldst be with that which thou dost seek!

There was something in the moonlight tonight. It was stroking the stonework and spires, leaning into cracks between the cobblestones, caressing the stained-glass windows. She felt her heart lift with magic.

Sometimes I take my glasses off to see differently from other people. Colours and words swim into each other, meanings change on the page. In the distance, everything becomes a pastel blur. There is a kind of restfulness in not seeing well that the clear-sighted will never know.

Understanding is a pure glass of water. All great truths have no taste. Hints of sweetness are coloured by the need for amazement.

From black-rimmed plates they ate turtle soup and eaten Russian rye bread, ripe Turkish olives, caviar, salted mullet-roe, smoked Frankfurt black puddings, game in gravies the colour of liquorice and boot-blacking truffled sauces, chocolate caramel creams, plum puddings, nectarines, preserved fruits, mulberries and heart-cherries; from dark coloured glasses they drank the wines of Limagne and Rousillon, of Tenedoes, Val de Peñas and Oporto, and, after the coffee and the walnut cordial they enjoyed kvass, porters and stouts.

He built her a bookshelf and she filled it with books by people who wrote page after page about their feelings. Ove understood things he could see and touch. Cement and concrete. Glass and steel. Tools. Things one could figure out. He understood right angles and clear instruction manuals. Assembly models and drawings. Things one could draw on paper. He was a man of black and white. And she was colour. All the colour he had.

Words are like Leaves; and where they most abound, Much Fruit of Sense beneath is rarely found. False Eloquence, like the Prismatic Glass, Its gawdy Colours spreads on ev’ry place; The Face of Nature was no more Survey, All glares alike, without Distinction gay: But true Expression, like th’ unchanging Sun, Clears, and improves whate’er it shines upon, It gilds all Objects, but it alters none.

I spend my life believing in people through child like eyes, always trying to see the good, trying to ignore the bad... I think my eyes need glasses....

You are a glass of water separated from the blue ocean. Stop looking for blue colour powder. What you are missing is not colour but inner depth.

May we always see life through love-coloured glasses.

The power of negative thinking” requires the removal of rose-coloured glasses. Not blame of others but owning responsibility for one’s relationships is the key.

It was like his mother always said: Rose-coloured glasses disguise red flags – and Bartley was draped in them.

He stares at the cellist, and feels himself relax as the music seeps into him. He watches as the cellist's hair smoothes itself out, his beard disappears. A dirty tuxedo becomes clean, shoes polished bright as mirrors...The building behind the cellist repairs itself. The scars of bullets and shrapnel are covered by plaster and paint, and windows reassemble, clarify and sparkle as the sun reflects off glass. The cobblestones of the road set themselves straight. Around him people stand up taller, their faces put on weight and colour. Clothes gain lost thread, brighten, smooth out their wrinkles. Kenan watches as his city heals itself around him. The cellist continues to play...

Holmes speaks of grief “staining backward” through the pages of life; but Valancy found her happiness had stained backward likewise and flooded with rose-colour her whole previous drab existence. She found it hard to believe that she had ever been lonely and unhappy and afraid.

The psychotherapist must not allow his vision to be coloured by the glasses of pathology; he must never allow himself to forget that the ailing mind is a human mind, and that, for all its ailments, it shares in the whole of the psychic life of man. The psychotherapist must even be able to admit that the ego is ill for the very reason that it is cut off from the whole, and has lost its connection with mankind as well as with the spirit.

She rejoins the crowd and watches with her friends, but she feels like an emptied glass - that crestfallen feeling of walking out from a movie theatre in the middle of the day, out from the intimate matinée darkness and the smell of popcorn, which is the smell of heightened colour and sound and story, into the borderless bright of day. Bereft.

And, Legolas, when the torches are kindled and men walk on the sandy floors under the echoing domes, ah! Then, Legolas, gems and crystals and veins of precious ore glint in the polished walls; and the light glows through folded marbles, shell-like, translucent as the living hands of Queen Galadriel. There are columns of white and saffron and dawn-rose, Legolas, fluted and twisted into dreamlike forms; they spring up from many-coloured floors to meet the glistening pendants of the roof: wings, ropes, curtains fine as frozen clouds; spears, banners, pinnacles of suspended palaces! Still lakes mirror them: a glimmering world looks up from dark pools covered with clear glass; cities, such as the mind of Durin could scarce have imagined in his sleep, stretch on through avenues and pillared courts, on into the dark recesses where no light can come, And plink! A silver drop falls, and the round wrinkles in the glass make all the towers bend and waver like weeds and corals in a grotto of the sea. Then evening comes:” they fade and twinkle out; the torches pass on into another chamber and another dream. There is chamber after chamber, Legolas; hall opening out of hall, dome after dome, stair beyond stair; and still the winding paths lead on into the mountains’ heart. Caves! The Caverns of Helm’s Deep! Happy was the chance that drove me there! It makes me weep to leave them.

The faint aroma of gum and calico that hangs about a library is as the fragrance of incense to me. I think the most beautiful sight is the gilt-edged backs of a row of books on a shelf. The alley between two well-stocked shelves in a hall fills me with the same delight as passing through a silent avenue of trees. The colour of a binding-cloth and its smooth texture gives me the same pleasure as touching a flower on its stalk. A good library hall has an atmosphere which elates. I have seen one or two University Libraries that have the same atmosphere as a chapel, with large windows, great trees outside, and glass doors sliding on noiseless hinges.

It was a reminder of what a human self was, and what a human life was: not a beautiful glass lamp just this side of being broken, or a lovely gold ring with a single dent in it. But a bettered old seashell, formed over millions of years, made to endure.

These rules, the sign language and grammar of the Game, constitute a kind of highly developed secret language drawing upon several sciences and arts, but especially mathematics and music (and/or musicology), and capable of expressing and establishing interrelationships between the content and conclusions of nearly all scholarly disciplines. The Glass Bead Game is thus a mode of playing with the total contents and values of our culture; it plays with them as, say, in the great age of the arts a painter might have played with the colours on his palette.

Dr. Holmes came again. Large, fresh coloured, handsome, flicking his boots, looking in the glass, he brushed it all aside-headaches, sleeplessness, fears, dreams-nerve symptoms and nothing more, he said.

I find myself drunk in the streets again. A glass of wine and so my thoughts begin. I smile at passersby to and fro, Faces like blank slates minutes ago, Now emotions readily painted on canvases: Grief, despair, joy, and madnesses. At this time, the clouds are sweating sweet water And you can smell the scent of each corner: Fish, dirt, rotten apples, and burning tires. Close your eyes here to smell all your heart desires. Everything is more colourful when you're not yourself. So long as you’re sound body and mind, you have your wealth. I am now treading almost fleeting. Birds singing, bicycle bells ringing. I have lost my way but not my heart. Have my head, those two are apart. Take care dear city, I must soon head home. Until tomorrow evening when again I will roam.

Will took a deep breath. When he exhaled . . . I thought my eyes were playing tricks on me. We'd been in near-total darkness so long, I wasn't sure why Will's outline suddenly seemed clearer. I could see the texture of his jeans, the individual tufts of his hair, the blue of his eyes. His skin was glowing with a soft, warm golden light as if he'd ingested sunshine. 'Whoa,' Meg said. Rachel's eyebrows floated towards her hairline. Nico smirked. 'Friends, meet my glow-in-the-dark boyfriend.' 'Could you not make a big deal about it?' Will asked. I was speechless. How could anyone not make a big deal about this? As far as demigod powers went, glowing in the dark was perhaps not as showy as skeleton-summoning or tomato-vine mastery, but it was still impressive. And, like WIll's skill at healing, it was gentle, useful and exactly what we needed in a pinch. 'I'm so proud,' I said. Will's face turned the colour of sunlight shining through a glass of cranberry juice. 'Dad, I'm just glowing. I'm not graduating at the top of my class.' 'I'll be proud when you do that, too,' I assured him.

Countless candles dribbled with hot wax, and their flames, like little flags, fluttered in the unchartered currents of air. Thousands of lamps, naked, or shuttered behind coloured glass, burned with their glows of purple, amber, grass-green, blue, blood red and even grey. The walls of Gormenghast were like the walls of paradise or like the walls of an inferno. The colours were devilish or angelical according to the colour of the mind that watched them. They swam, those walls, with the hues of hell, with the tints of Zion. The breasts of the plumaged seraphim; the scales of Satan.

Truth" is coloured by perception.

some of my most beautiful glass pieces have cracks running through them and I like them anyway because of the colours.

It seems like suffering's the only time we can see what's essential. If peace ever comes back I'm making a vow: I'll design myself special glasses. They'll block out whether people are fat or thin or beautiful or weird-looking, whether they have pimples or birthmarks or different coloured skin. They'll do everything suffering's done for us, but without the pain. I'm going to wear those glasses for the rest of my life.

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

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.

Most kids who don't feel enough love and nurturance carry around this kind of inner rage- a rage that often lasts throughout adulthood. The people who should have cared for them didn't. The lesson to take away: All people are shit. This is why troubled youth walk around with chips on their shoulders and why they are so hard to help. Early on they learn that people can't be trusted. They often spend the rest of their lives embracing this damaging belief. Seeing the world through shit-coloured glasses, they are hypersensitive to every possible slight or judgement, and they believe anyone friendly or kind must have an ulterior motive. Despite all this, wounded people desperately want and need love. But, terrified to trust, they constantly do thing to test and sabotage their relationships. This push-pull dance is well-known to anyone who's ever been close to a victim of abuse, neglect, or abandonment. Those who suffer from BPD are hypersensitive to perceived slights from others and can grow notoriously hostile when they feel dissed.... For survivors of abuse, who you trust is a matter of survival. Its black and white. There can be no apologies. There can be no gray. There are no exceptions.-Scared Selfless

I can remember every second of that morning, if I shut my eyes I can see the deep blue colour of the sky and the mango leaves, the pink and red hibiscus, the yellow handkerchief she wore around her head, tied in the Martinique fashion with the sharp points in front, but now I see everything still, fixed for ever like the colours in a stained-glass window. Only the clouds move. It was wrapped in a leaf, what she had given me, and I felt it cool and smooth against my skin.

Well, this might sound stupid but I think he was my best friend. Like the other half of me. I'm so scared something might have happened to him when he went back. I miss him so much sometimes I look at windows and I want to just walk right through them -- like press myself through the glass. I want their sharp edges to fragment me.

The colour of the water seems to be the colour of the glass into which it has been poured

We need panels of gold and lapis, windows of coloured glass and gardens of immaculately raked gravel in order to stay true to the sincerest parts of ourselves.

Wheeler, P., and H. E. Rives. Dome of Many-Coloured Glass. Garden City, NY: Doubleday, 1955.

Science is a way of looking at the world without the rose-coloured glasses of ignorance!

...the world is coloured rather than stained by such beliefs,and accepting another's values is far more Christian than falling to your knees every time you see a stained glass window.

[...] a morass of despair violence death with a thin layer of glass spread upon the surface where Love, a tiny crab with pincers and rainbow shell, walked delicately ever sideways but getting nowhere, while the sun [...] rose higher in the sky its tassels dropping with flame threatening every moment to melt the precarious highway of glass. And the people: giant pathworks of colour with limbs missing and parts of their mind snipped off to fit them into the outline of the free pattern.

I had a bizarre rapport with this mirror and spent a lot of time gazing into the glass to see who was there. Sometimes it looked like me. At other times, I could see someone similar but different in the reflection. A few times, I caught the switch in mid-stare, my expression re-forming like melting rubber, the creases and features of my face softening or hardening until the mutation was complete. Jekyll to Hyde, or Hyde to Jekyll. I felt my inner core change at the same time. I would feel more confident or less confident; mature or childlike; freezing cold or sticky hot, a state that would drive Mum mad as I escaped to the bathroom where I would remain for two hours scrubbing my skin until it was raw. The change was triggered by different emotions: on hearing a particular piece of music; the sight of my father, the smell of his brand of aftershave. I would pick up a book with the certainty that I had not read it before and hear the words as I read them like an echo inside my head. Like Alice in the Lewis Carroll story, I slipped into the depths of the looking glass and couldn’t be sure if it was me standing there or an impostor, a lookalike. I felt fully awake most of the time, but sometimes while I was awake it felt as if I were dreaming. In this dream state I didn’t feel like me, the real me. I felt numb. My fingers prickled. My eyes in the mirror’s reflection were glazed like the eyes of a mannequin in a shop window, my colour, my shape, but without light or focus. These changes were described by Dr Purvis as mood swings and by Mother as floods, but I knew better. All teenagers are moody when it suits them. My Switches could take place when I was alone, transforming me from a bright sixteen-year-old doing her homework into a sobbing child curled on the bed staring at the wall. The weeping fit would pass and I would drag myself back to the mirror expecting to see a child version of myself. ‘Who are you?’ I’d ask. I could hear the words; it sounded like me but it wasn’t me. I’d watch my lips moving and say it again, ‘Who are you?

Mentally, perhaps she was already three parts glass. So intense was her desire to set up a commemorative window to herself that, when it was erected, she believed she must leave behind in it, for ever, a little ghost. And should this be so, then what joy to be pierced each morning with light; her body flooded through and through by the sun, or in the evening to glow with a harvest of dark colours, deepening into untold sadness with the night.... What ecstasy! It was the Egyptian sighing for his pyramid, of course.

My life is grey, straight-lined, an inevitable path of compass points and marching orders. All charcoal. But she's spiraling colour. She's fireworks. Sunsets. Dawn skies in flame. She could scatter like light and end up anywhere.

The noise of drinking was exhilarating. Champagne corks popped and the pale, chrysanthemum-coloured liquid, whispering gleefully with bubbles, hissed into the glasses; heavy red wine glupped into the goblets, thick and crimson as the blood of some mythical monster, and a swirling wreath of pink bubbles formed on the surface; the frosty white wine tiptoed into the glasses, shrilling, gleaming, now like diamonds, now like topaz; the ouzo lay transparent and innocent as the edge of a mountain pool until the water splashed in and the whole glass curdled like a conjuring trick, coiling and blurring into a summer cloud of moonstone white.

This One True Love—which flourished for two, three years—left me wounded. I spent months scooped in bed, howling my heart out. In learning to forget him, I had to pick up what was left of me, the little fragments of individuality [...] like broken bangles, chipped glass, colourful pebbles. [...] This was a lover who had become the landscape. Everything in Kerala reminded me of him.

Now let me tell you something. I have seen a thousand sunsets and sunrises, on land where it floods forest and mountains with honey coloured light, at sea where it rises and sets like a blood orange in a multicoloured nest of cloud, slipping in and out of the vast ocean. I have seen a thousand moons: harvest moons like gold coins, winter moons as white as ice chips, new moons like baby swans’ feathers. I have seen seas as smooth as if painted, coloured like shot silk or blue as a kingfisher or transparent as glass or black and crumpled with foam, moving ponderously and murderously. I have felt winds straight from the South Pole, bleak and wailing like a lost child; winds as tender and warm as a lover’s breath; winds that carried the astringent smell of salt and the death of seaweeds; winds that carried the moist rich smell of a forest floor, the smell of a million flowers. Fierce winds that churned and moved the sea like yeast, or winds that made the waters lap at the shore like a kitten. I have known silence: the cold, earthy silence at the bottom of a newly dug well; the implacable stony silence of a deep cave; the hot, drugged midday silence when everything is hypnotised and stilled into silence by the eye of the sun; the silence when great music ends. I have heard summer cicadas cry so that the sound seems stitched into your bones. I have heard tree frogs in an orchestration as complicated as Bach singing in a forest lit by a million emerald fireflies. I have heard the Keas calling over grey glaciers that groaned to themselves like old people as they inched their way to the sea. I have heard the hoarse street vendor cries of the mating Fur seals as they sang to their sleek golden wives, the crisp staccato admonishment of the Rattlesnake, the cobweb squeak of the Bat and the belling roar of the Red deer knee-deep in purple heather. I have heard Wolves baying at a winter’s moon, Red howlers making the forest vibrate with their roaring cries. I have heard the squeak, purr and grunt of a hundred multi-coloured reef fishes. I have seen hummingbirds flashing like opals round a tree of scarlet blooms, humming like a top. I have seen flying fish, skittering like quicksilver across the blue waves, drawing silver lines on the surface with their tails. I have seen Spoonbills flying home to roost like a scarlet banner across the sky. I have seen Whales, black as tar, cushioned on a cornflower blue sea, creating a Versailles of fountain with their breath. I have watched butterflies emerge and sit, trembling, while the sun irons their wings smooth. I have watched Tigers, like flames, mating in the long grass. I have been dive-bombed by an angry Raven, black and glossy as the Devil’s hoof. I have lain in water warm as milk, soft as silk, while around me played a host of Dolphins. I have met a thousand animals and seen a thousand wonderful things. But— All this I did without you. This was my loss. All this I want to do with you. This will be my gain. All this I would gladly have forgone for the sake of one minute of your company, for your laugh, your voice, your eyes, hair, lips, body, and above all for your sweet, ever-surprising mind which is an enchanting quarry in which it is my privilege to delve.

