Decorating Details Quotes

Details, when they are successful, are not mere decoration. They do not distract or entertain. They lead to an understanding of the whole of which they are an inherent part.

Metaphor isn't just decorative language. If it were, it wouldn't scare us so much. . . . Colorful language threatens some people, who associate it, I think, with a kind of eroticism (playing with language in public = playing with yourself), and with extra expense (having to sense or feel more). I don't share that opinion. Why reduce life to a monotone? Is that truer to the experience of being alive? I don't think so. It robs us of life's many textures. Language provides an abundance of words to keep us company on our travels. But we're losing words at a reckless pace, the national vocabulary is shrinking. Most Americans use only several hundred words or so. Frugality has its place, but not in the larder of language. We rely on words to help us detail how we feel, what we once felt, what we can feel. When the blood drains out of language, one's experience of life weakens and grows pale. It's not simply a dumbing down, but a numbing.

She held two of the frosted cookies decorated with snowflakes so detailed they looked like they'd fallen fresh from the sky. He accepted one because he didn't know how to say There's a forest growing in my stomach, so I'm never hungry.

One can trace the relics of this former happiness in the trim shapes of the buildings, the occasional graceful churches, and the evidences of original art and background in bits of detail here and there - a worn flight of steps, a wormy pair of decorative columns of pilasters, or a fragment of once green space with bent and rusted iron railing.

When I got home, I took a bat and examined my back in detail in the bathroom mirror. This tattoo would be for myself and no-one else. It wasn’t just because I was about to end my relationship with Iro, it was because I wanted to make some serious changes deep down inside me… My torso - my back and front – and my shoulders, breasts, and upper arms were decorated with a vibrantly coloured work of art. I knew it had been the right thing to do… When I looked at that beautifully crafted tattoo, I was filled with a sense of total contentment I had never experienced before. I felt as though I had been set free.

Homes, Gamache knew, were a self portrait. A person's choice of color, furnishing, pictures, every touch revealed the individual. God, or the devil, was in the details. And so was the human. Was it dirty, messy, obsessively clean? Were the decorations chosen to impress, or were they a hodgepodge of personal history? Was the space cluttered or clear? He felt a thrill every time he entered a home during an investigation.

The glorification of "woman's role," then, seems to be in proportion to society's reluctance to treat women as complete human beings; for the less real function that role has, the more it is decorated with meaningless details to conceal its emptiness

Your wife,” said Arthur, looking around, “mentioned some toothpicks.” He said it with a hunted look, as if he was worried that she might suddenly leap out from behind a door and mention them again. Wonko the Sane laughed. It was a light easy laugh, and sounded like one he had used a lot before and was happy with. “Ah yes,” he said, “that’s to do with the day I finally realized that the world had gone totally mad and built the Asylum to put it in, poor thing, and hoped it would get better.” This was the point at which Arthur began to feel a little nervous again. “Here,” said Wonko the Sane, “we are outside the Asylum.” He pointed again at the rough brickwork, the pointing, and the gutters. “Go through that door” — he pointed at the first door through which they had originally entered — “and you go into the Asylum. I’ve tried to decorate it nicely to keep the inmates happy, but there’s very little one can do. I never go in there myself. If I ever am tempted, which these days I rarely am, I simply look at the sign written over the door and I shy away.” “That one?” said Fenchurch, pointing, rather puzzled, at a blue plaque with some instructions written on it. “Yes. They are the words that finally turned me into the hermit I have now become. It was quite sudden. I saw them, and I knew what I had to do.” The sign read: “Hold stick near center of its length. Moisten pointed end in mouth. Insert in tooth space, blunt end next to gum. Use gentle in-out motion.” “It seemed to me,” said Wonko the Sane, “that any civilization that had so far lost its head as to need to include a set of detailed instructions for use in a package of toothpicks, was no longer a civilization in which I could live and stay sane.” He gazed out at the Pacific again, as if daring it to rave and gibber at him, but it lay there calmly and played with the sandpipers. “And in case it crossed your mind to wonder, as I can see how it possibly might, I am completely sane. Which is why I call myself Wonko the Sane, just to reassure people on this point. Wonko is what my mother called me when I was a kid and clumsy and knocked things over, and sane is what I am, and how,” he added, with one of his smiles that made you feel, Oh. Well that’s all right then. “I intend to remain.

Luxury Diamond, an encapsulation metal engraving style, with its long triangular serifs, wide stance, and decorative details like the notched “R” and curvaceous figures. There is also a Text family with a full lowercase character set. Good for: Raising a product’s perceived value. Filling horizontal space.

As Desdemona continued on about the administrative details of the business, her eyelids lazing at half-mast all the while, Elsie’s attention was drawn to the decorations on the office’s walls. She had always assumed that dust could only collect on a horizontal surface, but the Unthank Home’s drab green walls proved otherwise—a thin sheen of gray dust seemed to nearly act as a second coat of paint.

Homes, Gamache knew, were a self-portrait. A person’s choice of color, furnishing, pictures. Every touch revealed the individual. God, or the Devil, was in the details. And so was the human. Was it dirty, messy, obsessively clean? Were the decorations chosen to impress, or were they a hodgepodge of personal history? Was the space cluttered or clear? He felt a thrill every time he entered a home during an investigation.

There’s No Place Like Home,” an oil painting of a woman sprawled out on the floor, half of her painted brown, the other half white, with each half of her body in a differently decorated room. One half was a traditional British home, the other half a Persian one with ornate carpets and gold details glittering on the shelves. Catholic symbols mixed with the elements of nature. Mixed. A dichotomy of two colliding worlds, two pieces of a whole.

