Fabric Wall Hangings With Quotes

I like what you’ve done to the place,’ he says, eyeing the ripped fabric and scorched stuffing hanging from the ceiling and walls.

lack, or loutish and crass kollective is a program dedicated to the proposition that vulgarity and bad taste are an inalienable right. the lackies, as they are sometimes called, meet if they feel like it at program headquarters, which is known as La Gaucherie. La Gaucherie is densely furnished with seven thousand always-in-operation console color televisions, nine hundred constantly blaring quadrophonic stereos, shag rugs in six hundred and seventy-eight decorator colors, and am eclectic mix of Mediterranean-style dining room sets, fun sofas, interesting wall hangings, and modular seating systems. These members not otherwise occupied practicing the electric guitar or writing articles for Playgirl sit around in unduly comfortable positions expressing their honest feelings and opinions in loud tones of voice. Male lackies are encouraged to leave unbuttoned the first five buttons of their shirts unless they have unusually pale skin and hairy chests, in which case they are required to do so. Female members are encouraged to encourage them. Both sexes participate in a form of meditation that consists of breathing deeply of musk oil while wearing synthetic fabrics. The eventual goal of this discipline is to reach the state of mind known as Los Angeles.

Paint in several colors was squeezed out of tubes and mixed and applied to woven fabric stretched on a wooden frame so artfully we say we see a woman hanging out a sheet rather than oil on canvas. Ana Teresa Fernandez’s image on that canvas is six feet tall, five feet wide, the figure almost life-size. Though it is untitled, the series it’s in has a title: Telaraña. Spiderweb. The spiderweb of gender and history in which the painted woman is caught; the spiderweb of her own power that she is weaving in this painting dominated by a sheet that was woven. Woven now by a machine, but before the industrial revolution by women whose spinning and weaving linked them to spiders and made spiders feminine in the old stories. In this part of the world, in the creation stories of the Hopi, Pueblo, Navajo, Choctaw, and Cherokee peoples, Spider Grandmother is the principal creator of the universe. Ancient Greek stories included an unfortunate spinning woman who was famously turned into a spider as well as the more powerful Greek fates, who spun, wove, and cut each person’s lifeline, who ensured that those lives would be linear narratives that end. Spiderwebs are images of the nonlinear, of the many directions in which something might go, the many sources for it; of the grandmothers as well as the strings of begats. There’s a German painting from the nineteenth century of women processing the flax from which linen is made. They wear wooden shoes, dark dresses, demure white caps, and stand at various distances from a wall, where the hanks of raw material are being wound up as thread. From each of them, a single thread extends across the room, as though they were spiders, as though it came right out of their bellies. Or as though they were tethered to the wall by the fine, slim threads that are invisible in other kinds of light. They are spinning, they are caught in the web. To spin the web and not be caught in it, to create the world, to create your own life, to rule your fate, to name the grandmothers as well as the fathers, to draw nets and not just straight lines, to be a maker as well as a cleaner, to be able to sing and not be silenced, to take down the veil and appear: all these are the banners on the laundry line I hang out.

But the crown jewel was the columned Greek Revival mansion, which dated from the mid-1800s, along with the manicured boxwood gardens that would serve as the backdrop for the couple's ceremony. Of course, everything was not only very traditional but also a standard to what one might imagine an over-the-top Southern wedding to be. As I said, "Steel Magnolias on steroids." The ceremony would take place outdoors in the garden, but large custom peach-and-white scalloped umbrellas were placed throughout the rows of bamboo folding chairs to shade the guests. Magnolia blossoms and vintage lace adorned the ends of the aisles. White, trellis-covered bars flanked the entrance to the gardens where guests could select from a cucumber cooler or spiked sweet tea to keep cool during the thirty-minute nuptials. It was still considered spring, but like Dallas, Nashville could heat up early in the year, and we were glad to be prepared. By the time we arrived the tent was well on its way to completion, and rental deliveries were rolling in. The reception structure was located past the gardens near the enormous whitewashed former stable, and inside the ceiling was draped in countless yards of peach fabric with crystal chandeliers hanging above every dining table. Custom napkins with embroidered magnolias on them complemented the centerpieces' peach garden roses, lush greenery, and dried cotton stems. Cedric's carpentry department created floor-to-ceiling lattice walls covered in faux greenery and white wisteria blooms, a dreamy backdrop for the band.