There, below the cliffs, is a bay of sand where the rocks stand up like the fangs of wolves, and no boat or swimmer can live when the tide is breaking round them. To right and left of the bay the sea has driven arches through the cliff. The rocks are purple and rose-coloured and pale as turquoise in the sun, and on a summer’s evening when the tide is low and the sun is sinking, men see on the horizon land that comes and goes with the light. It is the Summer Isle, which (they say) floats and sinks at the will of heaven, the Island of Glass through which the clouds and stars can be seen, but which for those who dwell there is full of trees and grass and springs of sweet water . . .’ The

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

She reminded me of something, and suddenly I knew. I was a tiny child again at Radford, my uncle’s home, and he was walking me through the glass-houses in the gardens. There was one flower, an orchid, that grew alone; it was the colour of pale ivory, with one little vein of crimson running through the petals. The scent filled the house, honeyed, and sickly sweet. It was the loveliest flower I had ever seen. I stretched out my hand to stroke the soft velvet sheen, and swiftly my uncle pulled me by the shoulder. ‘Don’t touch it, child. The stem is poisonous.

The horse’s hooves crashed out on the stone floor, echoing in the arched entrance. Ahead, the nave stretched, vast, empty, bathed in colour; the winter sun streaming through stained glass between great arches. The horse snorted, its measured steps ringing out on the flagstones and tombs.

Even as a child I had had at intervals a fondness for observing strange forms in nature, not so much examining them as surrendering myself to their magic, their oblique message. Long tree-roots, coloured veins in rock, patches of oil floating on water, flaws in glass—all such things had a certain fascination for me, above all, water and fire, smoke, clouds, dust and expecially the swirling specks of colour which swam before my closed eyes.

Most kids who don't feel enough love and nurturance carry around this kind of inner rage- a rage that often lasts throughout adulthood. The people who should have cared for them didn't. The lesson to take away: All people are shit. This is why troubled youth walk around with chips on their shoulders and why they are so hard to help. Early on they learn that people can't be trusted. They often spend the rest of their lives embracing this damaging belief. Seeing the world through shit-coloured glasses, they are hypersensitive to every possible slight or judgement, and they believe anyone friendly or kind must have an ulterior motive. Despite all this, wounded people desperately want and need love. But, terrified to trust, they constantly do things to test and sabotage their relationships. This push-pull dance is well-known to anyone who's ever been close to a victim of abuse, neglect, or abandonment. Those who suffer from BPD are hypersensitive to perceived slights from others and can grow notoriously hostile when they feel dissed.... For survivors of abuse, who you trust is a matter of survival. Its black and white. There can be no apologies. There can be no gray. There are no exceptions.-Scared Selfless

Madame was in her room upstairs. She wore an open dressing gown that showed between the shawl facings of her bodice a pleated chamisette with three gold buttons. Her belt was a corded girdle with great tassels, and her small garnet coloured slippers had a large knot of ribbon that fell over her instep. She had bought herself a blotting book, writing case, pen-holder, and envelopes, although she had no one to write to; she dusted her what-not, looked at herself in the glass, picked up a book, and then, dreaming between the lines, let it drop on her knees. She longed to travel or to go back to her convent. She wished at the same time to die and to live in Paris.

When she opened her eyes they were confronted by a musical box against the opposite wall - one of those early Bavarian toys where mechanical figures perform to the tune. 'How odd,' she thought. The little stage showed a group of fiddlers, two couples in costumes like those of the ball she had just quitted, and in a doorway at the side, a gypsy or beggar man. Very faintly the distant waltz came to her ears, but no footsteps ringing in the abandoned halls. With her hand pressed to her unsteady heart, acting under a sudden compulsion, she pushed down the lever. Delicate plucked music started up; the fiddlers sawed with their clumsy arms in time to an ethereal waltz. The couples moved jerkily out and each raised an arm to clasp its partner. To various clicks and rumbles from under the floor they began to revolve with each other and to orbit round the room. Their movements were sinister because of being both reluctant and predestined. Here they were and this is was what they must do. ("Many Coloured Glass")

That autumn, I kept coming back to Hopper’s images, drawn to them as if they were blueprints and I was a prisoner; as if they contained some vital clue about my state. Though I went with my eyes over dozens of rooms, I always returned to the same place: to the New York diner of Nighthawks, a painting that Joyce Carol Oates once described as “our most poignant, ceaselessly replicated romantic image of American loneliness”... Green shadows were falling in spikes and diamonds on the sidewalk. There is no colour in existence that so powerfully communicates urban alienation, the atomisation of human beings inside the edifices they create, as this noxious pallid green, which only came into being with the advent of electricity, and which is inextricably associated with the nocturnal city, the city of glass towers, of empty illuminated offices and neon signs.

Looking through the ruby glass one cannot see the true colour of the sky.

And now, I think, we can say: a glass bead may flush the world with colour, but it alone makes no necklace. I wanted the necklace.

I miss rainstorms when the sun shines through. For a few moments, everything's vibrant and alive with colour. Two worlds meeting.

We all have our spectacles, but no one can tell to a shade the colour of the glass.

The lake hadn’t been frozen long and of all them had been expressly forbidden to go out on it, but Norman Pye, who was older than the rest of them, said that it would be safe if they slid out on their bellies. So they did. “We thought it was exciting as all get out,” Miss Vernon said. “We could hear the ice cracking but it didn’t give, and we slid across it like seals. Oh, it was tremendous fun. The ice was clear as glass and you could see right to the bottom. All the stones lying there, brighter and more colourful than they ever are when you look through the water. You could even see fish swimming about. And then all at once there was this loud crack and the whole sheet gave way, and there we were in the water.

Finding a taxi, she felt like a child pressing her nose to the window of a candy store as she watched the changing vista pass by while the twilight descended and the capital became bathed in a translucent misty lavender glow. Entering the city from that airport was truly unique. Charles de Gaulle, built nineteen miles north of the bustling metropolis, ensured that the final point of destination was veiled from the eyes of the traveller as they descended. No doubt, the officials scrupulously planned the airport’s location to prevent the incessant air traffic and roaring engines from visibly or audibly polluting the ambience of their beloved capital, and apparently, they succeeded. If one flew over during the summer months, the visitor would be visibly presented with beautifully managed quilt-like fields of alternating gold and green appearing as though they were tilled and clipped with the mathematical precision of a slide rule. The countryside was dotted with quaint villages and towns that were obviously under meticulous planning control. When the aircraft began to descend, this prevailing sense of exactitude and order made the visitor long for an aerial view of the capital city and its famous wonders, hoping they could see as many landmarks as they could before they touched ground, as was the usual case with other major international airports, but from this point of entry, one was denied a glimpse of the city below. Green fields, villages, more fields, the ground grew closer and closer, a runway appeared, a slight bump or two was felt as the craft landed, and they were surrounded by the steel and glass buildings of the airport. Slightly disappointed with this mysterious game of hide-and-seek, the voyager must continue on and collect their baggage, consoled by the reflection that they will see the metropolis as they make their way into town. For those travelling by road, the concrete motorway with its blue road signs, the underpasses and the typical traffic-logged hubbub of industrial areas were the first landmarks to greet the eye, without a doubt, it was a disheartening first impression. Then, the real introduction began. Quietly, and almost imperceptibly, the modern confusion of steel and asphalt was effaced little by little as the exquisite timelessness of Parisian heritage architecture was gradually unveiled. Popping up like mushrooms were cream sandstone edifices filigreed with curled, swirling carvings, gently sloping mansard roofs, elegant ironwork lanterns and wood doors that charmed the eye, until finally, the traveller was completely submerged in the glory of the Second Empire ala Baron Haussmann’s master plan of city design, the iconic grand mansions, tree-lined boulevards and avenues, the quaint gardens, the majestic churches with their towers and spires, the shops and cafés with their colourful awnings, all crowded and nestled together like jewels encrusted on a gold setting.

O somewhere, meek unconscious dove, That sittest ranging golden hair; And glad to find thyself so fair Poor child, that waitest for thy love! For now her father's chimney glows In expectation of a guest; And thinking 'this will please him best,' She takes a riband or a rose; For he will see them on to-night; And with the thought her colour burns; And, having left the glass, she turns Once more to set a ringlet right; And, even when she turn'd, the curse Had fallen, and her future Lord Was drown'd in passing thro' the ford, Or kill'd in falling from his horse, O what to her shall be the end? And what to me remains of good? To her, perpetual maidenhood, And unto me no second friend.

Where?’ Milly asked, looking politely up from the Horse-woman’s Year Book. It was the evening hour when work was over and the last gold light lay flat across the roofs and touched the honey-coloured hair and the whisky in his glass.

fascinating chains full of coloured seaweed, dead pipe-fish, fishing-net corks that looked good enough to eat – like lumps of rich fruit cake – bits of bottle-glass emeried and carved into translucent jewels by the tide and the sand,

The problem of the planetary orbits had been hopelessly bogged down in its purely geometrical frame of reference, and when Kepler realized that he could not get it unstuck, he tore it out of that frame and removed it into the field of physics. This operation of removing a problem from its traditional context and placing it into a new one, looking at it through glasses of of a different colour as it were, has always seemed to me of the very essence of the creative process.

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

— If love wants you; if you’ve been melted down to stars, you will love with lungs and gills, with warm blood and cold. With feathers and scales. Under the hot gloom of the forest canopy you’ll want to breathe with the spiral calls of birds, while your lashing tail still gropes for the waes. You’ll try to haul your weight from simple sea to gravity of land. Caught by the tide, in the snail-slip of your own path, for moments suffocating in both water and air. If love wants you, suddently your past is obsolete science. Old maps, disproved theories, a diorama. The moment our bodies are set to spring open. The immanence that reassembles matter passes through us then disperses into time and place: the spasm of fur stroked upright; shocked electrons. The mother who hears her child crying upstairs and suddenly feels her dress wet with milk. Among black branches, oyster-coloured fog tongues every corner of loneliness we never knew before we were loved there, the places left fallow when we’re born, waiting for experience to find its way into us. The night crossing, on deck in the dark car. On the beach wehre night reshaped your face. In the lava fields, carbon turned to carpet, moss like velvet spread over splintered forms. The instant spray freezes in air above the falls, a gasp of ice. We rise, hearing our names called home through salmon-blue dusk, the royal moon an escutcheon on the shield of sky. The current that passes through us, radio waves, electric lick. The billions of photons that pass through film emulsion every second, the single submicroscopic crystal struck that becomes the phograph. We look and suddenly the world looks back. A jagged tube of ions pins us to the sky. — But if, like starlings, we continue to navigate by the rear-view mirror of the moon; if we continue to reach both for salt and for the sweet white nibs of grass growing closest to earth; if, in the autumn bog red with sedge we’re also driving through the canyon at night, all around us the hidden glow of limestone erased by darkness; if still we sish we’d waited for morning, we will know ourselves nowhere. Not in the mirrors of waves or in the corrading stream, not in the wavering glass of an apartment building, not in the looming light of night lobbies or on the rainy deck. Not in the autumn kitchen or in the motel where we watched meteors from our bed while your slow film, the shutter open, turned stars to rain. We will become indigestible. Afraid of choking on fur and armour, animals will refuse the divided longings in our foreing blue flesh. — In your hands, all you’ve lost, all you’ve touched. In the angle of your head, every vow and broken vow. In your skin, every time you were disregarded, every time you were received. Sundered, drowsed. A seeded field, mossy cleft, tidal pool, milky stem. The branch that’s released when the bird lifts or lands. In a summer kitchen. On a white winter morning, sunlight across the bed.

The visitor was about the same age as Hallgrimsson, but he looked older; certainly his face bore the marks of more experience and trial than did the professor’s smooth cheeks and unlined brow. He was a gyptian of the people of Eastern Anglia, a man called Coram van Texel, who had travelled much in the far north. He was lean, of middle height, and his movements were careful, as if he thought he might break something inadvertently, as if he were unused to delicate glasses and fine tableware. His dæmon, a large cat with fur of a thousand beautiful autumnal colours, stalked the corners of the study before leaping gracefully to Coram’s lap. Ten years after this evening, and again ten years after that, Lyra would marvel at the colouring of that dæmon’s fur

I took my pill at eleven. An hour and half later I was sitting in my study, looking intently at a small glass vase. The vase contained only three flowers -- a full-blown Belle of Portugal rose, shell pink with a hint at every petal's base of a hotter, flamier hue; a large magenta and cream-coloured carnation; and, pale purple at the end of its broken stalk, the bold heraldic blossom of an iris. Fortuitous and provisional, the little nosegay broke all the rules of traditional good taste. At breakfast that morning I had been struck by the lively dissonance of its colours. But that was no longer the point. I was not looking now at an unusual flower arrangement. I was seeing what Adam had seen on the morning of his creation -- the miracle, moment by moment, of naked existence.

I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for colour came over people, like the Laplander's craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were lumps of ice. The crude reds and greens and blues of that coloured glass held us there.

At first there was nothing - a profound blue darkness running running deep, laced by skeins of starlight and pale phosphorescent flashes. This four o-clock hour was a moment of utter silence, the indrawn breath of dark, the absolute, trance-like balance between night and day. Then, when it seemed that nothing would ever move or live or know the light again, a hot wind would run over the invisible water. It was like a fore-blast of the turning world, an intimation that its rocks and seas and surfaces still stirred against the sun. One strained one's eyes, scarce breathing, searching for a sign. Presently it came. Far in the east at last the horizon hardened, an imperceptible line dividing sky and sea, sharp as a diamond cut on glass. A dark bubble of cloud revealed itself, warmed slowly, flushing from within like a seed growing, a kernel ripening, a clinker hot with locked-in fire. Gradually the cloud throbbed red with light, then suddenly caught the still unrisen sun and burst like an expanding bomb. Flares and streamers began to fall into the sea, setting all things on fire. After the long unthinking darkness everything now began to happen at once. The stars snapped shut, the sky bled green, vermillion tides ran over the water, the hills around took on the colour of firebrick, and the great sun drew himself at last raw and dripping from the waves. Scarlet, purple, and clinker-blue, the morning, smelling of thyme and goats, of charcoal, splintered rock and man's long sojourn around this lake

As for their houses, it is no use looking for them, because they are the exact opposite of our houses. You can see our houses by day but you can't see them by dark. Well, you can see their houses by dark, but you can't see them by day, for they are the colour of night, and I never heard of anyone yet who could see night in the daytime. This does not mean that they are black, for night has its colours just as day has, but ever so much brighter. Their blues and reds and greens are like ours with a light behind them. The palace is entirely built of many-coloured glasses, and is quite the loveliest of all royal residences,

I make no apology for this digression, especially as this is an introduction which all young people and those who never like to think (and it is a bad habit) will naturally skip. It seems to me very desirable that we should sometimes try to understand the limitations of our nature, so that we may not be carried away by the pride of knowledge. Man's cleverness is almost indefinite, and stretches like an elastic band, but human nature is like an iron ring. You can go round and round it, you can polish it highly, you can even flatten it a little on one side, whereby you will make it bulge out the other, but you will never, while the world endures and man is man, increase its total circumference. It is the one fixed unchangeable thing -- fixed as the stars, more enduring than the mountains, as unalterable as the way of the Eternal. Human nature is God's kaleidoscope, and the little bits of coloured glass which represent our passions, hopes, fears, joys, aspirations towards good and evil and what not, are turned in His mighty hand as surely and as certainly as it turns the stars, and continually fall into new patterns and combinations. But the composing elements remain the same, nor will there be one more bit of coloured glass nor one less for ever and ever.