A paradisiacal lagoon lay below them. The water was an unbelievable, unreal turquoise, its surface so still that every feature of the bottom could be admired in magnified detail: colorful pebbles, bright red kelp, fish as pretty and colorful as the jungle birds. A waterfall on the far side fell softly from a height of at least twenty feet. A triple rainbow graced its frothy bottom. Large boulders stuck out of the water at seemingly random intervals, black and sun-warmed and extremely inviting, like they had been placed there on purpose by some ancient giant. And on these were the mermaids. Wendy gasped at their beauty. Their tails were all colors of the rainbow, somehow managing not to look tawdry or clownish. Deep royal blue, glittery emerald green, coral red, anemone purple. Slick and wet and as beautifully real as the salmon Wendy's father had once caught on holiday in Scotland. Shining and voluptuously alive. The mermaids were rather scandalously naked except for a few who wore carefully placed shells and starfish, although their hair did afford some measure of decorum as it trailed down their torsos. Their locks were long and thick and sinuous and mostly the same shades as their tails. Some had very tightly coiled curls, some had braids. Some had decorated their tresses with limpets and bright hibiscus flowers. Their "human" skins were familiar tones: dark brown to pale white, pink and beige and golden and everything in between. Their eyes were also familiar eye colors but strangely clear and flat. Either depthless or extremely shallow depending on how one stared. They sang, they brushed their hair, they played in the water. In short, they did everything mythical and magical mermaids were supposed to do, laughing and splashing as they did. "Oh!" Wendy whispered. "They're-" And then she stopped. Tinker Bell was giving her a funny look. An unhappy funny look. The mermaids were beautiful. Indescribably, perfectly beautiful. They glowed and were radiant and seemed to suck up every ray of sun and sparkle of water; Wendy found she had no interest looking anywhere else.

Come for a walk, dear. The air will do you good." Raoul thought that she would propose a stroll in the country, far from that building which he detested as a prison whose jailer he could feel walking within the walls... the jailer Erik... But she took him to the stage and made him sit on the wooden curb of a well, in the doubtful peace and coolness of a first scene set for the evening's performance. On another day, she wandered with him, hand in hand, along the deserted paths of a garden whose creepers had been cut out by a decorator's skillful hands. It was as though the real sky, the real flowers, the real earth were forbidden her for all time and she condemned to breathe no other air than that of the theatre. An occasional fireman passed, watching over their melancholy idyll from afar. And she would drag him up above the clouds, in the magnificent disorder of the grid, where she loved to make him giddy by running in front of him along the frail bridges, among the thousands of ropes fastened to the pulleys, the windlasses, the rollers, in the midst of a regular forest of yards and masts. If he hesitated, she said, with an adorable pout of her lips: "You, a sailor!" And then they returned to terra firma, that is to say, to some passage that led them to the little girls' dancing-school, where brats between six and ten were practicing their steps, in the hope of becoming great dancers one day, "covered with diamonds..." Meanwhile, Christine gave them sweets instead. She took him to the wardrobe and property-rooms, took him all over her empire, which was artificial, but immense, covering seventeen stories from the ground-floor to the roof and inhabited by an army of subjects. She moved among them like a popular queen, encouraging them in their labors, sitting down in the workshops, giving words of advice to the workmen whose hands hesitated to cut into the rich stuffs that were to clothe heroes. There were inhabitants of that country who practiced every trade. There were cobblers, there were goldsmiths. All had learned to know her and to love her, for she always interested herself in all their troubles and all their little hobbies. She knew unsuspected corners that were secretly occupied by little old couples. She knocked at their door and introduced Raoul to them as a Prince Charming who had asked for her hand; and the two of them, sitting on some worm-eaten "property," would listen to the legends of the Opera, even as, in their childhood, they had listened to the old Breton tales.

I spent most of the afternoon tempering the new batch of couverture and working on the window display. A thick covering of green tissue paper for the grass. Paper flowers- daffodils and daisies, Anouk's contribution- pinned to the window frame. Green-covered tins that had once contained cocoa powder, stacked up against each other to make a craggy mountainside. Crinkly cellophane paper wraps it like a covering of ice. Running past and winding into the valley, a river of blue silk ribbon, upon which a cluster of houseboats sits quiet and unreflecting. And below, a procession of chocolate figures, cats, dogs, rabbits, some with raisin eyes, pink marzipan ears, tails made of licorice-whips, with sugar flowers between their teeth... And mice. On every available surface, mice. Running up the sides of the hill, nestling in corners, even on the riverboats. Pink and white sugar coconut mice, chocolate mice of all colors, variegated mice marbled through with truffle and maraschino cream, delicately tinted mice, sugar-dappled frosted mice. And standing above them, the Pied Piper resplendent in his red and yellow, a barley-sugar flute in one hand, his hat in the other. I have hundreds of molds in my kitchen, thin plastic ones for the eggs and the figures, ceramic ones for the cameos and liqueur chocolates. With them I can re-create any facial expression and superimpose it upon a hollow shell, adding hair and detail with a narrow-gauge pipe, building up torso and limbs in separate pieces and fixing them in place with wires and melted chocolate.... A little camouflage- a red cloak, rolled from marzipan. A tunic, a hat of the same material, a long feather brushing the ground at his booted feet. My Pied Piper looks a little like Roux, with his red hair and motley garb.

