Filters Make Me Pretty Quotes

there was a sort of embarrassment about storytelling that struck home powerfully about one hundred years ago, at the beginning of modernism. We see a similar reaction in painting and in music. It's a preoccupation suddenly with the surface rather than the depth. So you get, for example, Picasso and Braque making all kinds of experiments with the actual surface of the painting. That becomes the interesting thing, much more interesting than the thing depicted, which is just an old newspaper, a glass of wine, something like that. In music, the Second Viennese School becomes very interested in what happens when the surface, the diatonic structure of the keys breaks down, and we look at the notes themselves in a sort of tone row, instead of concentrating on things like tunes, which are sort of further in, if you like. That happened, of course, in literature, too, with such great works as James Joyce's Ulysses, which is all about, really, how it's told. Not so much about what happens, which is a pretty banal event in a banal man's life. It's about how it's told. The surface suddenly became passionately interesting to artists in every field about a hundred years ago. In the field of literature, story retreated. The books we talked about just now, Middlemarch, Bleak House, Vanity Fair -- their authors were the great storytellers as well as the great artists. After modernism, things changed. Indeed, modernism sometimes seems to me like an equivalent of the Fall. Remember, the first thing Adam and Eve did when they ate the fruit was to discover that they had no clothes on. They were embarrassed. Embarrassment was the first consequence of the Fall. And embarrassment was the first literary consequence of this modernist discovery of the surface. "Am I telling a story? Oh my God, this is terrible. I must stop telling a story and focus on the minute gradations of consciousness as they filter through somebody's..." So there was a great split that took place. Story retreated, as it were, into genre fiction-into crime fiction, into science fiction, into romantic fiction-whereas the high-art literary people went another way. Children's books held onto the story, because children are rarely interested in surfaces in that sort of way. They're interested in what-happened and what-happened next. I found it a great discipline, when I was writing The Golden Compass and other books, to think that there were some children in the audience. I put it like that because I don't say I write for children. I find it hard to understand how some writers can say with great confidence, "Oh, I write for fourth grade children" or "I write for boys of 12 or 13." How do they know? I don't know. I would rather consider myself in the rather romantic position of the old storyteller in the marketplace: you sit down on your little bit of carpet with your hat upturned in front of you, and you start to tell a story. Your interest really is not in excluding people and saying to some of them, "No, you can't come, because it's just for so-and-so." My interest as a storyteller is to have as big an audience as possible. That will include children, I hope, and it will include adults, I hope. If dogs and horses want to stop and listen, they're welcome as well.

Why do you choose to write about such gruesome subjects? I usually answer this with another question: Why do you assume that I have a choice? Writing is a catch-as-catch-can sort of occupation. All of us seem to come equipped with filters on the floors of our minds, and all the filters have differing sizes and meshes. What catches in my filter may run right through yours. What catches in yours may pass through mine, no sweat. All of us seem to have a built-in obligation to sift through the sludge that gets caught in our respective mind-filters, and what we find there usually develops into some sort of sideline. The accountant may also be a photographer. The astronomer may collect coins. The school-teacher may do gravestone rubbings in charcoal. The sludge caught in the mind's filter, the stuff that refuses to go through, frequently becomes each person's private obsession. In civilized society we have an unspoken agreement to call our obsessions “hobbies.” Sometimes the hobby can become a full-time job. The accountant may discover that he can make enough money to support his family taking pictures; the schoolteacher may become enough of an expert on grave rubbings to go on the lecture circuit. And there are some professions which begin as hobbies and remain hobbies even after the practitioner is able to earn his living by pursuing his hobby; but because “hobby” is such a bumpy, common-sounding little word, we also have an unspoken agreement that we will call our professional hobbies “the arts.” Painting. Sculpture. Composing. Singing. Acting. The playing of a musical instrument. Writing. Enough books have been written on these seven subjects alone to sink a fleet of luxury liners. And the only thing we seem to be able to agree upon about them is this: that those who practice these arts honestly would continue to practice them even if they were not paid for their efforts; even if their efforts were criticized or even reviled; even on pain of imprisonment or death. To me, that seems to be a pretty fair definition of obsessional behavior. It applies to the plain hobbies as well as the fancy ones we call “the arts”; gun collectors sport bumper stickers reading YOU WILL TAKE MY GUN ONLY WHEN YOU PRY MY COLD DEAD FINGERS FROM IT, and in the suburbs of Boston, housewives who discovered political activism during the busing furor often sported similar stickers reading YOU'LL TAKE ME TO PRISON BEFORE YOU TAKE MY CHILDREN OUT OF THE NEIGHBORHOOD on the back bumpers of their station wagons. Similarly, if coin collecting were outlawed tomorrow, the astronomer very likely wouldn't turn in his steel pennies and buffalo nickels; he'd wrap them carefully in plastic, sink them to the bottom of his toilet tank, and gloat over them after midnight.