It was happy for Orlando, though at first disappointing, that this should be so, for she now began to live much in the company of men of genius. Nor were they so different from the rest of us as one might have supposed. Addison, Pope, Swift, proved, she found, to be fond of tea. They liked arbours. They collected little bits of coloured glass. They adored grottos. Rank was not distasteful to them. Praise was delightful. They wore plum-coloured suits one day and grey another. Mr Swift had a fine malacca cane. Mr Addison scented his handkerchiefs. Mr Pope suffered with his head. A piece of gossip did not come amiss. Nor were they without their jealousies.

She would have liked a drink, but staying awake was proving a challenge and somehow, she felt, as deputy Midnight Mayor she was still on duty. So she cradled an orange juice, whose contents were two parts ice to five parts acid to one part remnant of the colour orange, and trod on her own toes under the table in an effort to remain awake.

Fragment" What is poetry? Is it a mosaic Of coloured stones which curiously are wrought Into a pattern? Rather glass that's taught By patient labor any hue to take And glowing with a sumptuous splendor, make Beauty a thing of awe; where sunbeams caught, Transmuted fall in sheafs of rainbows fraught With storied meaning for religion's sake.

Nietzsche’s own thoughts gathered around him and with which he was entrapped as by an impenetrable bell glass, a solitude wherein there were no flowers or colours or music or beasts or men, a solitude whence even God was excluded, the dead and petrified solitude of some primeval world which existed long ago or may come into being aeons hence.

Instead, as the crystal splinters entered Hornwrack's brain, he experienced two curious dreams of the Low City, coming so quickly one after the other that they seemed simultaneous. In the first, long shadows moved across the ceiling frescoes of the Bistro Californium, beneath which Lord Mooncarrot's clique awaited his return to make a fourth at dice. Footsteps sounded on the threshold. The women hooded their eyes and smiled, or else stifled a yawn, raising dove-grey gloves to their blue, phthisic lips. Viriconium, with all her narcissistic intimacies and equivocal invitations welcomed him again. He had hated that city, yet now it was his past and it was he had to regret...The second of these visions was of the Rue Sepile. It was dawn, in summer. Horse-chestnut flowers bobbed like white wax candles above the deserted pavements. An oblique light struck into the street - so that its long and normally profitless perspective seemed to lead straight into the heart of a younger, more ingenuous city - and fell across the fronts of the houses where he had once lived, warming up the rotten brick and imparting to it a not unpleasant pinkish colour. Up at the second-floor casement window a boy was busy with the bright red geraniums arranged along the outer still in lumpen terra-cotta pots. He looked down at Hornwrack and smiled. Before Hornwrack could speak he drew down the lower casement and turned away. The glass which no separated them reflected the morning sunlight in a silent explosion; and Hornwrack, dazzled mistaking the light for the smile, suddenly imagined an incandescence which would melt all those old streets! Rue Sepile; the Avenue of Children; Margery Fry Court: all melted down! All the shabby dependencies of the Plaza of Unrealized Time! All slumped, sank into themselves, eroded away until nothing was left in his field of vision but an unbearable white sky above and the bright clustered points of the chestnut leaves below - and then only a depthless opacity, behind which he could detect the beat of his own blood, the vitreous humour of the eye. He imagined the old encrusted brick flowing, the glass cracking and melting from its frames even as they shrivelled awake, the sheds of paints flaring green and gold, the geraniums toppling in flames to nothing, not even white ash, under this weight of light! All had winked away like reflections in a jar of water glass, and only the medium remained, bright, viscid, vacant. He had a sense of the intolerable briefness of matter, its desperate signalling and touching, its fall; and simultaneously one of its unendurable durability He thought, Something lies behind all the realities of the universe and is replacing them here, something less solid and more permanent. Then the world stopped haunting him forever.

This first act of the new gods took place in three colours, the first that humans see and name, black, white and red. The Gap was black, many shades of black, thick and fine, glossy and tenebrous. The great snowman was white, except where his own parts cast white-violet shadows, in the pits of his arms, in his monstrous nostrils, under his knees. The new gods hacked and laughed. Blood spurted from the wounds they made, poured from his neck over his shoulders, slid like a hot garment over his chest and flanks, flowed, flowed, filled the glass ball with running crimson, and drowned the world. It was unquenchable, it was the life that had been in him, under the clay and ice, it drained away into death.

Now the householder having got up in the morning and performed his necessary duties,17 should wash his teeth, apply a limited quantity of ointments and perfumes to his body, put some ornaments on his person and collyrium on his eyelids and below his eyes, colour his lips with alacktaka,18 and look at himself in the glass. Having then eaten betel leaves, with other things that give fragrance to the mouth, he should perform his usual business. He should bathe daily, anoint his body with oil every other day, apply a lathering19 substance to his body every three days, get his head (including face) shaved every four days, and the other parts of his body every five or ten days.20 All these things should be done without fail, and the sweat of the armpits should also be removed.

before the 1970s, people wore durable clothes of wool and cotton, stored drinks in glass bottles, wrapped food produce in paper, and filled their houses with sturdy wooden furniture. Now a majority of objects in our visual environment are made of plastic, the ugliest substance on earth, a material which when dyed does not take on colour but actually exudes colour, in an inimitably ugly way.

The problem of the planetary orbits had been hopelessly bogged down in its purely geometrical frame of reference, and when Kepler realized that he could not get it unstuck, he tore it out of that frame and removed it into the field of physics. This operation of removing a problem from its traditional context and placing it into a new one, looking at it through glasses of of a different colour as it were, has always seemed to me of the very essence of the creative process. It leads not only to a reevaluation of the problem itself, but often to a synthesis of much wider consequences, brought about by a fusion of the two previously unrelated frames of reference. In our case, the orbit of Mars became the unifying link between the two formerly seperate realms of physics and cosmology.

There were miniature fruit trees growing chocolate-dipped plumbs and brown-sugar-glazed peaches. Wedges of cheese peeking out of miniature treasure chests made of pastry. Upside-down turtle shells filled with soup. Finger sandwiches shaped like actual fingers. Colourful plates of salted pink and red radishes. Water with lavendar bubbles, and peach-coloured wine with berries at the bottom of the glass.

Things are getting out of hand: Tony finds herself channeling this opinion at least once a day. The crazed weather. The vicious, hate-filled politics. The myriad glass high-rises going up like 3-D mirrors, or siege engines. The municipal garbage collection: Who can keep all those different-coloured bins straight? Where to put the clear plastic food containers, and why isn't the little number on the bottom a reliable guide? And the vampires. You used to know where you stood with them--smelly, evil,undead--but now there are virtuous vampires and disreputable vampires, and sexy vampires and glittery vampires, and none of the old rules about them are true any more. Once you could depend on garlic, and on the rising sun, and on crucifixes. You could get rid of the vampires once and for all. But not any more.

Human colour is the colour I'm truly interested in, the colour of your humanity. May the size of your heart and the depth of your soul be your currency. welcome aboard my Good Ship. Let us sail to the colourful island of misex identity. You can eat from the cooking pot of mixed culture and bathe in the cool shade of being mixed-race. There is no need for a passport. There are no borders. We are all citizens of the world. Whatever shade you are, bring your light, bring your colour, bring your music and your books, your stories and your histories, and climb aboad. United as a people we are a million majestic colours, together we are a glorious stained-glass window. We are building a cathedral of otherness, brick by brick and book by book. Raise your glass of rum, let's toast to the minorities who are the majority. There's no stopping time, nor the blurring of lines or the blending of shades. With a spirit of hope I leave you now. I drink to our sameness and to our unique differences. This is the twenty-first century and we share this, we live here, in the future. It is a beautiful morning, it is first light on the time of being other, so get out from that shade and feel the warmth of being outside. You tick: Other.

The beautiful agonising mirage of the university was inescapable from. This was a forever she had no part in. The eternity was more real to her for consisting of fiery particles of transience - bridges the punt slid under, raindrops spattering the Cam with vanishing circles, shivered reflections, echoes evaporating, shadows metamorphosizing, distances shifting, glorification coming and going on buildings at a whim of the sun, grass flashing through arches, gasps of primitive breath coming from stones, dusk ebbing from waxen woodwork when doors opened. Holy pillars flowed upward and fountained out, round them being a ceaseless confluence of fanatical colours burningly staining glass. Nothing was at an end, so nothing stood still. And of this living eternity, of its kind and one of its children, had been Henry, walking beside her.

Were not the bars of darkness in the room, and the yellow pools which chequered the floor, made by the sun falling through the stained glass of a vast coat of arms in the window? Orlando stood now in the midst of the yellow body of an heraldic leopard. When he put his hand on the windowsill to push the window open, it was instantly coloured red, blue, and yellow like a butterfly’s wing. Thus, those who like symbols, and have a turn for the deciphering of them, might observe that though the shapely legs, the handsome body, and the well-set shoulders were all of them decorated with various tints of heraldic light, Orlando’s face, as he threw the window open, was lit solely by the sun itself. A more candid, sullen face it would be impossible to find. Happy the mother who bears, happier still the biographer who records the life of such a one!

Why, all our art treasures of to-day are only the dug-up commonplaces of three or four hundred years ago. I wonder if there is real intrinsic beauty in the old soup-plates, beer-mugs, and candle-snuffers that we prize so now, or if it is only the halo of age glowing around them that gives them their charms in our eyes. The “old blue” that we hang about our walls as ornaments were the common every-day household utensils of a few centuries ago; and the pink shepherds and the yellow shepherdesses that we hand round now for all our friends to gush over, and pretend they understand, were the unvalued mantel-ornaments that the mother of the eighteenth century would have given the baby to suck when he cried. Will it be the same in the future? Will the prized treasures of to-day always be the cheap trifles of the day before? Will rows of our willow-pattern dinner-plates be ranged above the chimneypieces of the great in the years 2000 and odd? Will the white cups with the gold rim and the beautiful gold flower inside (species unknown), that our Sarah Janes now break in sheer light-heartedness of spirit, be carefully mended, and stood upon a bracket, and dusted only by the lady of the house? That china dog that ornaments the bedroom of my furnished lodgings. It is a white dog. Its eyes blue. Its nose is a delicate red, with spots. Its head is painfully erect, its expression is amiability carried to verge of imbecility. I do not admire it myself. Considered as a work of art, I may say it irritates me. Thoughtless friends jeer at it, and even my landlady herself has no admiration for it, and excuses its presence by the circumstance that her aunt gave it to her. But in 200 years’ time it is more than probable that that dog will be dug up from somewhere or other, minus its legs, and with its tail broken, and will be sold for old china, and put in a glass cabinet. And people will pass it round, and admire it. They will be struck by the wonderful depth of the colour on the nose, and speculate as to how beautiful the bit of the tail that is lost no doubt was. We, in this age, do not see the beauty of that dog. We are too familiar with it. It is like the sunset and the stars: we are not awed by their loveliness because they are common to our eyes. So it is with that china dog. In 2288 people will gush over it. The making of such dogs will have become a lost art. Our descendants will wonder how we did it, and say how clever we were. We shall be referred to lovingly as “those grand old artists that flourished in the nineteenth century, and produced those china dogs.” The “sampler” that the eldest daughter did at school will be spoken of as “tapestry of the Victorian era,” and be almost priceless. The blue-and-white mugs of the present-day roadside inn will be hunted up, all cracked and chipped, and sold for their weight in gold, and rich people will use them for claret cups; and travellers from Japan will buy up all the “Presents from Ramsgate,” and “Souvenirs of Margate,” that may have escaped destruction, and take them back to Jedo as ancient English curios.

Even as a child I had had at intervals a fondness for observing strange forms in nature, not so much examining them as surrendering myself to their magic, their oblique message. Long tree-roots, coloured veins in rock, patches of oil floating on water, flaws in glass—all such things had a certain fascination for me, above all, water and fire, smoke, clouds, dust and especially the swirling specks of colour which swam before my closed eyes.

It [the charcuterie] was almost on the corner of the Rue Pirouette and was a joy to behold. It was bright and inviting, with touches of brilliant colour standing out amidst white marble. The signboard, on which the name QUENU-GRADELLE glittered in fat gilt letter encircled by leaves and branches painted on a soft-hued background, was protected by a sheet of glass. On the two side panels of the shop front, similarly painted and under glass, were chubby little Cupids playing in the midst of boars' heads, pork chops, and strings of sausages; and these still lifes, adorned with scrolls and rosettes, had been designed in so pretty and tender a style that the raw meat lying there assumed the reddish tint of raspberry jam. Within this delightful frame, the window display was arranged. It was set out on a bed of fine shavings of blue paper; a few cleverly positioned fern leaves transformed some of the plates into bouquets of flowers fringed with foliage. There were vast quantities of rich, succulent things, things that melted in the mouth. Down below, quite close to the window, jars of rillettes were interspersed with pots of mustard. Above these were some boned hams, nicely rounded, golden with breadcrumbs, and adorned at the knuckles with green rosettes. Then came the larger dishes--stuffed Strasbourg tongues, with their red, varnished look, the colour of blood next to the pallor of the sausages and pigs' trotters; strings of black pudding coiled like harmless snakes; andouilles piled up in twos and bursting with health; saucissons in little silver copes that made them look like choristers; pies, hot from the oven, with little banner-like tickets stuck in them; big hams, and great cuts of veal and pork, whose jelly was as limpid as crystallized sugar. Towards the back were large tureens in which the meats and minces lay asleep in lakes of solidified fat. Strewn between the various plates and sishes, on the bed of blue shavings, were bottles of relish, sauce, and preserved truffles, pots of foie gras, and tins of sardines and tuna fish. A box of creamy cheeses and one full of snails stuffed with butter and parsley had been dropped in each corner. Finally, at the very top of the display, falling from a bar with sharp prongs, strings of sausages and saveloys hung down symmetrically like the cords and tassels of some opulent tapestry, while behind, threads of caul were stretched out like white lacework. There, on the highest tier of this temple of gluttony, amid the caul and between two bunches of purple gladioli, the alter display was crowned by a small, square fish tank with a little ornamental rockery, in which two goldfish swam in endless circles.

He thanked me with a smiling nod, measured out a few minims of the red tincture and added one of the powders. The mixture, which was at first of a reddish hue, began, in proportion as the crystals melted, to brighten in colour, to effervesce audibly, and to throw off small fumes of vapour. Suddenly and at the same moment, the ebullition ceased and the compound changed to a dark purple, which faded again more slowly to a watery green. My visitor, who had watched these metamorphoses with a keen eye, smiled, set down the glass upon the table, and then turned and looked upon me with an air of scrutiny. "And now," said he, "to settle what remains. Will you be wise? will you be guided? will you suffer me to take this glass in my hand and to go forth from your house without further parley? or has the greed of curiosity too much command of you? Think before you answer, for it shall be done as you decide. As you decide, you shall be left as you were before, and neither richer nor wiser, unless the sense of service rendered to a man in mortal distress may be counted as a kind of riches of the soul. Or, if you shall so prefer to choose, a new province of knowledge and new avenues to fame and power shall be laid open to you, here, in this room, upon the instant; and your sight shall be blasted by a prodigy to stagger the unbelief of Satan.

...a flash of colour amid a shadowy, gloomy background made me stop, a riot of colour and texture that compelled me to face the gilded frame. I'd never- never- seen anything like it. It's just a still life, a part of me said. And it was: a green glass vase with an assortment of flowers drooping over its narrow top, blossoms and leaves of every shape and size and colour- roses, tulips, morning glory, goldenrod, maiden's lace, peonies... The skill it must have taken to make them look so lifelike, to make them more than lifelike... Just a vase of flowers against a dark background- but more than that; the flowers seemed to be vibrant with their own light, as if in defiance of the shadows gathered around them. The mastery needed to make the glass vase hold that light, to bend the light with the water within, as if the vase did indeed have weight to it atop its stone pedestal... Remarkable.

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.

A Palestinian village whose feudal owner sold it for a kiss through a pane of glass..." Nothing remained of Sireen after the auction apart from you, little prayer rug, because a mother slyly stole you and wrapped up her son who'd been sentenced to cold and weaning - and later to sorrow and longing. It's said there was a village, a very small village, on the border between sun's gate and earth. It's said that the village was twice sold - once for a measure of oil and once for a kiss through a pane of glass. The buyers and sellers rejoiced at its sale, the year the submarine was sunk, in our twentieth century. And in Sireen - the buyers went over the contract - were white-washed houses, lovers, and trees, folk poets, peasants, and children. (But there was no school - and neither tanks nor prisons.) The threshing floors, the colour of golden wine, and the graveyard were a vault meant for life and death, and the vault was sold! People say that there was a village, but Sireen became an earthquake, imprisoned by an amulet as it turned into a banquet - in which the virgins' infants were cooked in their mothers' milk so soldiers and ministers might eat along with civilisation! "And the axe is laid at the root of the tree..." And once again at the root of the tree, as one dear brother denies another and existence. Officer of the orbits... attend, O knight of death, but don't give in - death is behind us and also before us. Knight of death, attend, there is no time to retreat - darkness crowds us and now has turned into a rancid butter, and the forest too is full, the serpents of blood have slithered away and the beaker of our ablution has been sold to a tourist from California! There is no time now for ablution. People say there was a village, but Sireen became an earthquake, imprisoned by an amulet as it turned into a banquet - in which the virgins' infants were cooked in their mothers' milk so soldiers and ministers might eat, along with civilisation!