The obvious costs of such a policy became apparent to me as I sat along the back wall of vault V22 at NSA headquarters with two of the more talented infrastructure analysts, whose workspace was decorated with a seven-foot-tall picture of Star Wars’ famous wookie, Chewbacca. I realized, as one of them was explaining to me the details of his targets’ security routines, that intercepted nudes were a kind of informal office currency, because his buddy kept spinning in his chair to interrupt us with a smile, saying, “Check her out,” to which my instructor would invariably reply “Bonus!” or “Nice!” The unspoken transactional rule seemed to be that if you found a naked photo or video of an attractive target—or someone in communication with a target—you had to show the rest of the boys, at least as long as there weren’t any women around. That was how you knew you could trust each other: you had shared in one another’s crimes.

He had entered another imaginative world, one connected to the beginning of his life as a writer, to the Napoleonic world that had been a lifelong metaphor for the power of art, for the empire of his own creation He began to dictate notes for a new novel, "fragments of the book he imagines himself to be writing." As if he were now writing a novel of which his own altered consciousness was the dramatic center, he dictated a vision of himself as Napoleon and his own family as the Imperial Bonapartes....William and Alice he grasped with his regent hand, addressing his 'dear and most esteemed brother and sister.' To them, to whom he had granted countries, he now gave the responsibility of supervising the detailed plans he had created for 'the decoration of certain apartments, here of the Louvre and Tuileries, which you will find addressed in detail to artists and workment who take them in hand.' He was himself the 'imperial eagle.' Taking down the dictation, Theodora [his secretary] felt it to be almost more than she could bear. 'It is a heart-breaking thing to do, though, there is the extraordinary fact that his mind does retain the power to frame perfectly characteristic sentences.

It is possible to get too hung up about this point. In, for example, the genealogical multiple pile-up of Swabia with almost every hill under its own prince, it is possible to imagine a feudal version of Jorge Luis Borges’ infinite library, a world of so many hundreds of rulers that every variation of behaviour is possible, or indeed certain, in any given moment. So somewhere a ruler with a huge grey beard is dying surrounded by his weeping family and retainers; somewhere else a bored figure is irritably shooting bits off the plaster decorations in the ballroom; another is making an improper suggestion to a stable boy; another is telling an anecdote about fighting the Turks, staring into space, girding for battle, converting to Calvinism, wishing he had a just slightly bigger palace, and so on. This dizzying multiplicity makes each of hundreds of castles a frightening challenge – with the possibility of the guide making my head explode with the dizzying details of how the young duchess had been walled up in a tower for being caught in a non-spiritual context with her confessor and how as a result the Strelitz-Nortibitz inheritance had passed, unexpectedly, to a cousin resident in Livonia who, on his way home to claim the dukedom, died of plague in a tavern near Rothenberg thus activating the claim of the very odd dowager’s niece, long resident in a convent outside Bamberg. But it is probably time to move on.

I want to decorate the castle with shells and seaweed,” Seraphina said. “You’ll make it look like a girl’s castle,” Justin protested. “Your hermit crab might be a girl,” Seraphina pointed out. Justin was clearly appalled by the suggestion. “He’s not! He’s not a girl!” Seeing his little cousin’s gathering outrage, Ivo intervened quickly. “That crab is definitely male, sis.” “How do you know?” Seraphina asked. “Because . . . well, he . . .” Ivo paused, fumbling for an explanation. “Because,” Pandora intervened, lowering her voice confidentially, “as we were planning the layout of the castle, the hermit crab discreetly asked me if we would include a smoking room. I was a bit shocked, as I thought he was rather young for such a vice, but it certainly leaves no doubt as to his masculinity.” Justin stared at her raptly. “What else did he say?” he demanded. “What is his name? Does he like his castle? And the moat?” Pandora launched into a detailed account of her conversation with the hermit crab, reporting that his name was Shelley, after the poet, whose works he admired. He was a well-traveled crustacean, having flown to distant lands while clinging to the pink leg of a herring gull who had no taste for shellfish, preferring hazelnuts and bread crumbs. One day, the herring gull, who possessed the transmigrated soul of an Elizabethan stage actor, had taken Shelley to see Hamlet at the Drury Lane theater. During the performance, they had alighted on the scenery and played the part of a castle gargoyle for the entire second act. Shelley had enjoyed the experience but had no wish to pursue a theatrical career, as the hot stage lights had nearly fricasseed him.

I have to hand it to you, little Annamuk, this is not what I would have expected." "Why is that?" "It's so, um, romantic." "And you don't think I'm romantic?" "I think you're refreshingly unsentimental. It's what makes you a great builder." "I don't think I follow." He pauses for a moment. "I think that your eye always goes to what will make a home function smoothly, what will make the people who live there comfortable. That is different than the romantic aspect. Romantic people get focused on things like brand names and labels that evoke a certain feel for them, or focused on elements that may or may not work well for their space. Old-world crown molding in a modern loft space, commercial kitchen appliances for a family that doesn't cook, the kinds of touches that actually make a space feel awkward or just off. Your places are always fully kitted out, with amazing attention to detail, and always designed with the actual usage and client in mind." "So why is this different?" "I don't know. Don't get me wrong, it's amazing, and still super-functional, but the chandelier? The painted floor? Very girly." "And I'm not a girl?" Liam looks me dead in my eyes. "No, my darling. You are not now and never have been a girl. You are a woman. Every inch.

