Framing Art Quotes

In a car you're always in a compartment, and because you're used to it you don't realize that through that car window everything you see is just more TV. You're a passive observer and it is all moving by you boringly in a frame. On a cycle the frame is gone. You're completely in contact with it all. You're in the scene, not just watching it anymore, and the sense of presence is overwhelming.

Let us 'time' be a friendly coach, putting the enchantment of each 'present moment’ artfully in a chosen frame of our thoughts. ("Quest for the real moment")

The most important thing in art is The Frame. For painting: literally; for other arts: figuratively-- because, without this humble appliance, you can't know where The Art stops and The Real World begins. You have to put a 'box' around it because otherwise, what is that shit on the wall?

For ages, the bull has been harassed and playfully teased to death in the frame of institutionalized games, in the name of "tauromachic art" and under the auspices of a benevolent, "peaceful" tourist audience. ("Transcendental meditation")

Damn. That face is a definite work of art. You need to make sure you frame it between your legs every chance you get.

Art is limitation; the essence of every picture is the frame. If you draw a giraffe, you must draw him with a long neck. If in your bold creative way you hold yourself free to draw a giraffe with a short neck, you will really find that you are not free to draw a giraffe.

It's funny how the beauty of art has so much more to do with the frame than the artwork itself.

The photos stirred feelings she couldn't quite frame in words, and this, she decided, must mean they were true works of art.

Like creating a masterpiece, quitting is an art: you have to decide what to keep within the frame and what to keep out.

Do not imagine that art or anything else is other than high magic! - is a system of holy hieroglyph. The artist, the initiate, thus frames his mysteries. The rest of the world scoff, or seek to understand, or pretend to understand; some few obtain the truth.

Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry? In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare sieze the fire? And what shoulder, & what art. Could twist the sinews of thy heart? And when thy heart began to beat, What dread hand? & what dread feet? What the hammer? what the chain? In what furnace was thy brain? What the anvil? what dread grasp Dare its deadly terrors clasp? When the stars threw down their spears, And watered heaven with their tears, Did he smile his work to see? Did he who made the Lamb make thee? Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye Dare frame thy fearful symmetry?

Like a work of art, we exceed our materials. Science needs art to frame the mystery, but art needs science so that not everything is a mystery. Neither truth alone is our solution, for our reality exists in plural

Outline of your frame My paper witness your silhouette Sipping in coffee My muse, my Juliet. Afternoon spent, In hungry desires Ending with a kiss On your coffee lips.

I love book books, real books, books with spines and heart, dust jackets, books that smell of books. Take the frame from a painting and you have a painting, not art. Take the pages from a book and print them on a screen and you have the ghost of a book. Not a book.

Every problem, every dilemma, every dead end we find ourselves facing in life, only appears unsolvable inside a particular frame or point of view. Enlarge the box, or create another frame around the data, and problems vanish, while new opportunities appear.

In a cement park across the street is this giant sculpture. It is a giant umbrella frame lying on its side. It's green. Stand under it, during a rainstorm, you'll still get wet - that's why it's art.

To believe in luck, you must believe that the universe is a roulette wheel and that instead of paying out to us what we have earned, it pays out only what it wishes. But it is not a spinning wheel of chance, it is a work of art, complete and framed by eternity.

Outward beauty is the frame for the masterpiece of your soul.

Travel does what good novelists also do to the life of everyday, placing it like a picture in a frame or a gem in its setting, so that the intrinsic qualities are made more clear. Travel does this with the very stuff that everyday life is made of, giving to it the sharp contour and meaning of art.

Perspective has two definitions. Context: a sense of the larger picture of the world, not just what is immediately in front of us Framing: an individual’s unique way of looking at the world, a way that interprets its events

No respect for beauty – that was characteristic of today’s society. The works of the great masters were at most employed as ironic references, or used in advertising. Michelangelo’s ‘The Creation of Adam’, where you see a pair of jeans in place of the spark. The whole point of the picture, at least as he saw it, was that these two monumental bodies each came to an end in two index fingers that almost, but not quite, touched. There was a space between them a millimetre or so wide. And in this space – life. The sculptural size and richness of detail of this picture was simply a frame, a backdrop, to emphasise the crucial void in its centre. The point of emptiness that contained everything. And in its place a person had superimposed a pair of jeans.

Goya’s savage verve, his harsh, brutal genius, captivated Des Esseintes. On the other hand, the universal admiration his works had won rather put him off, and for years he had refrained from framing them, for fear that if he hung them up, the first idiot who saw them would might feel obliged to dishonour them with a few inanities and go into stereotyped ecstasies over them.