You should be more careful, you know.” Cass opened her mouth but no words came out. Again, she felt her stays crushing down on her chest. “Careful?” she managed to croak. “You’re the one who knocked me over.” “I couldn’t resist,” he said, and he actually had the nerve to wink at her. “It’s not often I get the chance to put my hands on such a beautiful woman.” Cass stared at him, speechless. Without another word, he turned away and followed the group of laughing artists into a crowded campo, his muscular form disappearing among merchants’ sacks of cabbages and potatoes. The scene blurred a little, like a painting, and for a second Cass wondered if maybe she had hit her head and had imagined the whole exchange. Liviana’s uncle Pietro materialized suddenly by her side, followed by Madalena. “What were you thinking, running off by yourself?” Pietro frowned severely. “And that common street thug put his hands on you! Do you want me to go after him?” “No, no,” Cass said quickly. “It was just an accident.” Still, the nerve of the boy to tell her to be careful. He, clearly, was the one who needed to watch where he was going. “Your dress!” Madalena reached toward Cass, but stopped short of touching the soiled fabric. “You must be furious.” Cass looked down at her soggy gown. Even the rosary hanging from her belt had gotten dirty. Cass wiped the coral and rosewood crucifix clean in the folds of her skirt. The dress was obviously ruined, but she had always found it a bit uncomfortable, and she had plenty of others. “You’re lucky you weren’t hurt,” Liviana’s uncle said sternly. “I hope that teaches you not to wander the streets unaccompanied again.” “Who was he?” Madalena asked in a whisper as Cass allowed her to take her arm and lead her back to the church. “No idea.” Cass realized she was trembling. Her heart thudded against the walls of her rib cage. The sting in her palm was already fading to a dull throb, but she couldn’t stop thinking about the boy’s devilish smile, or the feeling of his hands on her. Mostly, she couldn’t shake the image of those bright blue eyes that just for a second had gazed at her so intensely, in a way no one had ever looked at her before.

I’ll end with a story. A friend of mine was a student in France in 1967–68 at the Catholic University of the West. And one day her class visited a château in the Loire Valley. The docent took them into a room with an enormous stretch of hanging fabric, many yards across from one wall to the other. And on the fabric were hundreds of ugly knots and tangles of stray thread in a chaos of confused shapes that made very little sense. And the docent said, “This is what the artist saw as he worked.” Then she led my friend and her class around to the front of the fabric. And what they saw there is the great tapestry of the Apocalypse of St. John, the story of the book of Revelation in ninety immense panels. Created between 1377 and 1382, it’s one of the most stunning and beautiful expressions of medieval civilization, and among the greatest artistic achievements of the European heritage. The point is simply this: We rarely see the full effects of the good we do in this life. So much of what we do seems a tangle of frustrations and failures. We don’t see—on this side of the tapestry—the pattern of meaning that our faith weaves. But one day we’ll stand on the other side. And on that day, we’ll see the beauty that God has allowed us to add to the great story of his creation, the richness we’ve added to the lives of our family and friends, the mark for the better we’ve left on the world, and the revelation of his love that goes from age to age no matter how good or bad the times. We are each an unrepeatable, infinitely treasured part of that story. And this is why our lives matter.

Epilogue: "I don't need these. Not any of this." "I want this camel. This is all I'm taking just to remember him by." "Sometimes you hold on to a big thing, an overwhelming thing because you believe if you let it go you'll use the memories tucked into its walls, its boxes, its cushions and seams. You can't see the way out from under it and so you ignore the idea of parting with it and let it bend and break even further. What if you let the thing go and you lose a piece of the person who left it to you? Then circumstances tip or you get a push and you gather the courage to do it and it's easier than you anticipate. You hang on to something small. You tuck a camel in a rolling cart, some fabric scraps in a garbage bag, and you promise to find a place for it. You keep what you can carry and you make it enough.