Keeping a new church outwardly focused from the beginning is much easier than trying to refocus an inwardly concerned church. In order to plant a successful church, you have to know that you know that you are undeniably called by God. The call to start a new church plant is not the same as the call to serve in an existing church or work in a ministry-related organization. You may be the greatest preacher this side of Billy Graham but still not be called to start a church. If you think you may have allowed an improper reason, voice or emotion to lead you to the idea of starting a new church, back away now. Spend some more time with God. You don’t want to move forward on a hunch or because you feel “pretty sure” that you should be planting a church. You have to be completely certain. “You’re afraid? So what. Everybody’s afraid. Fear is the common ground of humanity. The question you must wrestle to the ground is, ‘Will I allow my fear to bind me to mediocrity?’” When you think of a people group that you might be called to reach, does your heart break for them? If so, you may want to consider whether God is specifically calling you to reach that group for His kingdom. Is your calling clear? Has your calling been confirmed by others? Are you humbled by the call? Have you acted on your call? Do you know for certain that God has called you to start a new church? Nail it down. When exactly were you called? What were the circumstances surrounding your call? How did it match up with the sources of proper calling? Do you recognize the four specific calls in your calling? How? How does your call measure up to biblical characteristics? What is the emerging vision that God is giving you with this call? As your dependence on God grows, so will your church. One of the most common mistakes that enthusiastic and well-meaning church starters make is to move to a new location and start trying to reach people without thinking through even a short-term strategy. Don’t begin until you count the cost. why would you even consider starting a church (the only institution Jesus left behind and the only one that will last forever) without first developing a God-infused, specific, winning strategy? There are two types of pain: the pain of front-end discipline and the pain of back-end regret. With the question of strategy development, you get to choose which pain you’d rather live with. Basically, a purpose, mission and vision statement provides guiding principles that describe what God has called you to do (mission), how you will do it (purpose) and what it will look like when you get it done (vision). Keep your statement simple. Be as precise as possible. Core values are the filter through which you fulfill your strategy. These are important, because your entire strategy will be created and implemented in such a way as to bring your core values to life. Your strategic aim will serve as the beacon that guides the rest of your strategy. It is the initial purpose for which you are writing your strategy. He will not send more people to you than you are ready to receive. So what can you do? The same thing Dr. Graham does. Prepare in a way that enables God to open the floodgates into your church. If you are truly ready, He will send people your way. If you do the work we’ve described in this chapter, you’ll be able to build your new church on a strong base of God-breathed preparation. You’ll know where you are, where you’re going and how you are going to get there. You’ll be standing in the rain with a huge bucket, ready to take in the deluge. However, if you don’t think through your strategy, write it down and then implement it, you’ll be like the man who stands in the rainstorm with a Dixie cup. You’ll be completely unprepared to capture what God is pouring out. The choice is yours!

You saved me," he said, his voice cracking a little. Haven smiled, completely overwhelmed y his perfection of the moment. "We saved each other." Dare heaved a deep, shaky breath. "You're pretty fucking awesome. You know that?" he asked. Her smile slipped into a grin. "I really a." He gave a little coughing laugh and groaned at the same time. "Can't...laugh," he gasped. "I'm sorry." She stroked his hair off his face. "Don't ever be sorry for making me happy, Haven. Because you do. Happier than I've ever been in my life. I didn't realize how little I'd been living all these years until you came along. So, yeah, we saved each other. And I just can't let you go. Not today. Not ever." Which was exactly what Haven wanted to hear. "That's all I need, Dare. You're all I need. We'll figure the rest out." His fingers toyed clumsily with a long strand of her hair. "Yeah, we fucking will," he said, strength filtering into his voice. "One day, one night, one ride at a time.