My art is largely made up of my pain; re-framed, redesigned and re-purposed. It's a mutually beneficial experience for both the creator and the beholder. Transformative healing is a beautiful process.

I touched the frame of the painting. And then I placed my whole palm on the dry, rumbling surface of the canvas, simply to prove to myself that there was no god stalking my soul. Time was not immemorial. Things were just things.

both you and paintings are layered… first, ephemera and notations on the back of the canvas. Labels indicate gallery shows, museum shows, footprints in the snow, so to speak. Then pencil scribbles on the stretcher, usually by the artist, usually a title or date. Next the stretcher itself. Pine or something. Wooden triangles in the corners so the picture can be tapped tighter when the canvas becomes loose. Nails in the wood securing the picture to the stretcher. Next, a canvas: linen, muslin, sometimes a panel; then the gesso - a primary coat, always white. A layer of underpaint, usually a pastel color, then, the miracle, where the secrets are: the paint itself, swished around, roughly, gently, layer on layer, thick or thin, not more than a quarter of an inch ever -- God can happen in that quarter of an inch -- the occasional brush hair left embedded, colors mixed over each other, tones showing through, sometimes the weave of the linen revealing itself. The signature on top of the entire goulash. Then varnish is swabbed over the whole. Finally, the frame, translucent gilt or carved wood. The whole thing is done.

So, art is saying Stop. It helps us to stop by putting a frame around something and makes us see it in a way we would never have seen it under the normal circumstances of living, as so many of us do, on sort of automatic pilot, going through the world without really seeing much of anything.

I came to acquaint myself with the young lady over breakfast." Roland nodded to the tray. "Acquaint yourself? Over breakfast? Is that a metaphor?" Weylin's whisper carried throughout the room, but Bryce shook his head and nodded to Paden's quivering frame. "Not now, dude. We'll have a Language Arts class later," Bryce said out of the corner of his mouth.

Garry Shandling has always been a pioneer of… meta entertainment. He's always been a defender of the creative right to use the frame as part of the painting.

The art of questioning is to ignite innovative thinking; the science of questioning is to frame system thinking, with the progressive pursuit of better solutions.

All the time he had been talking his hands had wandered over the Illustrations, as if to adjust their frames, to brush away dust- the motions of a connoisseur, an art patron.

Art is limitation; the essence of every picture is the frame.

Woman, the sweetest name That man can breathe, or flattering language frame, Who art thou?

...but you are too much for them: the weak in courage are strong in cunning; and one by one, you have absorbed and have captured and dishonored, and have distilled of your deliverers the most ruinous of all poisons; people hear Beethoven in concert halls, or over a bridge game, or to relax; Cézannes are hung on walls, reproduced, in natural wood frames; van Gogh is the man who cut off his ear and whose yellows became recently popular in window decoration.

Art proper, in other words, emerges when sensation can detach itself and gain an autonomy from its creator and its perceiver when something of the chaos from which it is drawn can breathe and have a life of its own

The consolation of fairy-stories, the joy of the happy ending: or more correctly of the good catastrophe, the sudden joyous “turn” (for there is no true end to any fairy-tale): this joy, which is one of the things which fairy-stories can produce supremely well, is not essentially “escapist,” nor “fugitive.” In its fairy-tale--or otherworld--setting, it is a sudden and miraculous grace: never to be counted on to recur. It does not deny the existence of dyscatastrophe, of sorrow and failure: the possibility of these is necessary to the joy of deliverance; it denies (in the face of much evidence, if you will) universal final defeat and in so far is evangelium, giving a fleeting glimpse of Joy, Joy beyond the walls of the world, poignant as grief. It is the mark of a good fairy-story, of the higher or more complete kind, that however wild its events, however fantastic or terrible the adventures, it can give to child or man that hears it, when the “turn” comes, a catch of the breath, a beat and lifting of the heart, near to (or indeed accompanied by) tears, as keen as that given by any form of literary art, and having a peculiar quality ... In such stories when the sudden “turn” comes we get a piercing glimpse of joy, and heart's desire, that for a moment passes outside the frame, rends indeed the very web of story, and lets a gleam come through.

War is fought over futile and feudal things. War is not about ideology, no matter how artfully framed, but it’s simply about power and money and control.

It's funny how the beauty of art has so much more to do with he frame than with the artwork itself.