But here I am, having worked so hard and for so long that I’ve made myself sick. And worst of all, I’ve nearly forgotten how to rest. I’m tired, inevitably. But it’s more than that. I’m hollowed out. I’m tetchy and irritable, constantly feeling like prey, believing that everything is urgent and that I can never do enough. And my house—my beloved home—has suffered a kind of entropy in which everything has slowly collapsed and broken and worn out, with detritus collecting on every surface and corner, and I have been helpless in the face of it. Since being signed off sick, I’ve been forced to lean back on the sofa and stare at the wreckage for hours at a time, wondering how the hell it got so bad. There’s not a single soothing place left in the house, where you can rest a while without being reminded that something needs to be mended or cleaned. The windows are clouded with the dusty veil of a hundred rainstorms. The varnish is wearing from the floorboards. The walls are dotted with nails that are missing their pictures or holes that should be filled and painted over. Even the television hangs at a drunken angle. When I stand on a chair and empty the top shelf in the wardrobe, I find that I have meant to replace the bedroom curtains at least three times in the last few years, and every bundle of fabric I’ve bought has ended up folded neatly and stowed away, entirely forgotten. That I’m noticing these things only now that I’m physically unable to remedy them feels like the kind of exquisite torture devised by vengeful Greek gods. But here it is: my winter. It’s an open invitation to transition into a more sustainable life and to wrest back control over the chaos I’ve created. It’s a moment when I have to step into solitude and contemplation. It’s also a moment when I have to walk away from old alliances, to let the strings of some friendships fall loose, if only for a while. It’s a path I’ve walked over and over again in my life. I have learned the skill set of wintering the hard way.

His fingers cupped my face, cradling my cheek and jaw as if I was made of glass. I found a handful of his soft hair and wound my fingers into it, while curling my other hand into the shoulder of his leather coat. My heart hadn’t even stopped thundering from the Foul Woman’s presence. Now it was thrumming against my ribs again, too fast to count the beats. I did something I’d always secretly wanted to and bit down, very gently, on his beautiful bottom lip. Shinobu’s breath shivered into my mouth, and he pulled me closer.   I was taller now, but not tall enough. Tiptoes didn’t bring me where I wanted to be either. I jumped and hauled myself up the steel pillar of his body, wrapping one leg around his hip. The big, warm hand on my waist slid slowly down the thin fabric of my trousers to cup my thigh, supporting my weight. His other hand was clenched in my hair. A wave of almost painful excitement and yearning crashed through me, and sent me into a full-body shudder that I had no chance of hiding. A tiny moan popped from my lips straight into his.   “Mio. Oh, Mio…” His shaking voice echoed in my ears, mixing with words in Japanese. I recognized some of them. My beloved. My Mio. He pressed his mouth to my eyelid, my cheek, the edge of my jaw, the skin beneath my ear.   There was a loud tearing noise. We both froze.   Abruptly I was aware of the wall against my back, and the tremble in my thigh from hanging onto him like a demented spider monkey. I swallowed and blinked as Shinobu eased back, letting my feet drop to the pavement again. Our eyes met.   “What just…?” I asked.   He cleared his throat. “I think – my shirt.”   I looked down and saw that at some point I’d traded my grip on his hair for a handful of the T-shirt and jumper under his jacket. My fingers had gone straight through the thin wool and made a nice tear in the cotton beneath that too.   “Darn super-strength,” I muttered.   Shinobu’s lip twitched up at the corner again. I snatched my hand away from his ruined clothes and clapped it over his mouth. “No laughing at me,” I said, only half joking. “Not at a moment like this. Romance will die forever and it’ll be your fault.” He peeled my hand off and pressed a kiss to my palm. “Where are we now? What is this place?” “Um … Remnant Street, I think.”   “No. From now on it will be Paradise Street. Heaven Road. Happiness Avenue.”   “You big cheese-ball…” I muttered, putting my arms around his waist and hugging him tightly.   “What?”   “Never mind!” I grumped, then sighed. “I wish we could stay on Happiness Avenue a bit longer…”   “But we can’t,” he finished. “It is all right. I promise we will come back whenever you want.

Madam Psuka shut the door behind us, and I had to squint as I looked around. Very little light filtered through the windows, which were all covered in multi-colored panels of fabric. Tapestries, paintings, and blankets covered the walls, and the floors were covered with faded rugs as well. She had no couch or chairs, but large pillows in every hue lined the walls or sat in heaps in the corners. It was sort of like being in a very colorful padded cell. She had stacks of books everywhere, beaded rope hanging from corner to corner, and several giant green plants. How they survived with so little natural light, I had no idea.