Dab Style Quotes

Sue stepped into a haven that smelled of candles and lemon-scented dish soap, a cabinet of curiosities, one of which was the bathtub smack dab in the middle of the small kitchen. Bob Roy’s railroad flat was four tight, connected rooms, each stuffed with koombies, knickknacks, doodads, furniture pieces of any style, shelves, books, photos in frames, trophies bought from flea markets, old records, small lamps, and calendars from decades before. “I know,” he said. “It looks like I sell magic potions in here, like I’m an animated badger from a Disney cartoon.” He lit a burner on the stove with a huge kitchen match, then filled a shiny, Olde English–style kettle with water from the tap. As he prepared cups on a tray he said, “Tea in minutes, titmouse. Make a home for yourself.

Sophia counted six clangs of the bell before Mr. Grayson jolted fully awake. He looked up at her, startled and flushed. As though he’d been caught doing something he shouldn’t. She smiled. Rubbing his eyes, he rose to his feet. “Will I shock you, Miss Turner, if I remove my coat?” Sophia felt a twinge of disappointment. When would he stop treating her with this forced politesse, maintaining this distance between them? How many tales of passionate encounters must she spin before he finally understood that she was no less wicked than he, only less experienced? Perhaps it was time to take more aggressive measures. “By all means, remove your coat.” She tilted her eyes to cast him a saucy look. “Mr. Grayson, I’m not an innocent schoolgirl. You will have to try harder than that to shock me.” His lips curved in a subtle smile. “I’ll take that under advisement.” She watched as he shook the heavy topcoat from his shoulders and peeled it down his arms. He draped the coat over the back of a chair before sitting back down. The damp lawn of his shirt clung to his shoulders and arms. A pleasant shiver rippled down to Sophia’s toes. “It doesn’t suit you anyway,” she said, loading her brush with paint. He gave her a bemused look as he unknotted his cravat and pulled it loose. She inwardly rejoiced. Now, if only she could convince him to do away with his waistcoat…” “The coat,” she explained, when his eyebrows remained raised. “It doesn’t suit you.” “Why not? Is the color wrong?” The sudden seriousness in his tone surprised her. “No, the color is perfectly fine. It’s the cut that’s unflattering. That style is tailored to gentlemen of leisure, lean and slender. But as you are so fond of telling me, Mr. Grayson, you are no gentleman. Your shoulders are too broad for fashion.” “Is that so?” He chuckled as he undid his cuffs. Sophia stared as he turned up his sleeves, baring one tanned muscled forearm, then the other. “What style of garments would best suit me, then?” “Other than a toga?” He rewarded her jest with an easy smile. Sophia dabbed at her canvas, pleased to be making progress at last. “I think you need something less restrictive. Something like a sailor’s garb. Or perhaps a captain’s.” “Truly?” His gaze became thoughtful, then searching. “And even dressed in plain seaman’s clothes, would you still find me handsome enough? In my own way?” “No.” She allowed his brow to crease a moment before continuing. “I should find you surpassingly handsome. In every way.” She mixed paint slowly on her palette and gave him a coy look. “And what of my attire? If you had your way, how would you dress me?” “If I had my way…I wouldn’t.” A thrill raced through Sophia’s body. Her cheeks burned, and her eyes dropped to her lap. She forced her gave back up to meet his. Now was not the moment to lose courage. Nothing held sway over a man’s intentions like jealousy. “Gervais once kept me naked for an entire day so he could paint me.” He blinked. “He painted a nude study of you?” “No. He painted me. I took off my clothes and stretched out on the bed while he dressed me in pigment. Gervais called me his perfect, blank canvas. He painted lavender orchids here”-she traced a small circle just above her breast-“and little vines twining down…” She slid her hand down and noted with delight how his eyes followed its path. “I feigned the grippe and refused to bathe for a week.” Desire and jealous rage warred in his countenance, yet he remained as immobile as one of Lord Elgin’s marble sculptures. What would it take to spur the man into action?

The concept is made even more fascinating when you consider it as a psychological spectrum. Imagine a sliding scale of personalities that range from being an “introvert” to an “extrovert” and placing “ambivert” smack dab in the middle. This linear scale illustrates a continuum of experiences, because these descriptions do not apply to every person at all times. We all have tendencies, preferences, and comfort zones that change according to the people we are surrounded by, the environment we find ourselves in, and our levels of confidence in the moment. Using the scale above, where do you typically fall in the spectrum?

In an Asiatic (Semitic) settlement (c. 1876–1560 B.C.) that was discovered at Avaris (Tell el-Dab’a), there is a monumental tomb where archaeologists found fragments of a colossal statue of an Asiatic dignitary that had been broken up. The statue had been deliberately destroyed and defaced. The original statue of the seated official was 150% of life size, approximately 2 m high, made of limestone and carved by Egyptian sculptors. This Asiatic man has a red mushroom-shaped hairstyle, yellow painted skin (traditional color of an Asiatic in Egyptian artwork), a long multi-colored cloak (red, white, and black stripes) which is non-Egyptian, and a throw stick (the Egyptian hieroglyph for a foreigner) held against his right shoulder. There is no name on the statue to identify the person, but the size of the statue indicates a person of great importance. Although some have suggested that this is Joseph, a more plausible explanation is that it is Jacob, the patriarch of the family. The clothing on the statue and its color are Asiatic; Joseph was clothed in Egyptian garments of fine linen (Genesis 41:42). The hairstyle on the statue is distinctly Asiatic; Joseph’s hairstyle would have almost certainly been Egyptian given that his brothers did not recognize him when they saw him (Genesis 42:8). Also, a fragment of the statue’s base shows that it was inscribed with the Egyptian word sntr = incense (a word used on funerary inscriptions), which signifies death. The statue was apparently built to commemorate a dead person. The style of the fragments that come from this statue are in harmony with statuary that came from a facility that produced statues during the reign of Amenemhat III, who came onto the throne the year Jacob died (1859 B.C.).34 It makes perfect sense that the statue is made to honor Jacob, who was not buried in Avaris but in Canaan (Genesis 47:29–30, 49:28–30).

Our Skirt (by Kathy Boudin) You were forty-five and I was fourteen when you gave me the skirt. ¨It's from Paris!¨ you said as if that would impress me who at best had mixed feelings about skirts. But I was drawn by that summer cotton with splashes of black and white--like paint dabbed by an eager artist. I borrowed your skirt and it moved like waves as I danced at a ninth grade party. Wearing it date after date including my first dinner with a college man. I never was much for buying new clothes, once I liked something it stayed with me for years. I remember the day I tried ironing your skirt, so wide it seemed to go on and on like a western sky. Then I smelled the burning and, crushed, saw that I had left a red-brown scorch on that painting. But you, Mother, you understood because ironing was not your thing either. And over the years your skirt became my skirt until I left it and other parts of home with you. Now you are eighty and I almost fifty. We sit across from each other in the prison visiting room. Your soft gray-thin hair twirls into style. I follow the lines on your face, paths lit by your eyes until my gaze comes to rest on the black and white on the years that our skirt has endured.