You see things vacationing on a motorcycle in a way that is completely different from any other. In a car you’re always in a compartment, and because you’re used to it you don’t realize that through that car window everything you see is just more TV. You’re a passive observer and it is all moving by you boringly in a frame. On a cycle the frame is gone. You’re completely in contact with it all. You’re in the scene, not just watching it anymore, and the sense of presence is overwhelming. That concrete whizzing by five inches below your foot is the real thing, the same stuff you walk on, it’s right there, so blurred you can’t focus on it, yet you can put your foot down and touch it anytime, and the whole thing, the whole experience, is never removed from immediate consciousness.

Every act of will is an act of self-limitation. To desire action is to desire limitation. In that sense, every act is an act of self-sacrifice. When you choose anything, you reject everything else... Every act is an irrevocable selection and exclusion. Just as when you marry one woman you give up all the others, so when you take one course of action you give up all the other courses… Art is limitation; the essence of every picture is the frame. If you draw a giraffe, you must draw him with a long neck. If, in you bold creative way, you hold yourself free to draw a giraffe with a short neck, you will really find that you are not free to draw a giraffe. The moment you step into the world of facts, you step into a world of limits. You can free things from alien or accidental laws, but not from the laws of their own nature. You may, if you like, free a tiger from his bars; but do not free him from his stripes. Do not free a camel from the burden of his hump; you may be freeing him from being a camel. Do not go about as a demagogue, encouraging triangles to break out of the prison of their three sides. If a triangle breaks out of its three sides, its life comes to a lamentable end. Somebody wrote a work called “The Loves of the Triangles”; I never read it, but I am sure that if triangles ever were loved, they were loved for being triangular. This is certainly the case with all artistic creation, which is in some ways the most decisive example of pure will. The artist loves his limitations: they constitute the thing he is doing.

To believe in luck, you must believe that the universe is a roulette wheel and that instead of paying out to us what we have earned, it pays out only what it wishes. But it is not a spinning wheel of chance, it is a work of art, complete and framed by eternity. He said that because we live in time, we think that the past is baked and served and eaten, that the present is coming out of the oven in continuous courses, and that the future is not yet even in the mixing bowl. Any

Art lies, to tell the truth. Flowers from different seasons bloom impossibly together. Trees are shifted around in the landscape to frame the composition. Rooms are created like stage sets, furnished with the artist’s own possessions, where models are arranged in a speechless moment of drama.

I have no use for a theoretic freedom. Let me have something finite, definite — matter that can lend itself to my operation only insofar as it is commensurate with my possibilities. And such matter presents itself to me together with limitations. I must in turn impose mine upon it. So here we are, whether we like it or not, in the realm of necessity. And yet which of us has ever heard talk of art as other than a realm of freedom? This sort of heresy is uniformly widespread because it is imagined that art is outside the bounds of ordinary activity. Well, in art as in everything else, one can build only upon a resisting foundation: whatever constantly gives way to pressure, constantly renders movement impossible. My freedom thus consists in my moving about within the narrow frame that I have assigned myself for each one of my undertakings. I shall go even further: my freedom will be so much the greater and more meaningful the more narrowly I limit my field of action and the more I surround myself with obstacles. Whatever diminishes constraint, diminishes strength. The more constraints one imposes, the more one frees one’s self of the chains that shackle the spirit.

During her life she was in Rivera’s shadow. She was framed as the ‘Wife of the Master Mural Painter [who] Gleefully Dabbles in Works of Art’, as the patronizing headline of the Detroit News proclaimed in February 1933. Today, Rivera is known as Frida’s husband.