Want my opinion, just as an amateur? I think photography’s a much artier art than most people believe. It’s logical to think that, if you’ve got an eye for composition—plus a few technical skills you can learn in any photography class—one pretty place should photograph as well as any other, especially if you’re just into landscapes. Harlow, Maine or Sarasota, Florida, just make sure you’ve got the right filter, then point and shoot. Only it’s not like that. Place matters in photography just like it does in painting or writing stories or poetry. I don’t know why it does, but . . . [There is a long pause.] Actually I do. Because an artist, even an amateur one like me, puts his soul into the things he creates. For some people—ones with the vagabond spirit, I imagine—the soul is portable. But for me, it never seemed to travel even as far as Bar Harbor. The snaps I’ve taken along the Androscoggin, though . . . those speak to me. And they do to others, too. The guy I do business with at Windhover said I could probably get a book deal out of New York, end up getting paid for my calendars rather than paying for them myself, but that never interested me. It seemed a little too . . . I don’t know . . . public? Pretentious? I don’t know, something like that. The calendars are little things, just between friends. Besides, I’ve got a job. I’m happy crunching numbers. But my life sure would have been dimmer without my hobby.

next to me, and both him and Kennedy had their arms around my shoulders. “Is he still not banging you?” I stared at Grady, and his complete inability to filter his words. When I saw how serious he was I burst out laughing, and didn’t stop until I had tears running down my cheeks. When I’d calmed down, they were both looking at me as if I’d lost my mind. Maybe I had, but for once I was able to laugh through my worry. “She’s completely lost it,” Kennedy said over my head. “Or maybe she just realized the insanity of whatever scenario she’d conjured up in her head,” replied Grady. “She can hear you,” I told them. “Good,” retorted Grady. “Because I know for a fact your man won’t go near that Hobbit again, and I have it on good authority that he never even had sex with her while they were dating.” My head shot up. “What?” He nodded his head triumphantly. “He didn’t touch her, Jade. Not once.” My whole body sagged, but I couldn’t understand why that knowledge made me feel so relieved. “You see?” Kennedy touched my arm. “You’re feeling insecure for no reason, Jade. I’m sure Reid is just taking his time, and making sure he does things right this time around.” Well,” snorted Grady, “Either that or he’s worried about poking your baby in the face with his dick.” “Oh my God,” I laughed, covering my face with my hands. “You are so not allowed near my child with that foul mouth.” “Please,” – Grady threw his head back dramatically – “That kid is going to walk out of that cooch spitting fire like her mamma, and that’s all on you. Pretty sure she’s going to be able to teach me a thing or two.” Kennedy laughed beside me. “Your baby is going to be born into

Then I asked him the question that would change my life. “Mr. Trump,” I said, “one of the things people love about you is you speak your mind and you don’t use a politician’s filter. However, that is not without its downsides. In particular, when it comes to women. You’ve called women you don’t like ‘fat pigs,’ ‘dogs,’ ‘slobs,’ and ‘disgusting animals.’” “Only Rosie O’Donnell,” he quipped. The crowd chuckled at his Rosie O’Donnell comment. I passed no judgment on the audience, but I was not going to join them in laughing. “For the record,” I said, “it was well beyond Rosie O’Donnell.” Trump knew it too. “I’m sure it was,” he said. We had fact-checked every word of that question. Rosie had, no question, been vicious toward Trump too, and if it had only been her, I would not have asked that question. But what I’d seen in my research binder was that he’d made a habit of attacking women regularly with these sorts of terms—mocking their looks and sexualizing them. The women he’d belittled in the terms I used in my question included, but were not limited to, Arianna Huffington, Bette Midler, New York Times columnist Gail Collins, and a lawyer requesting a prearranged break to pump breast milk for her baby (“disgusting”). There were many, many others. “Your Twitter account,” I continued, “has several disparaging comments about women’s looks. You once told a contestant on Celebrity Apprentice it would be a pretty picture to see her on her knees. Does that sound to you like the temperament of a man we should elect as president, and how will you answer the charge from Hillary Clinton, who is likely to be the Democratic nominee, that you are part of the ‘war on women’?” First Trump said that we’d gotten too politically correct in this country. And then this: “What I say is what I say. And honestly, Megyn, if you don’t like it, I’m sorry. I’ve been very nice to you, although I could probably maybe not be, based on the way you have treated me. But I wouldn’t do that.” He looked angry, I thought. After all my planning for that moment, I was relieved that he hadn’t attacked me personally in his response. Still, I felt his anger, and understood him perfectly. He was making a veiled but very clear threat. I’d known Trump for several years by this point. We’d had a mostly good—but also complicated—relationship. Seared into my mind was a threat he’d made to me by phone just four days earlier to “unleash” what he called his “beautiful Twitter account” on me. I expected I would find out what he meant by that soon, and indeed I would.