Hyderabad's weddings are known for their opulence and grandeur. From the intricately designed bridal attire and jewelry to the sumptuous cuisine and exquisite decor, every detail is meticulously documented by photographers. These images serve as a testament to the city's rich cultural heritage and the values that bind families together. The business of wedding photography in Hyderabad india is thriving. The city's residents place a high value on preserving the memories of their special day, and they are willing to invest in professional photography services to achieve this. Photographers have embraced digital technology and social media to market their services and showcase their work. They have adapted to the changing times, offering diverse packages to meet the evolving needs and preferences of couples. Established photographers continue to innovate and expand their services, offering pre-wedding shoots, destination wedding coverage, thematic photography, and more. Aspiring photographers also enter the field, adding fresh talent and perspectives to the vibrant community of wedding photographers in Hyderabad.

The most decorated service rabbit in history was RAF Navigation Officer Danielle ‘Thumper’ Rabbit, who ejected from a Tornado over Iraq when it was hit by a surface-to-air missile. She wrote about her time as a POW in Bouncing Out of Tikrit, and it was quite a good read, although critics did find fault with the overlong detail of Iraqi salad in the latter part of the book.

You pick your way past young men and girls sitting on the steps, you wander bewildered among those austere walls which students’ hands have arabesqued with outsize capital writing and detailed graffiti, just as the cavemen felt the need to decorate the cold walls of their caves to become masters of the tormenting mineral alienness, to make them familiar, empty them into their own inner space, annex them to the physical reality of living.

They adored their handsome uncle. Whether the thing was triggered when the girls came over to help him decorate the new house or had some other proximate cause is not at all clear. Hammond, however, soon found himself engaged in sexual dalliance with all four girls. He confessed it later in his diary. “Here were four lovely creatures, from the tender but precious girl of 13 to the mature but fresh and blooming woman nearly 19 (in 1840–41), each contending for my love, claiming the greater share of it as due to her superior devotion to me, all of them rushing on every occasion into my arms and covering me with kisses, lolling on my lap, pressing their bodies almost into mine, wreathing their limbs with mine, encountering warmly every portion of my frame, and permitting my hands to stray unchecked over every part of them and to rest without the slightest shrinking from it, in the most secret and sacred regions, and all this for a period of more than two years continuously.” Hammond complained that instead of condemnation, he deserved praise. “Is it in flesh and blood to withstand this?” he wrote in his diary. “Is there a man, with manhood in him and a heart susceptible of any emotions of tenderness, who could tear himself from such a cluster of lovely, loving, such amorous and devoted beings? Nay are there many who would have the self-control to stop where I did? Am I not after all entitled to some, the smallest portion of, credit for not going further?” He should be honored for his restraint, he wrote, and likened himself to “a creature of chivalric romance.” The relationship lasted from 1841 to 1843, during which, he wrote, “I gave way to the most wanton indulgences. It would be improper to state in detail what these indulgences were. It will be sufficient to say that they extended to every thing short of direct sexual intercourse, that for two years they were carried on not with one, but indiscriminately with all of them, that they were perfectly habitual and renewed every time or very nearly every time we met at my house in Columbia, which was never less than once a week while I was there, and most usually much oftener.” The nieces never balked at his “amorous advances,” he claimed, but rather “again and again made the advances themselves, so much so as often to excite my astonishment and to fill my mind with the most extraordinary suspicions as to their past experience.

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You have hardly started living, and yet all is said, all is done. You are only twenty-five, but your path is already mapped out for you. The roles are prepared, and the labels: from the potty of your infancy to the bath-chair of your old age, all the seats are ready and waiting their turn. Your adventures have been so thoroughly described that the most violent revolt would not make anyone turn a hair. Step into the street and knock people's hats off, smear your head with filth, go bare-foot, publish manifestos, shoot at some passing usurper or other, but it won't make any difference: in the dormitory of the asylum your bed is already made up, your place is already laid at the table of the poètes maudits; Rimbaud's drunken boat, what a paltry wonder: Abyssinia is a fairground attraction, a package trip. Everything is arranged, everything is prepared in the minutest detail: the surges of emotion, the frosty irony, the heartbreak, the fullness, the exoticism, the great adventure, the despair. You won't sell your soul to the devil, you won't go clad in sandals to throw yourself into the crater of Mount Etna, you won't destroy the seventh wonder of the world. Everything is ready for your death: the bullet that will end your days was cast long ago, the weeping women who will follow your casket have already been appointed. Why climb to the peak of the highest hills when you would only have to come back down again, and, when you are down, how would you avoid spending the rest of your life telling the story of how you got up there? Why should you keep up the pretence of living? Why should you carry on? Don't you already know everything that will happen to you? Haven't you already been all that you were meant to be: the worthy son of your mother and father, the brave little boy scout, the good pupil who could have done better, the childhood friend, the distant cousin, the handsome soldier, the impoverished young man? Just a little more effort, not even a little more effort, just a few more years, and you will be the middle manager, the esteemed colleague. Good husband, good father, good citizen. War veteran. One by one, you will climb, like a frog, the rungs on the ladder of success. You'll be able to choose, from an extensive and varied range, the personality that best befits your aspirations, it will be carefully tailored to measure: will you be decorated? cultured? an epicure? a physician of body and soul? an animal lover? will you devote your spare time to massacring, on an out-oftune piano, innocent sonatas that never did you any harm? Or will you smoke a pipe in your rocking chair, telling yourself that, all in all, life's been good to you?