What is the use of beauty in woman? Provided a woman is physically well made and capable of bearing children, she will always be good enough in the opinion of economists. What is the use of music? -- of painting? Who would be fool enough nowadays to prefer Mozart to Carrel, Michael Angelo to the inventor of white mustard? There is nothing really beautiful save what is of no possible use. Everything useful is ugly, for it expresses a need, and man's needs are low and disgusting, like his own poor, wretched nature. The most useful place in a house is the water-closet. For my part, saving these gentry's presence, I am of those to whom superfluities are necessaries, and I am fond of things and people in inverse ratio to the service they render me. I prefer a Chinese vase with its mandarins and dragons, which is perfectly useless to me, to a utensil which I do use, and the particular talent of mine which I set most store by is that which enables me not to guess logogriphs and charades. I would very willingly renounce my rights as a Frenchman and a citizen for the sight of an undoubted painting by Raphael, or of a beautiful nude woman, -- Princess Borghese, for instance, when she posed for Canova, or Julia Grisi when she is entering her bath. I would most willingly consent to the return of that cannibal, Charles X., if he brought me, from his residence in Bohemia, a case of Tokai or Johannisberg; and the electoral laws would be quite liberal enough, to my mind, were some of our streets broader and some other things less broad. Though I am not a dilettante, I prefer the sound of a poor fiddle and tambourines to that of the Speaker's bell. I would sell my breeches for a ring, and my bread for jam. The occupation which best befits civilized man seems to me to be idleness or analytically smoking a pipe or cigar. I think highly of those who play skittles, and also of those who write verse. You may perceive that my principles are not utilitarian, and that I shall never be the editor of a virtuous paper, unless I am converted, which would be very comical. Instead of founding a Monthyon prize for the reward of virtue, I would rather bestow -- like Sardanapalus, that great, misunderstood philosopher -- a large reward to him who should invent a new pleasure; for to me enjoyment seems to be the end of life and the only useful thing on this earth. God willed it to be so, for he created women, perfumes, light, lovely flowers, good wine, spirited horses, lapdogs, and Angora cats; for He did not say to his angels, 'Be virtuous,' but, 'Love,' and gave us lips more sensitive than the rest of the skin that we might kiss women, eyes looking upward that we might behold the light, a subtile sense of smell that we might breathe in the soul of the flowers, muscular limbs that we might press the flanks of stallions and fly swift as thought without railway or steam-kettle, delicate hands that we might stroke the long heads of greyhounds, the velvety fur of cats, and the polished shoulder of not very virtuous creatures, and, finally, granted to us alone the triple and glorious privilege of drinking without being thirsty, striking fire, and making love in all seasons, whereby we are very much more distinguished from brutes than by the custom of reading newspapers and framing constitutions.

And what impels him to repeat this process at every single lesson, and, with the same remorseless insistence, to make his pupils copy it without the least alteration? He sticks to this traditional custom because he knows from experience that the preparations for working put him simultaneously in the right frame of mind for creating. The meditative repose in which he performs them gives him that vital loosening and equability of all his powers, that collectedness and presence of mind, without which no right work can be done.

When we hygger, we frame the moment, give it our full attention, savour and hold it, in an awareness that the moment will pass. We feel how one moment becomes layered on to the next; past and present mingled together - everything falling into place, into one accord.

This is almost always the case: A piece of art receives its f(r)ame when found offensive.

We are living in a very complex society. It puts me in a complex frame of thinking.

As soon as we ask whether or not a story is true in the present moment, we empower ourselves to re-frame it.

Deconstruction seeks neither to reframe art with some perfect, apt and truthful new frame, nor simply to maintain the illusion of some pure and simple absence of a frame. Rather it shows that the frame is, in a sense, also inside the painting. For the frame is what "produces" the object of art, is what sets it off as an object of art—an aesthetic object. Thus the frame is essential to the work of art; in the work of art. Paint a $5,000 abstract painting on a railroad boxcar and nobody will pay a cent for it. Take a torch, remove the panel of the boxcar, install it in a gallery, and it will be worth $5,000. It will be art because it is now framed by the gallery. But at the same moment that the frame encloses the work in its own protected enclosure, making it a work of art, it becomes merely ornamental—external to the work of art. Thus is the frame central or marginal? Is the frame inside the work of art, essential to it, or outside the work of art, extrinsic to it?

Surreal realized Daemon’s madness was confined to emotions, to people, to that single tragedy he couldn’t face. It was as if Titian had never died, as if Surreal hadn’t spent three years whoring in back alleys before Daemon found her again and arranged for a proper education in a Red Moon house. He thought she was still a child, and he continued to fret about Titian’s absence. But when she mentioned a book she was reading, he made a dry observation about her eclectic taste and proceeded to tell her about other books that might be of interest. It was the same with music, with art. They posed no threat to him, had no time frame, weren’t part of the nightmare of Jaenelle bleeding on that Dark Altar.

I guess the basic difference is that animation is sequential in time but in spatially juxtaposed as comics are. Each successive frame of a movie is projected on exactly the same space--the screen--while each frame of comics must occupy a different space. Space does for comics what time does for film!

In the Way of the Martial Arts, do not let your frame of mind be any different from your everyday mind. In both everyday and military events, your mind should not change in the least, but should be broad and straightforward, neither drawn too tight nor allowed to slacken even a little....Do not let your mind stand still even when you are in repose, but do not let it speed up even when you are involved in quick actions. The mind should not be distracted by the body, nor the body distracted by the mind.

...when you are constantly prevailing upon the kindness of strangers-as a hitchhiker must-it keeps you in a positive frame of mind. Call it Zen and the Art of Hitchhiking. The Way of the Lift. The chrysanthemum and the Thumb. Heady on beer and the sound of my own voice, the aphorisms spilled out unchecked.