my lover stays lanes apart but it feels like continents once he stops replying on whatsapp: he has checked my story on instagram but one of these days, social media will be the death of me. my lover shows up on my door unannounced, two different flavours of doughnuts in his hand, he knows i have been crying. they'd taste better if they weren't so soggy, but i have enough filters on my phone to make them look pretty, my friends would be jealous, favourite desserts from half-closed, overpriced airport shops, a hundred cities away. my lover holds my hand A hasn't called me back he says, their boyfriends do not get them their and kisses my neck, i wish there was a song by the 1975 playing in the background, but instagram music isn't supported in my region. i haven't seen him in eight days, it's funny when i write it down because i was sure it was a millennium, we yearn for skin, touch, smell, but let me quickly take a photograph, make him look like he's not looking, our love can go stale, but my social media needs to keep its aesthetic game strong. two boomerangs, seven filters, and one kissing selfie later, we explode. without words, without music. i feel like it's my first kiss again. this is how it must have felt to be in love a thousand years ago.

I’ll have to throw these jeans away and get new ones,” Luca said. “Unless you want these to make a pair of cut-offs?” “Your jeans would be way too big on me,” she said, not looking up from the bowl of ingredients she was mixing. “But there’s something in them for you.” She chuckled. “I bet there is.” “Naughty girl,” he said. “I mean there’s something in the pocket for you. Do you want it?” She walked over to him and held out her hand. “Sure. Whatever.” He placed a tiny charm in the palm of her hand. A heart. “It’s all yours now,” he said. “Even if you drop it, and step on it, and bend it out of shape, it’s still yours. I don’t want it back.” “You had this in your pocket?” “I’ve had it in my pocket every day for the last three months. Except one day when I thought I lost it in the washing machine, but then I found it in the filter. Don’t worry. It’s clean.” She stared at the heart and thought about all the times she’d taken the alley to work, or ducked into a store to avoid seeing Luca on the street. All the times she’d missed her chance to get Luca’s heart back. “I can understand if you don’t want my stupid heart,” he said. “If I were you, I wouldn’t take me back either, because I’m not always a fan of Luca Lowell. He doesn’t always do the right thing.” “Don’t say that.” “It’s true. If I hadn’t gotten backed into by a truck last night and hadn’t gone to the hospital, I don’t know if you ever would have brought me back to your house. Back into your life.” “My tiny house, and my tiny life.” He shrugged. “It’s big enough for me.” He stretched out on the sectional. “You’ll have a hard time kicking me out again.” “Luca, I can’t make you any promises.” “Yes, you can. You can promise to give me a second chance the next time I screw up.” “You didn’t screw up. I did. I’m the one who kicked you out.” “Then I’ll give you a second chance. I won’t be a chicken and take the alley to work so I don’t run into you.” “You did that?” “Only for about a week, until your sister busted me sneaking through the alley like a burglar, and tore me a new one.” He rubbed his beard. “You know, now that I’m thinking over my conversations with her, it’s all making sense. She must have thought Chris’s wife was my girlfriend. The two of them stop by the garage a lot, but not always together. I thought your sister was being—well, you know how she is—but now I think I understand what was really going on.” Tina looked down at the heart in her palm then at Luca. She closed her fingers around the charm. “Don’t worry,” she said. “I’m not going to drop it again.” There was a scratch at the door. Luca rolled himself along the couch, reached out with one long arm, and opened the door. Muffins strolled in like he owned the place. Luca exclaimed, “Kitty!” Muffins jumped up on the couch and started sniffing Luca’s cast. Then he meowed about dinner. Luca picked the cat up gently and held him like a baby. “You are a cutie patootie,” he said, then he cleared his throat and said gruffly, “Yes, uh. This is a healthy cat specimen. A strong hunter. I can tell by his, uh, ample midsection.” Tina said, “That’s some pretty impressive baby talk for a big, tough guy like you.” “Big, tough guys have feelings, too,” Luca said. “And they like cats.