A beautiful dinner party is one of the warmest and most gracious gifts you can give to your friends and family. And a dinner party is—or should be—more than just an assortment of foods and beverages. Every detail—from invitations to music to decorative touches—serves to enrich and complete the dining experience. If you think that choosing, preparing, and serving the food is complicated enough, without having to also worry about ambiance, the Dinner Party Cookbook is just what you need. Owning this book is like having a professional party planner at your fingertips; you will find all the ingredients necessary to plan successful,

OBJECTIVELY SPEAKING, my wedding to Troy Brennan was a beautiful event. Obscenely lavish and obnoxiously wasteful. Brennan spared no expense when it came to what was his. Be it his penthouse, his cars, his women or his wedding. The candles, floral arrangements, aisle runner, soloist, organist, floral archways and extravagantly decorated pews were all impeccable and plush. In fact, I was surprised the altar wasn’t built exclusively from blood diamonds and rolled one-hundred-dollar bills. Nonetheless, to me, it was as pointless as Henry Cavill with a shirt on. So much detail and beauty shouldn’t be wasted on fraud. And that’s what Brennan and I were—a lie. A charade. Doomed people trapped in a marriage built on the ruins of extortion and lies. We

A second skin. Perhaps made less scandalous by the exquisite detailing, the extra padding, the pockets, the bits of armored decoration—but there was not one inch left to the imagination. She let out a low whistle. Very well, then. She could be Celaena Sardothien again—for a little longer, until this game was finished.

I detected a relish in their application of little details, the brushstrokes being added to their work of art as it progressed from a simple line drawing to an ornately decorated and multi-layered, palimpsest painting.

Salmon with Violets SERVES 4 I know a bank where the wild thyme blows, Where oxlips and the nodding violet grows … A MIDSUMMER NIGHT’S DREAM, 2.1 THE BEAUTIFUL COLORS, the presentation, and the wonderful light flavors of this dish typify the sophistication of Elizabethan cuisine. Many types of edible flowers were used in cooking, both for their visual appeal and for their taste. Flowers were not set out onto the table in vases, but rather the dinner platters and the food itself were considered the decoration and were enhanced with flowers. Cookbooks of the time even list instructions on salads “for shewe only” with details on creating large elaborate “flowers” made of various cut vegetables and herbs.

Ritual characterizes every aspect of life here, and even mundane, daily activities take on an ageless quality. The daily rhythm begins at dawn, as the fishermen launch boats from countless harbors, an event that has taken place for centuries. The women go to market, exchanging greetings and comments. Ritual rules the care and time taken with every detail of the midday meal, from the hearty seafood appetizers to the strong, syrupy coffee that marks the end of the feast. The day winds down with the evening stroll, a tradition thoroughly ingrained in the culture of the Greek Isles. In villages and towns throughout the islands, sunset brings cooler air and draws people from their homes and the beaches for an enjoyable evening walk through town squares, portside promenades, and narrow streets. Ancient crafts still flourish in the artisans’ studios and in tidy homes of countless mountain villages and ports. Embroidery--traditionally the province of Greek women--is created by hand to adorn the regional costumes worn during festivals. Artists craft delicate silver utensils, engraved gems, blown glass, and gold jewelry. Potters create ceramic pieces featuring some of the same decorative patterns and mythological subjects that captured their ancestors’ imagination. Weddings, festivals, saints’ days. And other celebrations with family and friends provide a backdrop for grave and energetic Greek dancing. For centuries--probably ever since people have lived on the islands--Greek islanders have seized every opportunity to play music, sing, and dance. Dancing in Greece is always a group activity, a way to create and reinforce bonds among families, friends, and communities, and island men have been dancing circle dances like the Kalamatianos and the Tsamikos since antiquity. Musicians accompany revelers on stringed instruments like the bouzouki--the modern equivalent of the lyre. While traditional attire is reserved mainly for festive occasions, on some islands people still sport these garments daily. On Lefkada and Crete, it is not unusual to find men wearing vraka, or baggy trousers, and vests, along with the high boots known as stivania. Women wear long, dark, pleated skirts woven on a traditional loom, and long silk scarves or kerchiefs adorn their heads. All the garments are ornamented by hand with rich brocades and elaborate embroidery. All over the Greek Isles, Orthodox priests dress in long black robes, their shadowy figures contrasting with the bright whites, blues, and greens of Greek village architecture.

It does not seem possible to me to conceive anything sadder than a monument composed of a smooth, naked and unadorned surface, of a light absorbent material, absolutely bare of details, and of which the decoration is formed by a composition of shadows, drawn by shadows still darker.

back, change into something formal. I’m taking you out to the most famous restaurant in all of Paris,’ he said proudly. She giggled. Listening to him make every effort to be the romantic tickled her to bits. Though she was a seasoned and toughened law enforcement agent, she still wasn’t beyond feeling giddy when it came to Pope’s courting efforts. For their long overdue holiday, a honeymoon-before-the-wedding kind of thing, Pope splashed out. The sky was the limit. Five months ago, when he asked her where she wanted to go, she had said Paris. So, Paris it had to be. There were no ifs or buts. And they were going to do it in style. He booked them a room at the Banke Hôtel for the entire duration of their stay. Luckily, he got it at a special rate, otherwise a Federal employee like him wouldn’t have been able to stretch the budget that far. Housed in a former bank, the Baroque revival hotel had an ornate columned façade. The interior was grand in scale and lavishly decorated. The room didn’t disappoint. Charming period detailing had been retained; in their