So I take the privilidge of the day, Mary, my dear — as the gen’l’m’n in difficulties did, ven he valked out of a Sunday — to tell you that the first and only time I see you, your likeness was took on my hart in much quicker time and brighter colours than ever a likeness was took by the profeel macheen (wich p’raps you may have heerd on Mary my dear) altho it does finish a portrait and put the frame and glass on complete, with a hook at the end to hang it up by, and all in two minutes and a quarter.

I do not understand how men can kill such beauty. There can be no joy, surely, in capturing such a masterpiece of evolution, gassing it with chloroform or squeezing its thorax until it is dead, setting it on a cork board until rigor mortis is advanced then pinning it, frozen by death, in a glass-topped case, hung over with a curtain to keep the light from fading the colours. To me, this is the height of frivolous insanity.Nothing can be gained from killing a butterfly. Killing a man is a different matter.

Anyway, I have a new theory. Would you like to hear it? Ignore this paragraph if not. My theory is that human beings lost the instinct for beauty in 1976, when plastics became the most widespread material in existence. You can actually see the change in process if you look at street photography from before and after 1976. I know we have good reason to be sceptical of aesthetic nostalgia, but the fact remains that before the 1970s, people wore durable clothes of wool and cotton, stored drinks in glass bottles, wrapped food produce in paper, and filled their houses with sturdy wooden furniture. Now a majority of objects in our visual environment are made of plastic, the ugliest substance on earth, a material which when dyed does not take on colour but actually exudes colour, in an inimitably ugly way. One thing a government could do with my approval (and there aren’t many) would be to prohibit the production of each and every form of plastic not urgently necessary for the maintenance of human life. What do you think?

Since seeing such things in the water-colours of Elstir, I enjoyed noticing them in reality, glimpses of poetry as they seemed: knives lying askew in halted gestures; the bell-tent of a used napkin, within which the sun has secreted its yellow velvet; the half-emptied glass showing better the noble widening of its lines, the undrunk wine darkening it, but glinting with lights, inside the translucent glaze seemingly made from condensed daylight; volumes displaced, and liquids transmuted, by angles of illumination; the deterioration of the plums, green to blue, blue to gold, in the fruit dish already half plundered; the wandering of the old-fashioned chairs, which twice a day take their places again about the cloth draping the table as though it is an altar for the celebration of the sanctity of appetite, with a few drops of lustral water left in oyster-shells like little stone fonts; I tried to find beauty where I had never thought it might be found, in the most ordinary things, in the profound life of ‘still life’.

As he left the room, Lord Henry's heavy eyelids drooped, and he began to think. Certainly few people had ever interested him so much as Dorian Gray, and yet the lad's mad adoration of some one else caused him not the slightest pang of annoyance or jealousy. He was pleased by it. It made him a more interesting study. He had been always enthralled by the methods of natural science, but the ordinary subject-matter of that science had seemed to him trivial and of no import. And so he had begun by vivisecting himself, as he had ended by vivisecting others. Human life—that appeared to him the one thing worth investigating. Compared to it there was nothing else of any value. It was true that as one watched life in its curious crucible of pain and pleasure, one could not wear over one's face a mask of glass, nor keep the sulphurous fumes from troubling the brain and making the imagination turbid with monstrous fancies and misshapen dreams. There were poisons so subtle that to know their properties one had to sicken of them. There were maladies so strange that one had to pass through them if one sought to understand their nature. And, yet, what a great reward one received! How wonderful the whole world became to one! To note the curious hard logic of passion, and the emotional coloured life of the intellect—to observe where they met, and where they separated, at what point they were in unison, and at what point they were at discord—there was a delight in that! What matter what the cost was? One could never pay too high a price for any sensation.

Everything we perceive takes place in time and space, and every change has a cause. But according to Kant, that is not because of the way reality ultimately is: it is a contribution of our minds. We don't have direct access to the way the world is. Nor can we ever take the glasses off and see things as they truly are. We're stuck with this filter and without it we would be completely unable to experience anything. All we can do is recognize that it is there and understand how it affects and colours what we experience.

Most importantly, it's a message that assumes absolute and unrealistic able-bodiedness. No one with glasses. No crutches, no wheelchairs, no visible differences from girl to girl apart from the colour of their eyes and hair. Perfectly symmetrical faces abound. Some of the princesses – Mulan and Merida in particular – are athletes, with the kind of unrealistic body control and power that even able-bodied people often struggle to obtain. The message is that heroism isn't possible without physical 'perfection,' especially for girls.

When I went to bed, I stared earnestly at my face in the glass. Was I really good-looking? Honestly I couldn't say I thought so! I hadn't got a straight Grecian nose, or a rosebud mouth, or any of the things you ought to have. It is true that a curate once told me that my eyes were like "imprisoned sunshine in a dark, dark wood" - but curates always know so many quotations, and fire them off at random. I'd much prefer to have Irish blue eyes than dark green ones with yellow flecks! Still, green is a good colour for adventuresses.

He saw a chamber, broad and low, designed, in its every rich stain of picture and slumberous hanging, to appeal to the sensuous. And here the scent was thick and motionless. Costly marqueterie; Palissy candlesticks reflected in half-concealed mirrors framed in embossed silver; antique Nankin vases brimming with pot-pourri; in one comer a suit of Milanese armour, fluted, damasquinee, by Felippo Negroli; in another a tripod table of porphyry, spectrally repeating in its polished surface the opal hues of a vessel of old Venetian glass half filled with some topaz-coloured liqueur - such and many more tokens of a luxurious aestheticism wrought in the observer an immediate sense of pleasurable enervation. He noticed, with a swaying thrill of delight, that his feet were on a padded rug of Astrakhan - one of many, disposed eccentrically about the yellow tassellated-marble floor; and he noticed that the sole light in the chamber came from an iridescent globed lamp, fed with some fragrant oil, that hung near an alcove traversed by a veil of dark violet silk. ("The Accursed Cordonnier")

What was the value of a man? Her friends couldn’t see why she woke up every morning and voluntarily decided to share the whole day with him. He couldn’t either. He built her a bookshelf and she filled it with books by people who wrote page after page about their feelings. Ove understood things he could see and touch. Cement and concrete. Glass and steel. Tools. Things one could figure out. He understood right angles and clear instruction manuals. Assembly models and drawings. Things one could draw on paper. He was a man of black and white. And she was colour. All the colour he had.

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.

to say that they have learning difficulties or that they have special needs. But this is stupid because everyone has learning difficulties because learning to speak French or understanding Relativity is difficult, and also everyone has special needs, like father who has to carry a little packet of artificial sweetening tablets around with him to put in his coffee to stop him getting fat, or Mrs peters who wears a beige-coloured hearing aid, or Siobhan who has glasses so thick that they give you a headache if you borrow them, and none of these people are Special Needs, even if they have special needs.

They wandered along in the blazing sunshine inspecting the pools and exploring the pot-holes, killing squids and turning over the heaps of coloured fuci left by the outgoing tide. A polished rock would sometimes move, disclose itself as a hawk-bill turtle and plunge into a pool. Shells of crabs and whelks lay everywhere, and great haliotis shells empty of everything but the whisper of the sea. Here, amongst the weeds, you could find the sucker claws of octopi, big as the claws of a tiger, and there, on the slab coral polished like window glass by the washing of the sea, huge sea-slugs the size of parsnips.

While arranging my hair, I looked at my face in the glass, and felt it was no longer plain: there was hope in its aspect, and life in its colour; and my eyes seemed as if they had beheld the fount of fruition, and borrowed beams from the lustrous ripple. I had often been unwilling to look at my master, because I feared he could not be pleased at my look; but I was sure I might lift my face to his now, and not cool his affection by its expression. I took a plain but clean and light summer dress from my drawer and put it on: it seemed no attire had ever so well become me; because none had I ever worn in so blissful a mood.

And how to describe a London party? Candles in lustres of cut-glass are placed everywhere about the house in dazzling profusion; elegant mirrors triple and quadruple the light until night outshines day; many-coloured hot-house fruits are piled up in stately pyramids upon white-clothed tables; divine creatures, resplendent with jewels, go about the room in pairs, arm in arm, admired by all who see them. Yet the heat is over-powering, the pressure and noise almost as bad; there is nowhere to sit and scarce anywhere to stand. You may see your dearest friend in another part of the room; you may have a world of things to tell him – but how in the world will you ever reach him? If you are fortunate then perhaps you will discover him later in the crush and shake his hand as you are both hurried past each other. Surrounded by cross, hot strangers, your chance of rational conversation is equal to what it would be in an African desert. Your only wish is to preserve your favourite gown from the worst ravages of the crowd. Every body complains of the heat and the suffocation. Every body declares it to be entirely insufferable. But if it is all misery for the guests, then what of the wretchedness of those who have not been invited? Our sufferings are nothing to theirs! And we may tell each other tomorrow that it was a delightful party.

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

He always knew the layered grief of the world as well as its pleasures. He tugged off a sprig from every bush of rosemary he passed, smelled it, and preserved it in his shirt pocket. Any river he came to distracted him. On hot days he removed his boots and clothes and swam through reeds, cigarette smoke still escaping from his mouth. He taught me where to find those rare parasol mushrooms like fawn-coloured umbrellas, with their pale gills underneath, that are to be found in open fields. “Only in open fields,” Sam Malakite would say, holding up a glass of water as if making a toast. Years later when I heard he had died, I held up my glass and said, “Only in open fields.” I was alone in a restaurant when I said this.

So are you, sunshine,” Paige replied. “Bad night?” Even though he didn’t take off his sunglasses, I knew he was staring straight at me. “I’ve had better,” he said with an entirely straight face, while I coloured up from head to toe. “I’ve had worse.” … “Now, now children,” Paige intervened, entirely oblivious to the extreme level of bitchy subtext flying across the table. “Let’s not have fisticuffs … Can we kiss and make up?” Nick turned up one corner of his mouth and nodded. “I’m game if you are, Vanessa.” “I think she means figuratively,” I said, adding cream to my coffee. “I’m a professional.” “Really?” He rested his elbows on the table and pushed his glasses up over his eyebrows. “I probably owe you some money then.

Let us sail to the colourful island of mixed identity. You can eat from the cooking pot of mixed culture and bathe in the cool shade of being mixed-race. There is no need for a passport. There are no borders. We are all citizens of the world. Whatever shade you are, bring your light, bring your colour, bring your music and your books, your stories and your histories, and climb aboard. United as a people we are a million majestic colours, together we are a glorious stained-glass window. We are building a cathedral of otherness, brick by brick and book by book. Raise your glass of rum, let’s toast to the minorities who are the majority. There is no stopping time, nor the blurring of lines or the blending of shades. With a spirit of hope I leave you now.

Consequently, when Christ becomes man it is not really as if you could become one particular tin soldier. It is as if something which is always affecting the whole human mass begins, at one point, to affect the whole human mass in a new way. From that point the effect spreads through all mankind. It makes a difference to people who lived before Christ as well as to people who lived after Him. It makes a difference to people who have never heard of Him. It is like dropping into a glass of water one drop of something which gives a new taste or a new colour to the whole lot. But, of course, none of these illustrations really works perfectly. In the long run God is no one but Himself and what He does is like nothing else. You could hardly expect it to be otherwise.

And so he had begun by vivisecting himself, as he had ended by vivisecting others. Human life—that appeared to him the one thing worth investigating. Compared to it there was nothing else of any value. It was true that as one watched life in its curious crucible of pain and pleasure, one could not wear over one’s face a mask of glass, nor keep the sulphurous fumes from troubling the brain and making the imagination turbid with monstrous fancies and misshapen dreams. There were poisons so subtle that to know their properties one had to sicken of them. There were maladies so strange that one had to pass through them if one sought to understand their nature. And, yet, what a great reward one received! How wonderful the whole world became to one! To note the curious hard logic of passion, and the emotional coloured

he placed the drink down carefully in front of me. “I call this one the Huxley,” he said. “Excuse me?” I glanced down at the…whatever it was. A cocktail of some sort, in a tall glass with crushed ice. Smooth, jet black in colour, and garnished with a strawberry. When I looked back up at Cole, he was biting down on his lip in a really distracting way. “Uh. The Huxley. It reminds me of you. Same colour as your nails. Bitter coffee for your broody personality, a bite of ginger for your, uh, fiery moments, and sweet blackberry and raspberry for your sweet tooth. And vodka, because of those vodka shots we did at the wedding. It’s supposed to be garnished with blackberries or raspberries, but I used a strawberry because they’re your favourite.” I wanted to kiss him more than I’d ever wanted to kiss anyone in my life.

The Vicar stood aghast, with his smoking gun in his hand. It was no bird at all, but a youth with an extremely beautiful face, clad in a robe of saffron and with iridescent wings, across whose pinions great waves of colour, flushes of purple and crimson, golden green and intense blue, pursued one another as he writhed in his agony. Never had the Vicar seen such gorgeous floods of colour, not stained glass windows, not the wings of butterflies, not even the glories of crystals seen between prisms, no colours on earth could compare with them. Twice the Angel raised himself, only to fall over sideways again. Then the beating of the wings diminished, the terrified face grew pale, the floods of colour abated, and suddenly with a sob he lay prone, and the changing hues of the broken wings faded swiftly into one uniform dull grey hue. “Oh!

That night, I hated father. He smelt of cabbage. There was cigarette ash all over his trousers. His untidy moustache was yellower and viler than ever with nicotine, and he took no notice of me. He simply sat there in his ugly arm-chair, his eyes half closed, brooding on the Lord knows what. I hated him. I hated his moustache. I even hated the smoke that drifted from his mouth and hung in the stale air above his head. And when my mother came through the door and asked me whether I had seen her spectacles, I hated her too. I hated the clothes she wore; tasteless and fussy. I hated them deeply. I hated something I had never noticed before; it was the way the heels of her shoes were worn away on their outside edges - not badly, but appreciably. It looked mean to me, slatternly, and horribly human. I hated her for being human - like father. She began to nag me about her glasses and the thread-bare condition of the elbows of my jacket, and suddenly I threw my book down. The room was unbearable. I felt suffocated. I suddenly realised that I must get away. I had lived with these two people for nearly twenty-three years. I had been born in the room immediately overhead. Was this the life for a young man? To spend his evenings watching the smoke drift out of his father's mouth and stain that decrepit old moustache, year after year - to watch the worn-away edges of my mother's heels - the dark-brown furniture and the familiar stains on the chocolate-coloured carpet? I would go away; I would shake off the dark, smug mortality of the place. I would forgo my birthright. What of my father's business into which I would step at his death? What of it? To hell with it. ("Same Time, Same Place")

It was true that as one watched life in its curious crucible of pain and pleasure, one could not wear over one's face a mask of glass, nor keep the sulphurous fumes from troubling the brain and making the imagination turbid with monstrous fancies and misshapen dreams. There were poisons so subtle that to know their properties one had to sicken of them. There were maladies so strange that one had to pass through them if one sought to understand their nature. And, yet, what a great reward one received! How wonderful the whole world became to one! To note the curious hard logic of passion, and the emotional coloured life of the intellect—to observe where they met, and where they separated, at what point they were in unison, and at what point they were at discord—there was a delight in that! What matter what the cost was? One could never pay too high a price for any sensation.

It was true that as one watched life in its curious crucible of pain and pleasure, one could not wear over one’s face a mask of glass, nor keep the sulphurous fumes from troubling the brain and making the imagination turbid with monstrous fancies and misshapen dreams. There were poisons so subtle that to know their properties one had to sicken of them. There were maladies so strange that one had to pass through them if one sought to understand their nature. And, yet, what a great reward one received! How wonderful the whole world became to one! To note the curious hard logic of passion, and the emotional coloured life of the intellect—to observe where they met, and where they separated, at what point they were in unison, and at what point they were at discord—there was a delight in that! What matter what the cost was? One could never pay too high a price for any sensation.