Try not to breathe,” I tell Lira. “It might get stuck halfway out.” Lira flicks up her hood. “You should try not to talk then,” she retorts. “Nobody wants your words being preserved for eternity.” “They’re pearls of wisdom, actually.” I can barely see Lira’s eyes under the mass of dark fur from her coat, but the mirthless curl of her smile is ever-present. It lingers in calculated amusement as she considers what to say next. Readies to ricochet the next blow. Lira pulls a line of ice from her hair, artfully indifferent. “If that is what pearls are worth these days, I’ll make sure to invest in diamonds.” “Or gold,” I tell her smugly. “I hear it’s worth its weight.” Kye shakes the snow from his sword and scoffs. “Anytime you two want to stop making me feel nauseated, go right ahead.” “Are you jealous because I’m not flirting with you?” Madrid asks him, warming her finger on the trigger mechanism of her gun. “I don’t need you to flirt with me,” he says. “I already know you find me irresistible.” Madrid reholsters her gun. “It’s actually quite easy to resist you when you’re dressed like that.” Kye looks down at the sleek red coat fitted snugly to his lithe frame. The fur collar cuddles against his jaw and obscures the bottoms of his ears, making it seem as though he has no neck at all. He throws Madrid a smile. “Is it because you think I look sexier wearing nothing?” Torik lets out a withering sigh and pinches the bridge of his nose. I’m not sure whether it’s from the hours we’ve gone without food or his inability to wear cutoffs in the biting cold, but his patience seems to be wearing thin. “I could swear that I’m on a life-and-death mission with a bunch of lusty kids,” he says. “Next thing I know, the lot of you will be writing love notes in rum bottles.” “Okay,” Madrid says. “Now I feel nauseated.” I laugh.

The painted aircraft took on sunlight and pulse. Sweeps of color, bands and spatters, airy washes, the force of saturated light—the whole thing oddly personal, a sense of one painter’s hand moved by impulse and afterthought as much as by epic design. I hadn’t expected to register such pleasure and sensation. The air was color-scrubbed, coppers and ochers burning off the metal skin of the aircraft to exchange with the framing desert.

When I arrived home from Boston, I realized there were no pictures on my mantel. I set down my suitcase and walked into the living room and looked across to the fireplace, and it felt empty. Empty of real stories. I went to my bedroom where the bed was made, and on my desk there were no pictures in frames and on the end tables there were no pictures. There was a framed picture of Yankee Stadium above the toilet in the bathroom, and there was some art I’d picked up in my travels, but there was little evidence of an actual character living an actual life. My home felt like a stage on which props had been set for a face story rather than a place where a person lived an actual human narrative. It’s an odd feeling to be awakened from a life of fantasy. You stand there looking at a bare mantel and the house gets an eerie feel, as though it were haunted by a kind of nothingness, an absence of something that could have been, an absence of people who could have been living here, interacting with me, forcing me out of my daydreams. I stood for a while and heard the voices of children who didn’t exist and felt the tender touch of a wife who wanted me to listen to her. I felt, at once, the absent glory of a life that could have been.

My godfather sad that story was abut taking the chaotic jigsaw of life, making it into a picture and putting a frame around it so that we could look at it, have control over it. Story and art are the humanizing elements of us.

He turned the frame, so I could see his picture in it. “Smoochie poo?” “It’s Italian for ass clown. What are you doing in my room?” “Admiring your taste in arts and crafts?” He tilted the frame. “The application of glitter could use some work.

You are the master builder; you are the architect and the designer of your life. Your thoughts are the brick and mortar with which you erect the frame that literally molds your body, your circumstances, and ultimately your entire life. Thoughts

In this mortal frame of mine which is made of a hundred bones and nine orifices there is something, and this something is called a wind-swept spirit for lack of a better name, for it is much like a thin drapery that is torn and swept away at the slightest stir of the wind. This something in me took to writing poetry years ago, merely to amuse itself at first, but finally making it its lifelong business. It must be admitted, however, that there were times when it sank into such dejection that it was almost ready to drop its pursuit, or again times when it was so puffed up with pride that it exulted in vain victories over the others. Indeed, ever since it began to write poetry, it has never found peace with itself, always wavering between doubts of one kind and another. At one time it wanted to gain security by entering the service of a court, and at another it wished to measure the depth of its ignorance by trying to be a scholar, but it was prevented from either because of its unquenchable love of poetry. The fact is, it knows no other art than the art of writing poetry, and therefore, it hangs on to it more or less blindly.