Still, to me, the bottom line wasn’t about the Dark Book at all. It was about uncovering the details of my sister’s secret life. I didn’t want the creepy thing. I just wanted to know who or what had killed Alina, and I wanted him or it dead. Then I wanted to go home to my pleasantly provincial po-dunk little town in steamy southern Georgia and forget about everything that had happened to me while I was in Dublin. The Fae didn’t visit Ashford? Good. I’d marry a local boy with a jacked-up Chevy pickup truck, Toby Keith singing “Who’s Your Daddy?” on the radio, and eight proud generations of honest, hardworking Ashford ancestors decorating his family tree. Short of essential shopping trips to Atlanta, I’d never leave home again. But

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This place, however, was about permanence. Permanence, and uniqueness. Every detail custom-built of polished old wood, wrought iron, sculpted marble. Original works of art wherever some decoration was wanted, living flowers arranged by human hands. That human effort immanent in every detail. Napkins folded just so, drinks hand-shaken and served with origami twists of citrus rind. People were expensive; the way to display, or to enjoy, great wealth was to build an environment that could only have been wrought, and could only be sustained from one hour to the next, by unceasing human effort.

1930s Functionalism/Modernism Exterior •Facade: Cube shapes and light-color plaster facades, or thin, standing wood panels. •Roof: Flat roof, sometimes clad in copper or sheet metal. •Windows: Long horizontal window bands often with narrow—or no—architraves; large panes of glass without mullions or transoms. Emphasis on the horizontal rather than on the vertical. Windows run around corners to allow more light and to demonstrate the new possibilities of construction and materials. •Outside door: Wooden door with circular glass window. •Typical period details: Houses positioned on plots to allow maximum access to daylight. Curving balconies, often running around the corner; corrugated-iron balcony frontage. Balcony flooring and fixings left visible. The lines of the building are emphasized. Interior •Floors: Parquet flooring in various patterns, tongue-and-groove floorboards, or linoleum. •Interior doors: Sliding doors and flush doors of lamella construction (vaulted, with a crisscross pattern). Masonite had a breakthrough. •Door handles: Black Bakelite, wood, or chrome. •Fireplaces: Slightly curved, brick/stone built. Light-color cement. •Wallpaper/walls: Smooth internal walls and light wallpapers, or mural wallpaper that from a distance resembled a rough, plastered wall. Internal wall and woodwork were light in color but rarely completely white—often muted pastel shades. •Furniture: Functionalism, Bauhaus, and International style influences. Tubular metal furniture, linear forms. Bakelite, chrome, stainless steel, colored glass. •Bathroom: Bathrooms were simple and had most of today’s features. External pipework. Usually smooth white tiles on the walls or painted plywood. Black-and-white chessboard floor. Lavatories with low cisterns were introduced. •Kitchen: Flush cupboard doors with a slightly rounded profile. The doors were partial insets so that only about a third of the thickness was visible on the outside—this gave them a light look and feel. Metal-sprung door latches, simple knobs, metal cup handles on drawers. Wall cabinets went to ceiling height but had a bottom section with smaller or sliding doors. Storage racks with glass containers for dry goods such as salt and flour became popular. Air vents were provided to deal with cooking smells.

People who don’t read it, and even some of those who write it, like to assume or pretend that the ideas used in science fiction all rise from intimate familiarity with celestial mechanics and quantum theory, and are comprehensible only to readers who work for NASA and know how to program their VCR. This fantasy, while making the writers feel superior, gives the non-readers an excuse. I just don’t understand it, they whimper, taking refuge in the deep, comfortable, anaerobic caves of technophobia. It is of no use to tell them that very few science fiction writers understand “it” either. We, too, generally find we have twenty minutes of I Love Lucy and half a wrestling match on our videocassettes when we meant to record Masterpiece Theater. Most of the scientific ideas in science fiction are totally accessible and indeed familiar to anybody who got through sixth grade, and in any case you aren’t going to be tested on them at the end of the book. The stuff isn’t disguised engineering lectures, after all. It isn’t that invention of a mathematical Satan, “story problems.” It’s stories. It’s fiction that plays with certain subjects for their inherent interest, beauty, relevance to the human condition. Even in its ungainly and inaccurate name, the “science” modifies, is in the service of, the “fiction.” For example, the main “idea” in my book The Left Hand of Darkness isn’t scientific and has nothing to do with technology. It’s a bit of physiological imagination—a body change. For the people of the invented world Gethen, individual gender doesn’t exist. They’re sexually neuter most of the time, coming into heat once a month, sometimes as a male, sometimes as a female. A Getheian can both sire and bear children. Now, whether this invention strikes one as peculiar, or perverse, or fascinating, it certainly doesn’t require a great scientific intellect to grasp it, or to follow its implications as they’re played out in the novel. Another element in the same book is the climate of the planet, which is deep in an ice age. A simple idea: It’s cold; it’s very cold; it’s always cold. Ramifications, complexities, and resonance come with the detail of imagining. The Left Hand of Darkness differs from a realistic novel only in asking the reader to accept, pro tem, certain limited and specific changes in narrative reality. Instead of being on Earth during an interglacial period among two-sexed people, (as in, say, Pride and Prejudice, or any realistic novel you like), we’re on Gethen during a period of glaciation among androgynes. It’s useful to remember that both worlds are imaginary. Science-fictional changes of parameter, though they may be both playful and decorative, are essential to the book’s nature and structure; whether they are pursued and explored chiefly for their own interest, or serve predominantly as metaphor or symbol, they’re worked out and embodied novelistically in terms of the society and the characters’ psychology, in description, action, emotion, implication, and imagery. The description in science fiction is likely to be somewhat “thicker,” to use Clifford Geertz’s term, than in realistic fiction, which calls on an assumed common experience. The description in science fiction is likely to be somewhat “thicker,” to use Clifford Geertz’s term, than in realistic fiction, which calls on an assumed common experience. All fiction offers us a world we can’t otherwise reach, whether because it’s in the past, or in far or imaginary places, or describes experiences we haven’t had, or leads us into minds different from our own. To some people this change of worlds, this unfamiliarity, is an insurmountable barrier; to others, an adventure and a pleasure.