What made the process still longer was that it was profusely illustrated, not only with pictures, as that of old Queen Elizabeth, laid on her tapestry couch in rose-coloured brocade with an ivory snuff-box in her hand and a gold-hilted sword by her side, but with scents — she was strongly perfumed — and with sounds; the stags were barking in Richmond Park that winter’s day. And so, the thought of love would be all ambered over with snow and winter; with log fires burning; with Russian women, gold swords, and the bark of stags; with old King James’ slobbering and fireworks and sacks of treasure in the holds of Elizabethan sailing ships. Every single thing, once he tried to dislodge it from its place in his mind, he found thus cumbered with other matter like the lump of glass which, after a year at the bottom of the sea, is grown about with bones and dragon-flies, and coins and the tresses of drowned women.

Directly Mr Pye stepped ashore he heard her voice. 'The name is Dredger,' it said. Mr Pye lifted his head again, his thorn-shaped nose veering towards her and the rest of his round face following it, as a ship must follow its bowsprit. His little mouth continued to smile gently but it gave nothing away. As he remained silent, Miss Dredger raised her voice as though to establish the fact of her forthright nature from the outset. 'Mr Pye, I imagine!' Her new acquaintance removed his glasses, wiped them carefully, and re-set them on his nose. 'Who else?' he murmured. 'Who else, dear lady?' As Miss Dredger could not think 'who' else could possibly be Mr Pye, and had no wish to follow so foolish a train of conjecture, she blew some smoke out of her nostrils. Mr Pye watched the smoke-jets with interest, ad then, as though he were suggesting an alternative attitude to life, he drew a little box from his waistcoat pocket and helped himself to a fruit-drop. At this, Miss Dredger raised one of her black eyebrows, and as she did so she caught sight of young Pépé - and seeing him reminded her of Mr Pye's luggage. She turned to Mr Pye, her scrubbed hands on her tweed hips. 'What have you brought with you?' she said. Mr Pye turned his gaze upon her. 'Love,' he said. 'Just ... Love ...' and then he transferred the fruit-drop from one cheek to the other with a flick of his experience tongue. His fat little hands that held the lapels of his coat were quite green with the light reflected from the harbour water. Miss Dredger's face had turned the most dreadful colour and she had shut her eyes. The smoke drifted out of her nostrils with no enthusiasm. There were some things that simply are not mentioned - unless one wishes to be offensive and embarrassing. Religion, Art, and now this new horror - Love. What on earth did the man mean?

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

I was delighted to hear that a number of people returned to see Orphée (as much as five or six times), to the amazement of the managements. This is significant, for the cinema is usually regarded as a place where one drops in for a little entertainment as one would for a glass of beer. This is why film societies, those Courts of Appeal, have so important a part to play, and why they deserve all the support we can give them. This is why I accepted nomination as President of the fédération des Cinéclubs. But, alas, even film societies are sometimes unable to retrieve old films, which the industrial squall sweeps away in order to clear a space for new ones. We had imagined that great actresses like Greta Garbo would be granted the privilege which was denied to a Rachel or a Sarah Bernhardt. But we were wrong. Today it is impossible to show Garbo in The lady of the Camelias for instance, to the young people who could not see the film when it came out, for all the copies have been meticulously destroyed. The lady of the Camelias is to be remade with new stars and new methods, using all the latest technical inventions, colour, three dimensions, and what not. It is a real disaster. Mrs B., the head of the new York Film Library, finds herself confronted with the same difficulties as Langlois of the Cinémathèque française whenever she endeavours to save a film from oblivion. She finds that she cannot obtain a single copy. Chaplin alone escapes that terrible destruction, because he is his own firm and consequently would not fall victim to the perpetual clearing. It is none the less true that fabulous sums are demanded for the showing of any one of his films, and if his very early films are still available it is because the present destructive legislation had not come into force when they were made. This is why René Clair demands the passing of a law of copyright deposit.

As far as Serge can tell, Sophie only takes breakfast, and doesn’t even seem to eat that: each time he visits her lab over the next few days he sees sandwiches piled up virtually untouched beside glasses of lemonade that, no more than sipped at, are growing viscid bubbles on their surface like Aphrophora spumaria. Above these, on the wall, the texts, charts and diagrams are growing, spreading. Serge reads, for example, a report on the branchiae of Cercopidida, which are, apparently, “extremely tenuous, appearing like clusters of filaments forming lamellate appendages,” and scrutinises the architecture of Vespa germanica nests: their subterranean shafts and alleyways, their space-filled envelopes and alveolae … Bizarrely, Sophie’s started interspersing among these texts and images the headlines she’s torn from each day’s newspapers. These clippings seem to be caught up in her strange associative web: they, too, have certain words and letters highlighted and joined to ones among the scientific notes that, Serge presumes, must correspond to them in some way or another. One of these reads “Serbia Unsatisfied by London Treaty”; another, “Riot at Paris Ballet.” Serge can see no logical connection between these events and Sophie’s studies; yet colours and lines connect them. Arching over all of these in giant letters, each one occupying a whole sheet of paper, crayon-shaded and conjoined by lines that run over the wall itself to other terms and letter-sequences among the sprawling mesh, is the word Hymenoptera. “Hymenoptera?” Serge reads. “What’s that? It sounds quite rude.” “Sting in the tail,” she answers somewhat cryptically. “The groups contain the common ancestor, but not all the descendants. Paraphyletic: it’s all connected.” She stares at her expanded chart for a long while, lost in its vectors and relays—then, registering his continued presence with a slight twitch of her head, tells him to leave once more.

It was the most beautiful place I'd ever seen. Whatever building we were in had been perched atop one of the grey-stoned mountains. The hall around us was open to the elements, no windows to be found, just towering pillars and gossamer curtains, swaying in that jasmine-scented breeze. It must be some magic to keep the air warm in the dead of winter. Not to mention the altitude, or the snow coating the mountains, mighty winds sending veils of it drifting off the peaks like wandering mist. Little seating, dining, and work areas dotted the hall, sectioned off with those curtains or lush plants or thick rugs scattered over the moonstone floor. A few balls of light bobbed on the breeze, along with coloured-glass lanterns dangling from the arches of the ceiling. Not a scream, not a shout, not a plea to be heard. Behind me, a wall of white marble arose, broken occasionally by open doorways leading into dim stairwells. ... 'This is my private residence,' Rhys said casually.

Human life - that appeared to him the one thing worth investigating. Compared to it there was nothing else of any value. It was true that as one watched life in its curious crucible of pain and pleasure, one could not wear over one's face a mask of glass, nor keep the sulphurous fumes from troubling the brain, and making the imagination turbid with monstrous fancies and misshapen dreams. There were poisons so subtle that to know their properties one had to sicken of them. There were maladies so strange that one had to pass through them if one sought to understand their nature. And, yet, what a great reward one received! How wonderful the whole world became to one! To note the curious hard logic of passion, and the emotional coloured life of the intellect - to observe where they met, and where they separated, at what point where they in unison, and at what point they were at discord - there was a delight in that! What matter what the cost was? One could never pay too high a price for any sensation.

per hour. Handbrake knew that he could keep up with the best of them. Ambassadors might look old-fashioned and slow, but the latest models had Japanese engines. But he soon learned to keep it under seventy. Time and again, as his competitors raced up behind him and made their impatience known by the use of their horns and flashing high beams, he grudgingly gave way, pulling into the slow lane among the trucks, tractors and bullock carts. Soon, the lush mustard and sugarcane fields of Haryana gave way to the scrub and desert of Rajasthan. Four hours later, they reached the rocky hills surrounding the Pink City, passing in the shadow of the Amber Fort with its soaring ramparts and towering gatehouse. The road led past the Jal Mahal palace, beached on a sandy lake bed, into Jaipur’s ancient quarter. It was almost noon and the bazaars along the city’s crenellated walls were stirring into life. Beneath faded, dusty awnings, cobblers crouched, sewing sequins and gold thread onto leather slippers with curled-up toes. Spice merchants sat surrounded by heaps of lal mirch, haldi and ground jeera, their colours as clean and sharp as new watercolor paints. Sweets sellers lit the gas under blackened woks of oil and prepared sticky jalebis. Lassi vendors chipped away at great blocks of ice delivered by camel cart. In front of a few of the shops, small boys, who by law should have been at school, swept the pavements, sprinkling them with water to keep down the dust. One dragged a doormat into the road where the wheels of passing vehicles ran over it, doing the job of carpet beaters. Handbrake honked his way through the light traffic as they neared the Ajmeri Gate, watching the faces that passed by his window: skinny bicycle rickshaw drivers, straining against the weight of fat aunties; wild-eyed Rajasthani men with long handlebar moustaches and sun-baked faces almost as bright as their turbans; sinewy peasant women wearing gold nose rings and red glass bangles on their arms; a couple of pink-faced goras straining under their backpacks; a naked sadhu, his body half covered in ash like a caveman. Handbrake turned into the old British Civil Lines, where the roads were wide and straight and the houses and gardens were set well apart. Ajay Kasliwal’s residence was number

All the long afternoon, the sea was suspended there before their eyes only as a canvas of attractive colouring might hang on the wall of a wealthy bachelor’s flat and it was only in the intervals between the ‘hands’ that one of the players, finding nothing better to do, raised his eyes to it to seek from it some indication of the weather or the time, and to remind the others that tea was ready. And at night they did not dine in the hotel, where, hidden springs of electricity flooding the great dining-room with light, it became as it were an immense and wonderful aquarium against whose wall of glass the working population of Balbec, the fishermen and also the tradesmen’s families, clustering invisibly in the outer darkness, pressed their faces to watch, gently floating upon the golden eddies within, the luxurious life of its occupants, a thing as extraordinary to the poor as the life of strange fishes or molluscs (an important social question, this: whether the wall of glass will always protect the wonderful creatures at their feasting, whether the obscure folk who watch them hungrily out of the night will not break in some day to gather them from their aquarium and devour them).

...literature does its best to maintain that its concern is with the mind ; that the body is a sheet of plain glass through which the soul looks straight and clear, and, save for one or two passions such as desire and greed, is null , negligible and nonexistent. On the contrary, the very opposite is true. All day, all night the body intervenes; blunts or sharpens, colours or discolours, turns to wax in the warmth of June, hardens to tallow in the murk of February. The creature within can only gaze through the pane—smudged or rosy; it cannot separate off from the body like the sheath of a knife or the pod of a pea for a single instant; it must go through the whole unending procession of changes, heat and cold, comfort and discomfort, hunger and satisfaction, health and illness, until there comes the inevitable catastrophe; the body smashes itself to smithereens, and the soul (it is said) escapes. But of all this daily drama of the body there is no record. People write always about the doings of the mind; the thoughts that come to it; its noble plans; how it has civilised the universe. They show it ignoring the body in the philosopher's turret; or kicking the body, like an old leather football, across leagues of snow and desert in the pursuit of conquest or discovery. Those great wars which it wages by itself, with the mind a slave to it, in the solitude of the bedroom against the assault of fever or the oncome of melancholia, are neglected. Nor is the reason far to seek. To look these things squarely in the face would need the courage of a lion tamer; a robust philosophy; a reason rooted in the bowels of the earth. Short of these, this monster, the body, this miracle, its pain, will soon make us taper into mysticism, or rise, with rapid beats of the wings, into the raptures of transcendentalism. More practically speaking, the public would say that a novel devoted to influenza lacked plot; they would complain that there was no love in it—wrongly however, for illness often takes on the disguise of love, and plays the same odd tricks, investing certain faces with divinity, setting us to wait, hour after hour, with pricked ears for the creaking of a stair, and wreathing the faces of the absent (plain enough in health, Heaven knows) with a new significance, while the mind concocts a thousand legends and romances about them for which it has neither time nor liberty in health.

It was a bright cold day in April, and the clocks were striking thirteen. Winston Smith, his chin nuzzled into his breast in an effort to escape the vile wind, slipped quickly through the glass doors of Victory Mansions, though not quickly enough to prevent a swirl of gritty dust from entering along with him. The hallway smelt of boiled cabbage and old rag mats. At one end of it a coloured poster, too large for indoor display, had been tacked to the wall. It depicted simply an enormous face, more than a metre wide: the face of a man of about forty-five, with a heavy black moustache and ruggedly handsome features. Winston made for the stairs. It was no use trying the lift. Even at the best of times it was seldom working, and at present the electric current was cut off during daylight hours. It was part of the economy drive in preparation for Hate Week. The flat was seven flights up, and Winston, who was thirty-nine and had a varicose ulcer above his right ankle, went slowly, resting several times on the way. On each landing, opposite the lift-shaft, the poster with the enormous face gazed from the wall. It was one of those pictures which are so contrived that the eyes follow you about when you move. BIG BROTHER IS WATCHING YOU, the caption beneath it ran.

Alice's Cutie Code TM Version 2.1 - Colour Expansion Pack (aka Because this stuff won’t stop being confusing and my friends are mean edition) From Red to Green, with all the colours in between (wait, okay, that rhymes, but green to red makes more sense. Dang.) From Green to Red, with all the colours in between Friend Sampling Group: Fennie, Casey, Logan, Aisha and Jocelyn Green  Friends’ Reaction: Induces a minimum amount of warm and fuzzies. If you don’t say “aw”, you’re “dead inside”  My Reaction: Sort of agree with friends minus the “dead inside” but because that’s a really awful thing to say. Puppies are a good example. So is Walter Bishop. Green-Yellow  Friends’ Reaction: A noticeable step up from Green warm and fuzzies. Transitioning from cute to slightly attractive. Acceptable crush material. “Kissing.”  My Reaction: A good dance song. Inspirational nature photos. Stuff that makes me laugh. Pairing: Madison and Allen from splash Yellow  Friends’ Reaction: Something that makes you super happy but you don’t know why. “Really pretty, but not too pretty.” Acceptable dating material. People you’d want to “bang on sight.”  My Reaction: Love songs for sure! Cookies for some reason or a really good meal. Makes me feel like it’s possible to hold sunshine, I think. Character: Maxon from the selection series. Music: Carly Rae Jepsen Yellow-Orange  Friends’ Reaction: (When asked for non-sexual examples, no one had an answer. From an objective perspective, *pushes up glasses* this is the breaking point. Answers definitely skew toward romantic or sexual after this.)  My Reaction: Something that really gets me in my feels. Also art – oil paintings of landscapes in particular. (What is with me and scenery? Maybe I should take an art class) Character: Dean Winchester. Model: Liu Wren. Orange  Friends’ Reaction: “So pretty it makes you jealous. Or gay.”  “Definitely agree about the gay part. No homo, though. There’s just some really hot dudes out there.”(Feenie’s side-eye was so intense while the others were answering this part LOLOLOLOLOL.) A really good first date with someone you’d want to see again.  My Reaction: People I would consider very beautiful. A near-perfect season finale. I’ve also cried at this level, which was interesting. o Possible tie-in to romantic feels? Not sure yet. Orange-Red  Friends’ Reaction: “When lust and love collide.” “That Japanese saying ‘koi no yokan.’ It’s kind of like love at first sight but not really. You meet someone and you know you two have a future, like someday you’ll fall in love. Just not right now.” (<-- I like this answer best, yes.) “If I really, really like a girl and I’m interested in her as a person, guess. I’d be cool if she liked the same games as me so we could play together.”  My Reaction: Something that gives me chills or has that time-stopping factor. Lots of staring. An extremely well-decorated room. Singers who have really good voices and can hit and hold superb high notes, like Whitney Houston. Model: Jasmine Tooke. Paring: Abbie and Ichabod from Sleepy Hollow o Romantic thoughts? Someday my prince (or princess, because who am I kidding?) will come? Red (aka the most controversial code)  Friends’ Reaction: “Panty-dropping levels” (<-- wtf Casey???).  “Naked girls.” ”Ryan. And ripped dudes who like to cook topless.”  “K-pop and anime girls.” (<-- Dear. God. The whole table went silent after he said that. Jocelyn was SO UNCOMFORTABLE but tried to hide it OMG it was bad. Fennie literally tried to slap some sense into him.)  My Reaction: Uncontrollable staring. Urge to touch is strong, which I must fight because not everyone is cool with that. There may even be slack-jawed drooling involved. I think that’s what would happen. I’ve never seen or experienced anything that I would give Red to.