In fiction, especially in texts that are framed by a storytelling situation, aporia is a favourite device of narrators to arouse curiosity in their audience, or to emphasize the extraordinary nature of the story they are telling. It is often combined with another figure of rhetoric, "aposiopesis", the incomplete sentence or unfinished utterance, usually indicated on the page by a trail of dots...

One time, when we'd been discussing martial arts, Murphy told me that eventually, no-one can teach you anything more about them. Once you reach that state of knowledge, the only way to keep learning and increasing your own skill is to teach what you know to others. That's why she teaches a children's class and a rape-defence course every spring and fall at one of her neighbourhood's community centres. It sounded kind of flaky-Zen to me at the time, but Hell's bells, she'd been right. Once upon a time, it would have taken me an hour, if not more, to attain the proper frame of mind. In the course of teaching Molly to meditate, though, I had found myself going over the basics again for the first time in years, and understanding them with a deeper and richer perspective than I'd had when I was her age. I'd been getting almost as much insight and new understanding of my knowledge from teaching Molly as she'd been learning from me.

Framed in black moldings on the wall, other works of arts, conceived and committed on the premises, by the young ladies; being grim black-and-white crayons; landscapes, mostly: lake, solitary sail-boat, petrified clouds, pre-geological trees on shore, anthracite precipice;

The dining-room was in the good taste of the period. It was very severe. There was a high dado of white wood and a green paper on which were etchings by Whistler in neat black frames. The green curtains with their peacock design, hung in straight lines, and the green carpet, in the pattern of which pale rabbits frolicked among leafy trees, suggested the influence of William Morris. There was blue delft on the chimneypiece. At that time there must have been five hundred dining-rooms in London decorated in exactly the same manner. It was chaste, artistic, and dull.

Everyone is aware of the fact that visual and auditive perspective are identical; the only difference being that they are created and perceived by two physically different organs, the eye and the ear. How often the playing of a great master makes us think of a picture with a deep background and varying planes; the figures in the foreground almost leap out of the frame whereas in the background the mountains and clouds are lost in a blue haze.

Nothing is a masterpiece - a real masterpiece - till it's about two hundred years old. A picture is like a tree or a church, you've got to let it grow into a masterpiece. Same with a poem or a new religion. They begin as a lot of funny words. Nobody knows whether they're all nonsense or a gift from heaven. And the only people who think anything of 'em are a lot of cranks or crackpots, or poor devils who don't know enough to know anything. Look at Christianity. Just a lot of floating seeds to start with, all sorts of seeds. It was a long time before one of them grew into a tree big enough to kill the rest and keep the rain off. And it's only when the tree has been cut into planks and built into a house and the house has got pretty old and about fifty generations of ordinary lumpheads who don't know a work of art from a public convenience, have been knocking nails in the kitchen beams to hang hams on, and screwing hooks in the walls for whips and guns and photographs and calendars and measuring the children on the window frames and chopping out a new cupboard under the stairs to keep the cheese and murdering their wives in the back room and burying them under the cellar flags, that it begins even to feel like a religion. And when the whole place is full of dry rot and ghosts and old bones and the shelves are breaking down with old wormy books that no one could read if they tried, and the attic floors are bulging through the servants' ceilings with old trunks and top-boots and gasoliers and dressmaker's dummies and ball frocks and dolls-houses and pony saddles and blunderbusses and parrot cages and uniforms and love letters and jugs without handles and bridal pots decorated with forget-me-nots and a piece out at the bottom, that it grows into a real old faith, a masterpiece which people can really get something out of, each for himself. And then, of course, everybody keeps on saying that it ought to be pulled down at once, because it's an insanitary nuisance.

You see things vacationing on a motorcycle in a way that is completely different from any other. In a car you’re always in a compartment, and because you’re used to it you don’t realize that through that car window everything you see is just more TV. You’re a passive observer and it is all moving by you boringly in a frame.

The memory of human blood manifests now as a kind of visceral reaction to seeing people's veins and their necks. The skin on a neck appears to me as different from the skin anywhere else on a body. It seems as thin and consumable as rice paper wrapped around a sweet. It is too blank compared with skin everywhere else, as though it is asking to have marks made on it, like very expensive calligraphy paper, or cold-pressed Fabriano. Often, I wonder whether the urge I have to make art is the same as the urge to consume and destroy the blankness of a human neck. While at art college, I read that the best paper used by artists in the seventeenth century was made from the skins of lamb fetuses. This skin was soft and absorbent, and had an even texture right across its surface. For a long time, the process of creating art has been linked to the killing of living things. My dad, even, used fine silk stretched across wooden frames in his own work as a painter. Once, when we still had some of his pieces, I looked at the odd geometric shapes he created on a huge sheet and thought about all the silkworms who had had their cocoons torn open before they were able to become moths.