Scientific materialism contains a destructive substance enriched with an unhealthy absence of morality. It is detailed with nonfactual precision, decorated with razzmatazz ornaments, and then set on display to market its distorted theoretics. Stay clear from its strong deceptive current.

The ceremony consisted of vibrant pink, purple, and coral details that complemented the rustic wood and lush green vines climbing up the chapel. Abigail's team constructed an arbor made entirely of drooping orchids and palm fronds that framed the wooden doors perfectly. The aisle was lined with thousands of coral-colored rose petals and more orchids spilling over the end of every row of seats. It was a tropical dream.

When you first step from your comfort bubble into a new environment, all the sensory details are acutely apparent: the guttural sound of the toads, what locals call the Ouaouarons (pronounced “wa-wa-rons”), the crooning of some foreign night bird deep in a jungle of pine, palmetto, and cypress, the sweet scent of night-blooming flowers mixing with the loamy, earthen banks of the bayou, Spanish Moss draped like early Halloween decorations on the sagging arms of tree-giants, and the feel of thick, wet air filling your head and chest.

I'm quite sorry to be leaving Persia. Beneath all the physical dirt and moral corruption there is an elegance and dignity about life here which you can't appreciate at first, while suffering under the impact of the more obvious and disagreeable national characteristics. The graciousness with which peasants greet each other and the effortless art with which a few beautiful rags and pieces of silver are made to furnish and decorate a whole house—in these and many other details Persia can still teach the West. I suppose it's all a question of seeing one of the oldest and richest civilizations in the world long past its zenith.

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Essentials:   Child-size table Child-sized chairs, one for each of your children and at least one or two more for guests A low bookcase or cubicle. Your child should be able to easily see and reach anything on top of this piece of furniture. IKEA is a fantastic place to pick up things like this! Age appropriate items for chosen Montessori activities. A more detailed list of activities and supplies will be provided later in the book. Several rubber storage containers or other storage devices. These do not need to remain in your schooling area; in fact it is recommended that they be removed. You will want to give your child a limited choice of several activities in their workspace, and have the supplies accessible to them. You will likely have many activities that you want to try or a supply of materials that do not fit the current activity choices. Since too many choices and too much clutter will over-stimulate the young mind, you will want a place to store your materials until they are ready to be rotated into use.   Helpful Items:   Extra bins, baskets and trays. Colorful, realistic, stimulating decorations for the area. A work rug.

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Emotional Labour: The f Word, by Jane Caro and Catherine Fox "Work inside the home is not always about chores. One of the most onerous roles is managing the dynamics of the home. The running of the schedule, the attention to details about band practice and sports training, the purchase of presents for next Saturday’s birthday party, the check up at the dentist, all usually fall on one person's shoulders. Woody Allen, in the much-publicised custody case for his children with Mia Farrow, eventually lost, in part because unlike Farrow, he could not name the children’s dentist or paediatrician. It’s a guardianship role and it is not only physically time consuming but demands enormous intellectual and emotional attention. Sociologists call it kin work. It involves: 'keeping in touch with relations, preparing holiday celebrations and remembering birthdays. Another aspect of family work is being attentive to the emotions within a family - what sociologists call ‘emotion work.’ This means being attentive to the emotional tone among family members, troubleshooting and facing problems in a constructive way. In our society, women do a disproportionate amount of this important work. If any one of these activities is performed outside the home, it is called work - management work, psychiatry, event planning, advance works - and often highly remunerated. The key point here is that most adults do two important kinds of work: market work and family work, and that both kinds of work are required to make the world go round.' (Interview with Joan Williams, mothersandmore.org, 2000) This pressure culminates at Christmas. Like many women, Jane remembers loving Christmas as a child and young woman. As a mother, she hates it. Suddenly on top of all the usual paid and unpaid labour, there is the additional mountain of shopping, cooking, cleaning, decorating, card writing, present wrapping, ritual phone calls, peacekeeping and emotional care taking. And then on bloody Boxing Day it all has to be cleaned up. If you want to give your mother a fabulous Christmas present just cancel the whole thing. Bah humbug!

he would even suggest such a thing. Her motives for such dedication were unclear, but since she was only a client, he didn’t press for more. As she stood abruptly, he followed suit. “I’ll show you your room,” she said, the words clipped. Larkin followed her back to the foyer and up the stairs, pausing only to grab his bag. The house was furnished with impeccable taste, luxury in every detail, but nothing at all ostentatious. He wondered if she had redone the place after her parents’ deaths, and he suspected she had. Somehow the decor reflected the personality of its owner. When Winnie paused, Larkin followed suit, standing shoulder to shoulder with his hostess as he surveyed the room. He whistled. “Very nice.” This close, he inhaled the scent of honeysuckle again. “I hope you’ll be comfortable. I appreciate your fitting me into your schedule. Let me know if you need anything at all.” There it was again. That pesky, subtle does-she-or-doesn’t-she vibe that made his skin itchy and his sex