When the result of the lawsuit was made known (and rumour flew much quicker than the telegraph which has supplanted it), the whole town was filled with rejoicings. [Horses were put into carriages for the sole purpose of being taken out. Empty barouches and landaus were trundled up and down the High Street incessantly. Addresses were read from the Bull. Replies were made from the Stag. The town was illuminated. Gold caskets were securely sealed in glass cases. Coins were well and duly laid under stones. Hospitals were founded. Rat and Sparrow clubs were inaugurated. Turkish women by the dozen were burnt in effigy in the market place, together with scores of peasant boys with the label ‘I am a base Pretender’, lolling from their mouths. The Queen’s cream-coloured ponies were soon seen trotting up the avenue with a command to Orlando to dine and sleep at the Castle, that very same night. Her table, as on a previous occasion, was snowed under with invitations from the Countess of R., Lady Q., Lady Palmerston, the Marchioness of P., Mrs. W.E. Gladstone, and others, beseeching the pleasure of her company, reminding her of ancient alliances between their family and her own, etc.] — all of which is properly enclosed in square brackets, as above, for the good reason that a parenthesis it was without any importance in Orlando’s life. She skipped it, to get on with the text

When the result of the lawsuit was made known (and rumour flew much quicker than the telegraph which has supplanted it), the whole town was filled with rejoicings. [Horses were put into carriages for the sole purpose of being taken out. Empty barouches and landaus were trundled up and down the High Street incessantly. Addresses were read from the Bull. Replies were made from the Stag. The town was illuminated. Gold caskets were securely sealed in glass cases. Coins were well and duly laid under stones. Hospitals were founded. Rat and Sparrow clubs were inaugurated. Turkish women by the dozen were burnt in effigy in the market place, together with scores of peasant boys with the label ‘I am a base Pretender’, lolling from their mouths. The Queen’s cream-coloured ponies were soon seen trotting up the avenue with a command to Orlando to dine and sleep at the Castle, that very same night. Her table, as on a previous occasion, was snowed under with invitations from the Countess of R., Lady Q., Lady Palmerston, the Marchioness of P., Mrs. W.E. Gladstone, and others, beseeching the pleasure of her company, reminding her of ancient alliances between their family and her own, etc.] — all of which is properly enclosed in square brackets, as above, for the good reason that a parenthesis it was without any importance in Orlando’s life. She skipped it, to get on with the text.

When the result of the lawsuit was made known (and rumour flew much quicker than the telegraph which has supplanted it), the whole town was filled with rejoicings. [Horses were put into carriages for the sole purpose of being taken out. Empty barouches and landaus were trundled up and down the High Street incessantly. Addresses were read from the Bull. Replies were made from the Stag. The town was illuminated. Gold caskets were securely sealed in glass cases. Coins were well and duly laid under stones. Hospitals were founded. Rat and Sparrow clubs were inaugurated. Turkish women by the dozen were burnt in effigy in the market place, together with scores of peasant boys with the label ‘I am a base Pretender’, lolling from their mouths. The Queen’s cream-coloured ponies were soon seen trotting up the avenue with a command to Orlando to dine and sleep at the Castle, that very same night. Her table, as on a previous occasion, was snowed under with invitations from the Countess of R., Lady Q., Lady Palmerston, the Marchioness of P., Mrs. W.E. Gladstone, and others, beseeching the pleasure of her company, reminding her of ancient alliances between their family and her own, etc.] — all of which is properly enclosed in square brackets, as above, for the good reason that a parenthesis it was without any importance in Orlando’s life. She skipped it, to get on with the text.

Here the genie of fire showed me in a crimson tableau the booth of a chestnut-seller where a pair of non-commissioned officers, their belts abandoned on chairs, were playing cards, without suspecting that they had been conjured out of the darkness by a magician, like a stage apparition, and presented as they actually were at that very moment to the eyes of a stopping passer-by who was invisible to them. In a little junk shop, a half-spent candle projected its red glow on to an engraving and turned it to the colour of blood, while the light cast by a big lamp, struggling with the darkness, bronzed a fragment of leather, nielloed a dagger with glittering spangles, spread a sheen of precious gold like the patina of the past or the varnish of a master over pictures which were only bad copies, and turned this whole hovel, in which there was nothing but cheap imitations and cast-off rubbish, into a marvellous Rembrandt painting. Occasionally I looked up towards some vast old apartment with its shutters still open and where amphibious men and women, adapting themselves each evening to living in an element different from their daytime one, swam about slowly in the dense liquid which at nightfall rises incessantly from the wells of lamps and fills the rooms to the brink of their walls of stone and glass, and as they moved about in it, their bodies sent forth unctuous golden ripples.

I consider myself a student of colours and shades and hues and tints. Crimson lake, burnt umber, ultramarine … I was too clumsy as a child to paint with my moistened brush the scenery that I would have liked to bring into being. I preferred to leave untouched in their white metallic surroundings my rows of powdery rectangles of water-colours, to read aloud one after another of the tiny printed names of the coloured rectangles, and to let each colour seem to soak into each word of its name or even into each syllable of each word of each name so that I could afterwards call to mind an exact shade or hue from an image of no more than black letters on a white ground. Deep cadmium, geranium lake, imperial purple, parchment … after the last of our children had found employment and had moved out of our home, my wife and I were able to buy for ourselves things that had previously been beyond our means. I bought my first such luxury, as I called it, in a shop selling artists’ supplies. I bought there a complete set of coloured pencils made by a famous maker of pencils in England: a hundred and twenty pencils, each stamped with gold lettering along its side and having at its end a perfectly tapered wick. The collection of pencils is behind me as I write these words. It rests near the jars of glass marbles and the kaleidoscope mentioned earlier. None of the pencils has ever been used in the way that most pencils are used, but I have sometimes used the many-striped collection in order to confirm my suspicion as a child that each of what I called my long-lost moods might be recollected and, perhaps, preserved if only I could look again at the precise shade or hue that had become connected with the mood – that had absorbed, as it were, or had been permeated with, one or more of the indefinable qualities that constitute what is called a mood or a state of feeling. During the weeks since I first wrote in the earlier pages of this report about the windows in the church of white stone, I have spent every day an increasing amount of time in moving my pencils to and fro among the hollow spaces allotted to them in their container. I seem to recall that I tried sometimes, many years ago, to move my glass marbles from place to place on the carpet near my desk with the vague hope that some or another chance arrangement of them would restore to me some previously irretrievable mood. The marbles, however, were too variously coloured, and each differed too markedly from the other. Their colours seemed to vie, to compete. Or, a single marble might suggest more than I was in search of: a whole afternoon in my childhood or a row of trees in a backyard when I had wanted back only a certain few moments when my face was brushed by a certain few leaves. Among the pencils are many differing only subtly from their neighbours. Six at least I might have called simply red if I had not learned long ago their true names. With these six, and with still others from each side of them, I often arrange one after another of many possible sequences, hoping to see in the conjectured space between some or another unlikely pair a certain tint that I have wanted for long to see.

A shudder went through me at the thought of what I should still learn in this hour. How awry, altered and distorted everything and everyone was in these mirrors, how mockingly and unattainably did the face of truth hide itself behind all these reports, counter-reports and legends! What was still truth? What was still credible? And what would remain when I also learned about myself, about my own character and history from the knowledge stored in these archives? I must be prepared for anything. Suddenly I could bear the uncertainty and suspense no longer. I hastened to the section Chattorum res gestas, looked for my sub-division and number and stood in front of the part marked with my name. This was a niche, and when I drew the thin curtains aside I saw that it contained nothing written. It contained nothing but a figure, an old and worn-looking model made from wood or wax, in pale colours. It appeared to be a kind of deity or barbaric idol. At first glance it was entirely incomprehensible to me. It was a figure that really consisted of two; it had a common back. I stared at it for a while, disappointed and surprised. Then I noticed a candle in a metal candlestick fixed to the wall of the niche. A match-box lay there. I lit the candle and the strange double figure was now brightly illuminated. Only slowly did it dawn upon me. Only slowly and gradually did I begin to suspect and then perceive what it was intended to represent. It represented a figure which was myself, and this likeness of myself was unpleasantly weak and half-real; it had blurred features, and in its whole expression there was something unstable, weak, dying or wishing to die, and looked rather like a piece of sculpture which could be called "Transitoriness" or "Decay," or something similar. On the other hand, the other figure which was joined to mine to make one, was strong in colour and form, and just as I began to realise whom it resembled, namely, the servant and President Leo, I discovered a second candle in the wall and lit this also. I now saw the double figure representing Leo and myself, not only becoming clearer and each image more alike, but I also saw that the surface of the figures was transparent and that one could look inside as one can look through the glass of a bottle or vase. Inside the figures I saw something moving, slowly, extremely slowly, in the same way that a snake moves which has fallen asleep. Something was taking place there, something like a very slow, smooth but continuous flowing or melting; indeed, something melted or poured across from my image to that of Leo's. I perceived that my image was in the process of adding to and flowing into Leo's, nourishing and strengthening it. It seemed that, in time, all the substance from one image would flow into the other and only one would remain: Leo. He must grow, I must disappear. As I stood there and looked and tried to understand what I saw, I recalled a short conversation that I had once had with Leo during the festive days at Bremgarten. We had talked about the creations of poetry being more vivid and real than the poets themselves. The candles burned low and went out. I was overcome by an infinite weariness and desire to sleep, and I turned away to find a place where I could lie down and sleep.

But consider, visibility depends on the action of the visible bodies on light. Either a body absorbs light, or it reflects or refracts it, or does all these things. If it neither reflects nor refracts nor absorbs light, it cannot of itself be visible. You see an opaque red box, for instance, because the colour absorbs some of the light and reflects the rest, all the red part of the light, to you. If it did not absorb any particular part of the light, but reflected it all, then it would be a shining white box. Silver! A diamond box would neither absorb much of the light nor reflect much from the general surface, but just here and there where the surfaces were favourable the light would be reflected and refracted, so that you would get a brilliant appearance of flashing reflections and translucencies—a sort of skeleton of light. A glass box would not be so brilliant, nor so clearly visible, as a diamond box, because there would be less refraction and reflection. See that? From certain points of view you would see quite clearly through it. Some kinds of glass would be more visible than others, a box of flint glass would be brighter than a box of ordinary window glass. A box of very thin common glass would be hard to see in a bad light, because it would absorb hardly any light and refract and reflect very little. And if you put a sheet of common white glass in water, still more if you put it in some denser liquid than water, it would vanish almost altogether, because light passing from water to glass is only slightly refracted or reflected or indeed affected in any way. It is almost as invisible as a jet of coal gas or hydrogen is in air. And for precisely the same reason!

The Venetians catalogue everything, including themselves. ‘These grapes are brown,’ I complain to the young vegetable-dealer in Santa Maria Formosa. ‘What is wrong with that ? I am brown,’ he replies. ‘I am the housemaid of the painter Vedova,’ says a maid, answering the telephone. ‘I am a Jew,’ begins a cross-eyed stranger who is next in line in a bookshop. ‘Would you care to see the synagogue?’ Almost any Venetian, even a child, will abandon whatever he is doing in order to show you something. They do not merely give directions; they lead, or in some cases follow, to make sure you are still on the right way. Their great fear is that you will miss an artistic or ‘typical’ sight. A sacristan, who has already been tipped, will not let you leave until you have seen the last Palma Giovane. The ‘pope’ of the Chiesa dei Greci calls up to his housekeeper to throw his black hat out the window and settles it firmly on his broad brow so that he can lead us personally to the Archaeological Museum in the Piazza San Marco; he is afraid that, if he does not see to it, we shall miss the Greek statuary there. This is Venetian courtesy. Foreigners who have lived here a long time dismiss it with observation : ‘They have nothing else to do.’ But idleness here is alert, on the qui vive for the opportunity of sightseeing; nothing delights a born Venetian so much as a free gondola ride. When the funeral gondola, a great black-and-gold ornate hearse, draws up beside a fondamenta, it is an occasion for aesthetic pleasure. My neighbourhood was especially favoured this way, because across the campo was the Old Men’s Home. Everyone has noticed the Venetian taste in shop displays, which extends down to the poorest bargeman, who cuts his watermelons in half and shows them, pale pink, with green rims against the green side-canal, in which a pink palace with oleanders is reflected. Che bello, che magnifici, che luce, che colore! - they are all professori delle Belle Arti. And throughout the Veneto, in the old Venetian possessions, this internal tourism, this expertise, is rife. In Bassano, at the Civic Museum, I took the Mayor for the local art-critic until he interupted his discourse on the jewel-tones (‘like Murano glass’) in the Bassani pastorals to look at his watch and cry out: ‘My citizens are calling me.’ Near by, in a Paladian villa, a Venetian lasy suspired, ‘Ah, bellissima,’ on being shown a hearthstool in the shape of a life-size stuffed leather pig. Harry’s bar has a drink called a Tiziano, made of grapefruit juice and champagne and coloured pink with grenadine or bitters. ‘You ought to have a Tintoretto,’ someone remonstrated, and the proprietor regretted that he had not yet invented that drink, but he had a Bellini and a Giorgione. When the Venetians stroll out in the evening, they do not avoid the Piazza San Marco, where the tourists are, as Romans do with Doney’s on the Via Veneto. The Venetians go to look at the tourists, and the tourists look back at them. It is all for the ear and eye, this city, but primarily for the eye. Built on water, it is an endless succession of reflections and echoes, a mirroring. Contrary to popular belief, there are no back canals where tourist will not meet himself, with a camera, in the person of the another tourist crossing the little bridge. And no word can be spoken in this city that is not an echo of something said before. ‘Mais c’est aussi cher que Paris!’ exclaims a Frenchman in a restaurant, unaware that he repeats Montaigne. The complaint against foreigners, voiced by a foreigner, chimes querulously through the ages, in unison with the medieval monk who found St. Mark’s Square filled with ‘Turks, Libyans, Parthians, and other monsters of the sea’. Today it is the Germans we complain of, and no doubt they complain of the Americans, in the same words.

literature does itsnbest to maintain that its concern is with the mind ; that the body is a sheet of plain glass through which the soul looks straight and clear, and, save for one or two passions such as desire and greed, is null , negligible and nonexistent. On the contrary, the very opposite is true. All day, all night the body intervenes; blunts or sharpens, colours or discolours, turns to wax in the warmth of June, hardens to tallow in the murk of February. The creature within can only gaze through the pane—smudged or rosy; it cannot separate off from the body like the sheath of a knife or the pod of a pea for a single instant; it must go through the whole unending procession of changes, heat and cold, comfort and discomfort, hunger and satisfaction, health and illness, until there comes the inevitable catastrophe; the body smashes itself to smithereens, and the soul (it is said) escapes. But of all this daily drama of the body there is no record. People write always about the doings of the mind; the thoughts that come to it; its noble plans; how it has civilised the universe. They show it ignoring the body in the philosopher's turret; or kicking the body, like an old leather football, across leagues of snow and desert in the pursuit of conquest or discovery. Those great wars which it wages by itself, with the mind a slave to it, in the solitude of the bedroom against the assault of fever or the oncome of melancholia, are neglected. Nor is the reason far to seek. To look these things squarely in the face would need the courage of a lion tamer; a robust philosophy; a reason rooted in the bowels of the earth. Short of these, this monster, the body, this miracle, its pain, will soon make us taper into mysticism, or rise, with rapid beats of the wings, into the raptures of transcendentalism. More practically speaking, the public would say that a novel devoted to influenza lacked plot; they would complain that there was no love in it—wrongly however, for illness often takes on the disguise of love, and plays the same odd tricks, investing certain faces with divinity, setting us to wait, hour after hour, with pricked ears for the creaking of a stair, and wreathing the faces of the absent (plain enough in health, Heaven knows) with a new significance, while the mind concocts a thousand legends and romances about them for which it has neither time nor liberty in health.