...the preparations for working put him simultaneously in the right frame of mind for creating... that collectedness and presence of mind...the right frame of mind for the artist is only reached when the preparing and the creating, the technical and the artistic, the material and the spiritual, the project and the object, flow together without a break.

Then without determining as yet whether war does good or harm, thus much we may affirm, that now we have discovered war to be derived from causes which are also the causes of almost all the evils in States, private as well as public. Undoubtedly. And our State must once more enlarge; and this time the enlargement will be nothing short of a whole army, which will have to go out and fight with the invaders for all that we have, as well as for the things and persons whom we were describing above. Why? he said; are they not capable of defending themselves? No, I said; not if we were right in the principle which was acknowledged by all of us when we were framing the State: the principle, as you will remember, was that one man cannot practise many arts with success. Very

Publicity images often use sculptures or paintings to lend allure or authority to their own message. Framed oil paintings often hang in shop windows as part of their display. Any work of art 'quoted' by publicity serves two purposes. Art is a sign of affluence; it belongs to the good life; it is part of the furnishing which the world gives to the rich and the beautiful. But a work of art also suggests a cultural authority, a form of dignity, even of wisdom, which is superior to any vulgar material interest; an oil painting belongs to the cultural heritage; it is a reminder of what it means to be a cultivated European. And so the quoted work of art (and this is why it is so useful to publicity) says two almost contradictory things at the same time: it denotes wealth and spirituality: it implies that the purchase being proposed is both a luxury and a cultural value. Publicity has in fact understood the tradition of the oil painting more thoroughly than most art historians. It has grasped the implications of the relationship between the work of art and its spectator-owner and with these it tries to persuade and flatter the spectator-buyer. The continuity, however, between oil painting and publicity goes far deeper than the 'quoting' of specific paintings. Publicity relies to a very large extent on the language of oil painting. It speaks in the same voice about the same things. (P. 129)

That was true, Iris would sometimes think, about marriage: it was only a boat, too. A wooden boat, difficult to build, even more difficult to maintain, whose beauty derived at least in part from its unlikelihood. Long ago the pragmatic justifications for both marriage and wooden-boat building had been lost or superseded. Why invest countless hours, years, and dollars in planing and carving, gluing and fastening, caulking and fairing, when a fiberglass boat can be had at a fraction of the cost? Why struggle to maintain love and commitment over decades when there were far easier ways to live, ones that required no effort or attention to prevent corrosion and rot? Why continue to pour your heart into these obsolete arts? Because their beauty, the way they connect you to your history and to the living world, justifies your efforts. A long marriage, like a classic wooden boat, could be a thing of grace, but only if great effort was devoted to its maintenance. At first your notions of your life with another were no more substantial than a pattern laid down in plywood. Then year by year you constructed the frame around the form, and began layering memories, griefs, and small triumphs like strips of veneer planking bent around the hull of everyday routine. You sanded down the rough edges, patched the misunderstandings, faired the petty betrayals. Sometimes you sprung a leak. You fell apart in rough weather or were smashed on devouring rocks. But then, as now, in the teeth of a storm, when it seemed like all was lost, the timber swelled, the leak sealed up, and you found that your craft was, after all, sea-kindly.

Nature has given woman a weaker frame than man; but, to ensure her husband's affections, must a wife, who, by the exercise of her mind and body, whilst she was discharging the duties of a daughter, wife, and mother, has allowed her constitution to retain its natural strength, and her nerves a healthy tone, is she, I say, to condescend, to use art, and feign a sickly delicacy, in order to secure her husband's affection?

Tinkerers built America. Benjamin Franklin, Thomas Edison, Henry Ford, all were tinkerers in their childhood. Everything from the airplane to the computer started in somebody's garage. Go back even further: the Industrial Revolution was a revolution of tinkerers. The great scientific thinkers of eighteenth-century England couldn't have been less interested in cotton spinning and weaving. Why would you be? It was left to a bloke on the shop floor who happened to glance at a one-thread wheel that had toppled over and noticed that both the wheel and the spindle were still turning. So James Hargreaves invented the spinning jenny, and there followed other artful gins and mules and frames and looms, and Britain and the world were transformed. By tinkerers rather than thinkerers. "Technological change came from tinkerers," wrote Professor J.R. McNeill of Georgetown, "people with little or no scientific education but with plenty of hands-on experience." John Ratzenberger likes to paraphrase a Stanford University study: "Engineers who are great in physics and calculus but can't think in new ways about old objects are doomed to think in old ways about new objects." That's the lesson of the spinning jenny: an old object fell over and someone looked at it in a new way.