Walls that had been attentively decorated with whatever was at hand; a home lined with plaster and a molding painted blue and red; little ornaments that hung on the walls, testifying to a loving care whose foundations had now been eradicated; traces of female-wisdom-hath-builded-her-house, paying close attention to myriad details whose time now had passed; an order intelligible to someone and a disorder in which somebody at his convenience had found his way; remnants of pots and pans that had been collected in a haphazard fashion, as need arose, touched by very private joys and woes that a stranger could not understand; tatters that made sense to someone who was used to them—a way of life whose meaning was lost, diligence that had reached its negation, and a great, very deep muteness had settled upon the love, the bustle, the bother, the hopes, and the good and less-good times, so many unburied corpses. But we were already tired of seeing things like this, we had no more interest in such things.

Bella's Christmas Bake Off' always started in early December and for years had prepared me and the rest of the country for the culinary season ahead. Bella basted beautiful, golden turkeys, cooked crispy roast potatoes, baked magnificent cakes and biscuits, causing power surges throughout the country as people turned on their ovens and baked. She would sprinkle lashings of glitter, special olive oils, the latest liqueurs and all in a sea of Christmas champagne bottles. Bella's style was calm, seductive, and gorgeous. Her very presence on screen made you feel everything was going to be okay and Christmas was on its way. She didn't just stop at delicious food either- her tables were pure art and her Christmas decorations always the prettiest, sparkliest, most beautiful. Bella Bradley had an enviable lifestyle and she kept viewers transfixed all year round, but her Christmases were always special. Her planning and eye for detail was meticulous, from color-matched baubles to snowy landscapes of Christmas cupcakes and mince pies- and soggy bottoms were never on her menu.

Each morning I start again with the questions, easy stuff, like colour – I’ve always been drawn to colour. [...] I interview myself as a way to discover the new me. What colours do you like? [...] Why do you like those colours? ‘All I could think about after chemo was the colour purple, I decorated the whole Christmas tree in purple and wrapped every present in purple, it felt healing.’ Good, there’s a story there, a meaningful answer. Make a story out of your experiences. [...] I reignite my love of detail in clothes: a puffed sleeve, a side or a front zip on a leather jacket, the shape of a heel or toe of a boot. I’m enjoying looking: I used to look at everything and everyone. I notice marks on a stone, the haggard sea-worn groynes; it doesn’t matter what you like, just be truthful and observant, I tell myself. I don’t let myself off the hook; if I make a statement, I have to justify it.

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had also become the familiar given, the necessary condition of life, viewed with a mixture of friendliness and, yes, condescension. They were simply the goyim, the routine term, still used today, for all Gentiles short of aristocratic status. Sometimes they were — in an inversion of “our Jews” — “our goyim.” And although Poles and Jews retained their spiritual separateness, their daily culture — habits, language, cooking, ordinary aesthetics — inevitably intermingled and influenced each other. They lived in similarly constructed wooden houses. Some of the gorgeous wooden synagogues of Polish towns and villages were decorated with Polish folk motifs. Yiddish was permeated by Polish vocabulary: shmata for rag, czajnik for kettle, paskudny for odious, among many others. The peasants picked up Yiddish words, and Jewish themes appeared in their proverbs. Even today, people in Brańsk say, “It’s as noisy as a cheder”, or “She’s dressed as for a Jewish wedding” — meaning, dressed ostentatiously. We no longer know whether the origins of chicken soup were Jewish or Polish. And then there was the music. Each village had its Jewish musicians, to whom everyone was willing to listen. People from Brańsk still remember the Jewish fiddlers and klezmer bands that played at Polish weddings. Their melodies combined Jewish and Gypsy and Polish and Russian influences — that vivid, energetic, melancholy mix that is the Eastern European equivalent of the blues. And surely if they played like that, moving their audiences to dancing and to tears, then their souls must have caught something of the genius loci — the tune, the temper, the spirit of the place. But toward the end of the nineteenth century, the balance began once again ineluctably to shift. In the Yizkor Book, several revealing details suggest new winds, new currents. Perhaps the most important changes were caused by sudden migrations, both inward and outward. The influx of new immigrants began after the assassination of the liberal Tsar Alexander II in 1881, an event followed by a wave of pogroms and other anti-Semitic persecutions within the Russian Pale. In the aftermath, tens of thousands of Jews, known as Litvaks — so named because most of them came from Lithuania or from parts of Belarus commonly called Lithuania in those days — fled to the Polish territories to seek refuge.

Vulnerability lends authenticity to my voice and fills in for where I do not have the more formal backing of an MFA or the recognition of an award or the prestige of an eight-way auction publishing deal. ... I rely on autobiographical detail, I masticate my life, spit it out and decorate it on the page. ... What is the line between being vulnerable and prostrating yourself for a system that won't recognise you? (p.31) She perceives herself to be vastly talented in that Victorian sense of being well-accomplished - able to cook, draw, host, write, she speaks a number of languages and has an impressive cache of artistic and cultural historical knowledge (p.46) The woman I'm obsessed with lives in a state of suspended teenagedom or early retirement (p.163)

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