In short, we had rather be Sir Walter Scott (meaning thereby the Author of Waverley) than Lord Byron a hundred times over, and for the reason just given, namely, that he casts his descriptions in the mould of nature, ever-varying, never tiresome, always interesting and always instructive, instead of casting them constantly in the mould of his own individual impressions. He gives us man as he is, or as he was, in almost every variety of situation, action and feeling. Lord Byron makes man after his own image, woman after his own heart; the one is a capricious tyrant, the other a yielding slave; he gives us the misanthrope and the voluptuary by turns; and with these two characters, burning or melting in their own fires, he makes out everlasting centos of himself. He hangs the cloud, the film of his existence over all outward things, sits in the centre of his thoughts, and enjoys dark night, bright day, the glitter and the gloom 'in cell monastic.' We see the mournful pall, the crucifix, the death's-heads, the faded chaplet of flowers, the gleaming tapers, the agonized brow of genius, the wasted form of beauty; but we are still imprisoned in a dungeon; a curtain intercepts our view; we do not breathe freely the air of nature or of our own thoughts. The other admired author draws aside the curtain, and the veil of egotism is rent; and he shows us the crowd of living men and women, the endless groups, the landscape background, the cloud and the rainbow, and enriches our imaginations and relieves one passion by another, and expands and lightens reflection, and takes away that tightness at the breast which arises from thinking or wishing to think that there is nothing in the world out of a man's self! In this point of view, the Author of Waverley is one of the greatest teachers of morality that ever lived, by emancipating the mind from petty, narrow, and bigoted prejudices: Lord Byron is the greatest pamperer of those prejudices, by seeming to think there is nothing else worth encouraging but the seeds or the full luxuriant growth of dogmatism and self-conceit. In reading the Scotch Novels, we never think about the author, except from a feeling of curiosity respecting our unknown benefactor: in reading Lord Byron's works, he himself is never absent from our minds. The colouring of Lord Byron's style, however rich and dipped in Tyrian dyes, is nevertheless opaque, is in itself an object of delight and wonder: Sir Walter Scott's is perfectly transparent. In studying the one, you seem to gaze at the figures cut in stained glass, which exclude the view beyond, and where the pure light of Heaven is only a means of setting off the gorgeousness of art: in reading the other, you look through a noble window at the clear and varied landscape without. Or to sum up the distinction in one word, Sir Walter Scott is the most dramatic writer now living, and Lord Byron is the least so.

Two men were advancing towards the car along the cross track. One man carried a short wooden bench on his back, the other a big wooden object about the size of an upright piano. Richard hailed them, they greeted him with every sign of pleasure. Richard produced cigarettes and a cheerful party spirit seemed to be developing. Then Richard turned to her. “Fond of the cinema? Then you shall see a performance.” He spoke to the two men and they smiled with pleasure. They set up the bench and motioned to Victoria and Richard to sit on it. Then they set up the round contrivance on a stand of some kind. It had two eye-holes in it and as she looked at it, Victoria cried: “It’s like things on piers. What the butler saw.” “That’s it,” said Richard. “It’s a primitive form of same.” Victoria applied her eyes to the glass-fronted peephole, one man began slowly to turn a crank or handle, and the other began a monotonous kind of chant. “What is he saying?” Victoria asked. Richard translated as the singsong chant continued: “Draw near and prepare yourself for much wonder and delight. Prepare to behold the wonders of antiquity.” A crudely coloured picture of Negroes reaping wheat swam into Victoria’s gaze. “Fellahin in America,” announced Richard, translating. Then came: “The wife of the great Shah of the Western world,” and the Empress Eugénie simpered and fingered a long ringlet. A picture of the King’s Palace in Montenegro, another of the Great Exhibition. An odd and varied collection of pictures followed each other, all completely unrelated and sometimes announced in the strangest terms. The Prince Consort, Disraeli, Norwegian Fjords and Skaters in Switzerland completed this strange glimpse of olden far-off days. The showman ended his exposition with the following words: “And so we bring to you the wonders and marvels of antiquity in other lands and far-off places. Let your donation be generous to match the marvels you have seen, for all these things are true.” It was over. Victoria beamed with delight. “That really was marvellous!” she said. “I wouldn’t have believed it.” The proprietors of the travelling cinema were smiling proudly. Victoria got up from the bench and Richard who was sitting on the other end of it was thrown to the ground in a somewhat undignified posture. Victoria apologized but was not ill pleased. Richard rewarded the cinema men and with courteous farewells and expressions of concern for each other’s welfare, and invoking the blessing of God on each other, they parted company. Richard and Victoria got into the car again and the men trudged away into the desert. “Where are they going?” asked Victoria. “They travel all over the country. I met them first in Transjordan coming up the road from the Dead Sea to Amman. Actually they’re bound now for Kerbela, going of course by unfrequented routes so as to give shows in remote villages.” “Perhaps someone will give them a lift?

Stark Electric Jesus 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

Don't believe that, dear. Don't ever believe that. Nobody's bad just because of the way they look. It's what's inside a person that counts.' 'But, Ma, what's inside a person? When people look different are they different inside, too?' Ma didn't answer, she was looking at her hands now, kneading a ball of dough. Saroj thought she had forgotten her and so she said, 'Ma?' Ma turned her eyes back to Saroj. 'I'll show you in a moment, dear. I'll just finish making these.' Saroj watched the stack of dhal puris grow into a flat round tower and then Ma said she was finished and covered them with a cloth and washed her hands. Then she opened the cupboard where she kept her spare jars and bottles and took out six jars and placed them on the kitchen counter. 'Do you see these jars, Saroj? Are they all the same?' Saroj shook her head. 'No, Ma.' The glasses were all different. There was a short flat one and a tall thin one and a medium-sized one, and other shapes in between. Some were different colours: green or brown or clear. 'All right. Now, just imagine these jars are people. People with different shapes of bodies and colours of skin. Can you do that?' Saroj nodded. 'Right. Well, now the bodies are empty. But look…’ Ma picked up a big glass jug, filled it at the tap and poured water into all the jars. 'See, Saroj? Now all the glasses are filled. All the bodies are alive! They have what we call a spirit. Now, is that spirit the same in all the glasses, or different?' 'It's the same, Ma. So people are —' But Ma broke in. 'Now, can you run into the pantry and get the tin where I keep my dyes? You know it, don't you?' Saroj was back even before Ma had finished speaking. Ma opened the tin and picked up one of the tiny bottles of powdered dye. It was cherry-coloured. Ma held the bottle over one of the jars and tipped a little of the powder into the water. Immediately, the water turned pink-red. Ma returned the cap to the bottle and picked up another one. The water turned lime-green. She did that six times and each time the water turned a different colour so that in the end Ma had six different shaped jars of six different colours. 'So, Saroj, now you answer me. Are these people here all the same inside, or are they all different?' Saroj took her time before answering. She puckered her brow and thought hard. Finally she said, 'Well, Ma, really they're all the same but the colours make them different.' 'Yes, but what is more real, the sameness or the differences?' Saroj thought hard again. Then she said: 'The sameness, Ma. Because the sameness holds up the differences. The differences are only the powders you put in.' 'Exactly. So think of all these people as having a spirit which is the same in each one, and yet each one is also different — that is because each person has a different personality. A personality is made up of thoughts, and everyone has different kinds of thoughts. Some have loving thoughts, some have angry thoughts, some have sad thoughts, some have mean thoughts. Most people have jumbles of thoughts — but everybody's thoughts are different, and so everybody is different. Different outside and different inside. And they see those differences in each other and they squabble and fight, because everyone thinks the way he is, is right. But if they could see through the differences to the oneness beyond, linking them all, then…’ 'Then what, Ma?' 'Then we would all be so wise, Saroj, and so happy!

The term 'cathedral forest' is used as a metaphor, to suggest that great woods are like great medieval churches. But I have often felt that this is backward, that the stone cathedrals are a recreation of the forests where our distant ancestors lived. This is why they strike a chord deep within us. The soaring ceilings of a medieval cathedral, the cool, damp air, the dark punctuated by beams of brilliant light coloured by stained glass mimic our ancient home, our Garden of Eden.... A walk in the rain forest is a walk into the mind of God.

This is going to be a very bad film. It will teach you nothing. You’ll wonder at the end where those few minutes of your life have gone. You’ll feel bitter, resentful and increasingly furious. Now, that’s a tiny example of what pessimism can do for you. It prepares you for the worst, reduces the tension of expectations, protects you from disappointment and might even make you laugh a bit. It should be a recipe for life. We live in an absurdly and painfully optimistic world. Mostly that’s the result of all the business out there trying to sell us things. And understandably, using cheerfulness to do it. And partly, it’s influence of technology, which is always getting better, colouring our view of life as a whole, which often isn’t improving. In the process we’ve lost sight of the wisdom of seeing the glass half empty. For centuries religions peddled dark messages. Buddhism told its followers that life was suffering. Christianity spoke of the fallen state of mankind and of the inevitability of earthly imperfection. It was helpful: it kept our expectations in check. The psychologist, William James, came up with an equation: Happiness equals expectations over reality. So, there are two ways to ensure contentment. Change reality or change expectations. Pessimists know to reduce the expectations. Good pessimists rehearse some key lessons to themselves every day. Life generally goes wrong. Everyone is worried and sad most of the time. It’s normal to have big regrets around careers. The only people we can think of as „normal” are people we don’t yet know very well. It’s hard to be happy for more than 15 minutes. Almost all your hopes are going to be dashed. Mediocrity is the norm. Today, however grim, will probably be one of those days you end up looking back on and wondering why you didn’t appreciate more fully. That’s how much worse it will eventually get. Don’t think of us pessimists as grim; the gap between what should be and what is can be filled with laughter, a generous laughter, but one of certainty that today will go wrong, tomorrow will probably be even worse, until the worst of all happens. But that’s ok.

Have you ever been hit in the face? Really hit? So your head snapped back and you landed on your rear end wondering what the hell happened? You don’t actually feel it at first. The harder the blow is, the more numb you go. I mean, your face just seems to disappear, and for a minute you think your eyes are going to drop right out of their sockets because they’re the only thing that still seems to be working.   I suppose that explains why I didn’t feel the car hit me. There was no pain. Just a sort of … nudge. I flew up, and the world did a gentle roll around me, everything coming apart, lights and trees and cars scattering before my eyes like colourful pieces of broken glass.   Then I hit the ground. I landed on my front and skidded for a few feet before I came to a halt. I still couldn’t feel anything, and it was quiet. I’d say “dead quiet”, except that’s too accurate to be funny. I never realized how loud my heartbeat was until it stopped.

Don’t even think about it, Mimi. You are not coming out with me if you have garlic breath.”   “But I haven’t eaten anything since breakfast. I could brush my teeth twice,” I offered.   “No. We don’t have time. You haven’t even finished your costume yet. We’re in and out, OK? Maybe Rachel’ll put some in the fridge for you.”   “You’re heartless.”   “Like that’s news to anyone. Stop whining.”   Rachel poked her head out of the kitchen, a baguette in her hand. She pointed it at Jack. Pointing is a Luci-family thing. Beatrice does it too, only she’s usually holding a sharp dental instrument, so it’s considerably scarier.   “Are you bullying Mio again?” Rachel demanded. The warm light from the kitchen made her pale brown skin glow, and her long, toffee-coloured hair – the same colour as Jack’s before she bleached it – gleam. Jack and Rachel’s grandmother was from Barbados, which means they both have an amazing all-year-round golden tan. Unlike me. According to the manga I read, if I lived in Japan, my naturally pale skin would be totally sexy. Shame it only counts as pasty in the UK.   “No,” Jack said.   “Yes.” I did my pitiful expression. “She won’t let me have any dinner.”   Behind trendy square glasses, Rachel narrowed her eyes at her sister. “If you’re thinking of developing an eating disorder, you’d better know right now that I will intervention your ass off, Jacqueline.” Rachel is a graduate psychology student. She likes to work that into the conversation as often as she can.   “Oh, save it,” Jack said, yawning for effect. “We’re just in a rush, that’s all. We’ve got a party to go to.

Reality is not our thoughts and feelings about things. Many of us, for example, think that the Sun rises in the East and sets in the West. In reality, the Sun neither rises nor sets. We on Earth just move closer to the Sun or farther away from it. Most of us do not see reality as it is but rather as we are. That is waht Krishna is telling Arjuna: To change your reality, change the mental filters through which you look - your own perspective. Just as white building when viewed through red glass looks red, similarly, reality as it is can be distorted by the colours of emotions in the mind.

His youth had scarcely melted into manhood

Charles sold these and several other items before moving onto the next lot. "Next up is a figurine of a rhino in amber-coloured glass, maker unknown but definitely of the art deco period. Where is it? Oh it's up here. I'll pass it down to you Angela, my dear. That's right, let me give you the horn." Laughter ran through the crowd but Charles didn't understand why. He did his best to carry on but the mood of the audience had turned playful. "Lot forty-seven is a beautiful pair of French, silver and cut-glass claret jugs." Angela held them up carefully. "These really are exquisite and well worth a good look," Charles continued, "Now, can everyone see Angela's jugs?" The crowd laughed out loud again. Angela stood there, feeling her face turning red with embarrassment.

Anna Kelly was sitting beside Emmet’s bed. She wore a white cardigan over a pale blue dress. Her blonde hair, like Clio’s, was shiny and the colour of corn. Stevie hadn’t realised that she was such an attractive little thing. ‘Well, well. Lucky Emmet. His own little Florence Nightingale,’ he said admiringly.

The window glass was cold as Jude touched his nose to its surface. He looked north over the centre of Tirana and drank in the thrill of the panorama. From a restaurant in the Sky Tower he could see down over the lush, green square of land criss-crossed with paths that was Rinia Park. He had arranged to meet Edona there at 3pm. To his left the apartment blocks clustered densely away to the horizon in colours of mustard, olive and denim blue. Ahead he could make out the rouge and yellow government ministry buildings on the edge of Skanderbeu Square, and the white needle of the Et’hem Bey Mosque. His eyes turned to the east past the black glass panelled Twin Towers and concrete Pyramid to the traffic flowing up the Gjergj Fishta Boulevard, where the harsh mid-day sunlight was glinting off car roofs and windscreens. Beyond that, through a haze of heat and light smog, Mount Dajti rose up to the blue, utterly cloudless sky. (From 'The Silencer').

The window glass was cold as Jude touched his nose to its surface. He looked north over the centre of Tirana and drank in the thrill of the panorama. From a restaurant in the Sky Tower he could see down over the lush, green square of land criss-crossed with paths that was Rinia Park. He had arranged to meet Edona there at 3pm. To his left the apartment blocks clustered densely away to the horizon in colours of mustard, olive and denim blue. Ahead he could make out the rouge and yellow government ministry buildings on the edge of Skanderbeu Square, and the white needle of the Et’hem Bey Mosque. His eyes turned to the east past the black glass panelled Twin Towers and concrete Pyramid to the traffic flowing up the Gjergj Fishta Boulevard, where the harsh mid-day sunlight was glinting off car roofs and windscreens. Beyond that, through a haze of heat and light smog, Mount Dajti rose up to the blue, utterly cloudless sky. (From 'The Silencer').

It was a buoyant place under a clear sky, everything in the air whispered that the plains were far behind and the sunlight sent a flicker and a flash of reflections glancing up from the snow; and two more invisible lines had been crossed and important ones: the accent had changed and wine cellars had taken the place of beerhalls. Instead of those grey mastodontic mugs, wine-glasses glittered on the oak. (It was under a vista of old casks in a Weinstube that I settled with my diary till bedtime.) The plain bowls of those wine-glasses were poised on slender glass stalks, or on diminishing pagodas of little globes, and both kinds of stem were coloured: a deep green for Mosel and, for Rhenish, a brown smoky gold that was almost amber. When horny hands lifted them, each flashed forth its coloured message in the lamplight. It is impossible, drinking by glass in those charmingly named inns and wine-cellars, not to drink too much. Deceptively and treacherously, those innocent-looking goblets hold nearly half a bottle and simply by sipping one could explore the two great rivers below and the Danube and all Swabia, and Franconia too by proxy, and the vales of Imhof and the faraway slopes of Würzburg: journeying in time from year to year, with draughts as cool as a deep well, limpidly varying from dark gold to pale silver and smelling of glades and meadows and flowers.

The window glass was cold as Jude touched his nose to its surface. He looked north over the centre of Tirana and drank in the thrill of the panorama. From a restaurant in the Sky Tower he could see down over the lush, green square of land criss-crossed with paths that was Rinia Park. He had arranged to meet Edona there at 3pm. To his left the apartment blocks clustered densely away to the horizon in colours of mustard, olive and denim blue. Ahead he could make out the rouge and yellow government ministry buildings on the edge of Skanderbeu Square, and the white needle of the Et’hem Bey Mosque. His eyes turned to the east past the black glass panelled Twin Towers and concrete Pyramid to the traffic flowing up the Gjergj Fishta Boulevard, where the harsh mid-day sunlight was glinting off car roofs and windscreens. Beyond that, through a haze of heat and light smog, Mount Dajti rose up to the blue, utterly cloudless sky.

[Ayya Khema]: Once a Westerner asked Achaan Chah, a great Thai teacher, why he had so many material things in his room. The teacher replied: “You see this glass, to me it is already broken. While it is still intact on the table, I use it. It even has beautiful colours when the sun shines and a lovely sound when I hit it with a spoon. But for me, it is already broken." This means no attachment, not trying to keep anything.

Last sight isn’t human after all, is pure throb colour on the heart inside. Get some distance, stand back, six feet, no glass, no label, no price list, no body, no gallerist.

One of the most pleasant recollections of those busy days was a Babylonian dinner given by Present Morton to the friends of the expedition. The cards at our plates were written in the language of Nebuchadnezzar; the bread was of the shape of Babylonian bricks; the great tray of ice-cream was the colour of the desert sand over which sweet icy camels bore burdens of other sweet ices; and there was a huge cake, like the Tower of Babel; about it wandered miniature Arabs with miniature picks, and concealed within its several stages was an art treasure for each of the guests. Then and there, as the Director of the Expedition, I opened the excavations, and from the ruins of the huge cake I rescued and distributed its buried treasures - antiquities fresh from Tiffany's. Finally the host proposed a toast to the expedition, but it happened by some chance that no glass was at my plate. Imagine my consternation when the guests were raising their glasses and were expressing wishes for my success, and I could not respond! Did it portend failure? Was it destined that success be denied me?

Chapter 18: The Power of Negative Thinking (pages 254-255) Developing the courage to think negatively allows us to look at ourselves as we really are. There is a remarkable consistency in people's coping styles across the many diseases we have considered: the repression of anger, the denial of vulnerability, the "compensatory hyperindependence." No one chooses these traits deliberately or develops them consciously. Negative thinking helps us understand just what the conditions were in our lives and how these traits were shaped by our perceptions of our environment. Emotionally draining family relationships have been identified as risk factors in virtually every category of major illness, from degenerative neurological conditions to cancer and autoimmune disease. The purpose is not to blame parents or previous generations or spouses but to enable us to discard beliefs that have proved dangerous to our health. "The power of negative thinking" requires the removal of rose-coloured glasses. Not blame of others but owning responsibility for one's responsibility is the key.

Something about the church being like Star Wars? I was trying to remember it today when I was talking to Father McKenzie, but I clean forgot.’ Buchan downed his drink, then placed the glass firmly on the table. There was nothing for him here, nothing good to come from sitting any longer. ‘They both look great,’ said Buchan. ‘The CGI on Star Wars, the colour palettes, the scope and the scale of the worlds they create, is extraordinary. Just like the Church looks great. So many wonderful buildings, so much jaw-dropping architecture and art. And the music too. Star Wars music, it’s epic. Some of the best, most iconic film music there is. And there’s tonnes, I mean, tonnes of great religious music, from, I don’t know, God Rest Ye Merry Gentlemen to Arvo Pärt’s Deer’s Cry, and Bach’s Christmas Oratorio. Everything in between. But then we get to the message, the dialogue, the script, the story... And they’re both shit.

People are like glass. Some you can see straight through; others shine bright lights and iridescent colours everywhere they go. Some you look at and see parts of yourself reflected, and you look into some and see nothing but darkness. Some people magnify so that everything around them seems bigger anc more beautiful, while others can make even the largest things seem infinitely smaller. People can be cracked or chipped, fragile or scratched, and still stay in one piece: even more precious and loved for all of their broken parts. But sometimes ... people shatter.

Will took a deep breath. When he exhaled . . . I thought my eyes were playing tricks on me. We'd been in near-total darkness so long, I wasn't sure why Will's outline suddenly seemed clearer. I could see the texture of his jeans, the individual tufts of his hair, the blue of his eyes. His skin was glowing with a soft, warm golden light as if he'd ingested sunshine. 'Whoa,' Meg said. Rachel's eyebrows floated towards her hairline. Nico smirked. 'Friends, meet my glow-in-the-dark boyfriend.' 'Could you not make a big deal about it?' Will asked. I was speechless. How could anyone not make a big deal about this? As far as demigod powers went, glowing in the dark was perhaps not as showy as skeleton-summoning or tomato-vine mastery, but it was still impressive. And, like WIll's skill at healing, it was gentle, useful and exactly what we needed in a pinch. 'I'm so proud,' I said. Will's face turned the colour of sunlight shining through a glass of cranberry juice. 'Dad, I'm just glowing. I'm not graduating at the top of my class.' 'I'll be proud when you do that, too,' I assured him.

Anything would be better than these blotches coloured with self-pity and self-importance. Plagued scribbles that sink the heart and darken the soul. Rereading it is akin to eating shards of glass.

There were couples, too, together on the slashed seats, and they were the most densely coloured of all. Their belonging, their completeness, pushed them out from the background of safety glass and pressed steel, up so close to Steven that he could feel the flow of love between them. These were the ones whose lives got shown on TV. They knew the secrets of the game and they played and never considered losing.

Wine-coloured glasses are much more pleasant than reality.

interesting place when she’d passed by on her way to the community centre for choir, or to the shops for provisions. The wooden door was painted red, but boasted a glass panel featuring a rising sun over water, and a rainbow beyond it. The café windows were a patchwork of coloured squares of glass joined by black lead piping: cornflower

Behind the glass, dozens of butterflies were pinned to a board, cocoons beside them, stunted. Although their patterns were pretty and the metallic colours glorious, they were sad little specimens, dead and still.

Going to Moscow was a dream for us,' Ilich said years later. He and his younger brother started the course within weeks of Soviet tanks rolling into Czechoslovakia to crush the heady 'Prague Spring'. But they soon found that discipline at the cosmopolitan university, whose 6000 students were all selected through the Communist Party of their country of origin, was as stifling as its modernist architecture. Drab grey concrete blocks squatted around a charmless artificial pond. The only dash of colour was a map of the world painted on to the façade of one block in a valiant attempt to symbolise the ideals of the university: from an open book, symbol of learning, a torch emerges, issuing multicoloured flames that spread like waves across the planisphere. Perhaps Ilich drew some comfort from glancing up at the mural as, huddled against the rigours of the Russian winter and wearing a black beret in tribute to Che Guevara who had died riddled by bullets in October of the previous year, he trudged across the bleak square on his way to lectures. Coincidentally, the base of the flame is very close to Venezuela. Rules and regulations governed virtually every aspect of Ilich's life from the moment he started the first year's induction course, which was designed to flesh out his knowledge of the Russian language and introduce him to the delights of Marxist society before he launched into his chosen subjects, languages and chemistry. Like father, like son. Ilich rebelled against the rules, preferring to spend his time chasing girls. He would often crawl back to his room drunk. His professors at the university, some of them children of Spanish Civil War veterans who had sought refuge in Moscow, were unimpressed by his academic performance. 'His name alone, Ilich Ramírez Sánchez, was so strange that people were curious about him,' relates Kirill Privalov, a journalist on the newspaper Druzhba (Friendship) which was printed at the small university press, and an acquaintance of Ilich. The Venezuelan's escapades, wildly excessive by the standards of the university, only fanned people's interest. 'llich was not at all the typical student sent by his country's Communist Party, nothing to do with the good little soldier of Mao who laboured in the fields every summer. He was a handsome young man although his cheeks looked swollen, and he was a great bon viveur. Flush with cash sent by his parents, Ilich could afford to spend lavishly on whisky and champagne in the special stores that only accepted payment in hard currencies and which were off-limits to most people. More Russian than the Russians, the privileged student and his friends would throw over their shoulders not only empty glasses but bottles as well. The university authorities, frustrated in their attempts to impose discipline on Ilich, reasoned that his freedom of action would be drastically limited if the allowance that his father sent him were reduced. But when they asked Ramírez Navas to be less generous, the father, piqued, retorted that his son had never wanted for anything. 'The university had a sort of vice squad, and at night students were supposed either to study or sleep,' recounts Privalov. "One night the patrol entered Ilich's room and saw empty bottles of alcohol and glasses on the table, but he was apparently alone. The squad opened the cupboard door and a girl who was completely drunk fell out. She was naked and was clutching her clothes in her hands. They asked her what she was doing there and she answered: 'I feel pity for the oppressed.' She was obviously a prostitute. Another time, and with another girl, Ilich didn't bother to hide her in the cupboard. He threw her out of the window. This one was fully dressed and landed in two metres of snow a foor or two below. She got up unhurt and shouted abuse at him.

Sniff, swill, sip 329 words Leading whisky expert Charles MacLean on the underrated art of downing a good Scotch. USE ALL YOUR SENSES We all love a splash of golden liquor now and then, but the fine art of appreciating whisky requires a heightening of the senses. 'Nosing' whisky, a technique employed by blenders, is called sensory evaluation or analeptic assessment. Prior to sipping, examine its colour and 'tears', which are the reams left behind on the glass after you swirl it. Even our sense of hearing can help us judge the whisky; a full bottle should open with a happy little pluck of the cap. APPRECIATE A GOOD MALT Appreciation and enjoyment are two dimensions of downing a stiff one. Identify how you like your whisky (with ice, soda or water) and stick with it. Getting sloshed on blended whisky is all very good, but you will need single malt and an understanding of three simple things to truly cherish your drink. A squat glass with a bulb at the bottom releases the full burst of its aroma when swilled. A narrow rim is an added advantage. Instead of topping the drink with ice, which dilutes the aroma, go for water. NIBBLE, DON'T GOBBLE Small bites pair best with your whisky. It excites the palate minimally, letting you detect the characteristics of the whisky through contrast. If you're not a big fan of food and whisky pairing, skip it. OLD IS GOLD While old whiskies are not necessarily better, it's a known fact that most of the finer whiskies are well-aged. I would consider whiskies that are anywhere between 18 and 50 years as old, but it also depends on the age of the cask. If the cask is reactive, it will dominate the flavours of the whisky within ten years of the ageing process. If you leave the spirit in the cask for much longer, the flavour of the whisky will be overpowered by the wood, lending it a distinct edge. Maclean was in Delhi to conduct the Singleton Sensorial experience.

While glass had been used by the rich to drink wine for hundreds of years, most beers until the nineteenth century were drunk from opaque vessels such as ceramic, pewter or wooden mugs. Since most people couldn’t see the colour of the liquid they were drinking, it presumably didn’t matter much what these beers looked like, only what they tasted like. Mostly, they were dark brown and murky brews. Then in 1840 in Bohemia, a region in what is now the Czech Republic, a method to mass-produce glass was developed, and it became cheap enough to serve beer to everyone in glasses. As a result people could see for the first time what their beer looked like, and they often did not like what they saw: the so-called top-fermented brews were variable not just in their taste, but in their colour and clarity too. Not ten years later, though, a new beer was developed in Pilsen using bottom-fermenting yeast. It was lighter in colour, it was clear and golden, it had bubbles like champagne – it was lager. This was a beer to be drunk with the eyes as much as with the mouth, and these light golden lagers have continued in this tradition ever since, being designed to be served in a glass. How ironic, then, that so much lager is drunk from an opaque metal can, meaning that the only beer uniquely identifiable for its visual appearance is the epitome of opaqueness, a beer in the old pre-glass tradition, Guinness.

This argument, however, is far from proving that the reality is unknowable, or that it lies hidden behind appearances or presentations. Take, for instance, a reality which appears as a ray of the sun. When it goes through a pane of glass it appears to be colourless, but it exhibits a beautiful spectrum when it passes through a prism. Therefore you assume that a reality appearing as the rays of the sun is neither colourless nor coloured in itself, since these appearances are wholly due to the difference that obtains between the pane of glass and the prism. We contend, however, that the fact does not prove the existence of the reality named the sun's ray beyond or behind the white light, nor its existence beyond or behind the spectrum. It is evident that the reality exists in white light, and that it is known as the white light when it goes through a pane of glass; and that the same reality exists in the spectrum, and is known as the spectrum when it goes through the prism. The reality is known as the white light on the one hand, and as the spectrum on the other. It is not unknowable, but knowable. Suppose

almost musical, twangs. The sun is shining through the stained glass window above the front door, casting colourful geometric patterns across the floor tiles. At the base of the stairs she swings for a moment on the large final bannister. The lounge door is ajar and peering in she can see one edge of the television screen, her mother’s

She crossed herself and gazed at the windows, shedding rainbow colours on the chapel's stone floor. The light from these windows shone just the same as it had when Harry was alive; that had not changed. And she must go on the same too, unchanging, for even when the sun did not shine the colours in the glass still existed.

You look a little lost, my dear,' a nun says behind me, and I jump. 'Were you interested in seeing the Bevington Triptych?' 'Oh,' I say. 'Erm... yes. Absolutely.' 'Up there,' she points, and I walk tentatively towards the front of the chapel, hoping it will become obvious what the Bevington Triptych is. A statue, maybe? Or a.. a piece of tapestry? But as I reach the elderly lady, I see that she's staring up at a whole wall of stained glass windows. I have to admit, they're pretty amazing. I mean look at that huge blue one in the middle. It's fantastic! 'The Bevington Triptych,' says the elderly woman. 'It simply has no parallel, does it?' 'Wow,' I breathe reverentially, staring up with her. 'It's beautiful.' It really is stunning. God, it just shows, there's no mistaking a real work of art, is there? When you come across real genius, it just leaps out at you. And I'm not even an expert. 'Wonderful colours,' I murmur. 'The detail,' says the woman, clasping her hands, 'is absolutely incomparable.' 'Incomparable,' I echo. I'm just about to point out the rainbow, which I think is a really nice touch - when I suddenly notice that the elderly woman and I aren't looking at the same thing. She's looking at some painted wooden thing which I hadn't even noticed. As inconspicuously as possible, I shift my gaze - and feel a pang of disappointment. Is this the Bevington triptych? But it isn't even pretty! 'Whereas this Victorian rubbish,' the woman suddenly adds savagely, 'is absolutely criminal! That rainbow! Doesn't it make you feel sick?' She gestures to my big blue window, and I gulp. 'I know,' I say. 'It's shocking, isn't it? Absolutely... You know - I think I'll just go for a little wander...

You look a little lost, my dear,' a nun says behind me, and I jump. 'Were you interested in seeing the Bevington Triptych?' 'Oh,' I say. 'Erm... yes. Absolutely.' 'Up there,' she points, and I walk tentatively towards the front of the chapel, hoping it will become obvious what the Bevington Triptych is. A statue, maybe? Or a.. a piece of tapestry? But as I reach the elderly lady, I see that she's staring up at a whole wall of stained glass windows. I have to admit, they're pretty amazing. I mean look at that huge blue one in the middle. It's fantastic! 'The Bevington Triptych,' says the elderly woman. 'It simply has no parallel, does it?' 'Wow,' I breathe reverentially, staring up with her. 'It's beautiful.' It really is stunning. God, it just shows, there's no mistaking a real work of art, is there? When you come across real genius, it just leaps out at you. And I'm not even an expert. 'Wonderful colours,' I murmur. 'The detail,' says the woman, clasping her hands, 'is absolutely incomparable.' 'Incomparable,' I echo. I'm just about to point out the rainbow, which I think is a really nice touch - when I suddenly notice that the elderly woman and I aren't looking at the same thing. She's looking at some painted wooden thing which I hadn't even noticed. As inconspicuously as possible, I shift my gaze - and feel a pang of disappointment. Is this the Bevington triptych? But it isn't even pretty! 'Whereas this Victorian rubbish,' the woman suddenly adds savagely, 'is absolutely criminal! That rainbow! Doesn't it make you feel sick?' She gestures to my big blue window, and I gulp. 'I know,' I say. 'It's shocking, isn't it? Absolutely... You know - I think I'll just go for a little wander...

Upon the uninviting mattresses were carefully folded together those blankets which a great modern humorist has aptly compared to cold buckwheat cakes. The question of towels was left entirely to the imagination. The glass decanters were filled with a transparent liquid faintly tinged with brown, but from which an odor less faint, but not more pleasing, ascended to the nostrils, like a far-off sea-sick reminiscence of oily machinery. Sad-coloured curtains half-closed the upper berth. The hazy June daylight shed a faint illumination upon the desolate little scene. Ugh! how I hate that state-room!

almost musical, twangs. The sun is shining through the stained glass window above the front door, casting colourful geometric patterns across the floor tiles. At the base of the stairs she swings for a moment on the large final bannister. The lounge door is