But my parents understood that the world that they made within the walls of our house was what constituted home. So I grew up in spaces framed by art and color, filled with candlelight, marked by beauty. I grew up within a rhythm of time made sacred by family devotions in the morning and long conversations in the evening. I grew up with the sense of our daily life as a feast and delight; a soup-and-bread dinner by the fire, Celtic music lilting in the shadows, and the laughter of my siblings gave me a sense of the blessedness of love, of God's life made tangible in the food and touch and air of our home. It was a fight for my parents, I know. Every day was a battle to bring order to mess, peace to stressful situations, beauty to the chaos wrought by four young children. But that's the reality of incarnation as it invades a fallen world....What my parents-bless them-knew...is that to make a home right in the midst of the fallen world is to craft out a space of human flesh and existence in which eternity rises up in time, in which the kingdom comes, in which we may taste and see the goodness of God.

What do you talk about?”... “Nothing. Just . . . stuff.” “Oh my god, Jules. You are blushing!” This is appalling. She’s right. I can feel it. “I am not!” She leans in and teases me. “Do you need a mirror? You’re bright red.” “Stop it. It’s not like that. We talk about . . . heavy things.” I don’t want to say “death.” Even that much feels like breaking a confidence. “We’re not flirting.” “So he hasn’t sent you a picture of his manhood yet?” I burst out laughing. “Has Brandon sent you a picture of his?” “No!” Now she’s blushing. “Knowing him, it would be artfully framed, with perfect lighting and specifically placed shadows—” “Shut up!” But she’s giggling.

The worst kinds of questions are the ones that don’t involve a surrender of power, that evaluate: Where did you go to college? What neighborhood do you live in? What do you do? They imply, “I’m about to judge you.” Closed questions are also bad questions. Instead of surrendering power, the questioner is imposing a limit on how the question can be answered. For example, if you mention your mother and I ask, “Were you close?,” then I’ve limited your description of your relationship with your mother to the close/distant frame. It’s better to ask, “How is your mother?” That gives the answerer the freedom to go as deep or as shallow as he wants. A third sure way to shut down conversations is to ask vague questions, like “How’s it going?” or “What’s up?” These questions are impossible to answer. They’re another way of saying, “I’m greeting you, but I don’t actually want you to answer.” Humble questions are open-ended. They’re encouraging the other person to take control and take the conversation where they want it to go. These are questions that begin with phrases like “How did you…,” “What’s it like…,” “Tell me about…,” and “In what ways…” In her book You’re Not Listening, Kate Murphy describes a focus group moderator who was trying to understand why people go to the grocery store late at night. Instead of directly asking, “Why do you go to grocery

To believe in luck, you must believe that the universe is a roulette wheel and that instead of paying out to us what we have earned, it pays out only what it wishes. But it is not a spinning wheel of chance, it is a work of art, complete and framed by eternity. He said that because we live in time, we think that the past is baked and served and eaten, that the present is coming out of the oven in continuous courses, and that the future is not yet even in the mixing bowl.

As a kid I never knew what I wanted to be when I grow up, but the only thing I knew was that I wanted to create things. And then I wanted to be an astronaut. I would paint stars and the atmosphere and then frame and hang the universe up on my bedroom wall. A few years down the line while I was still stargazing, I came to realize that I’m halfway around the world chasing something and the whole time it’s in my backyard. From the very beginning I was who I always wanted to be.

You see things vacationing on a motorcycle in a way that is completely different from any other. In a car you’re always in a compartment, and because you’re used to it you don’t realize that through that car window everything you see is just more TV. You’re a passive observer and it is all moving by you boringly in a frame. On a cycle the frame is gone. You’re completely in contact with it all. You’re in the scene, not just watching it anymore, and the sense of presence is overwhelming.

The 1970s and 1980s: feminism, androgyny, modernism, aesthetics In the 1970s and 1980s, Woolf studies expanded in a number of directions, most notably in relation to feminism. Critical interest in Woolf developed at the same time as feminism developed in related academic disciplines. In this period her writings became central to the theoretical framing of feminism, in particular to debates on Marxist and materialist feminism and to the emergent theories of androgyny. Both these areas of debate takeWoolf ’s A Room of One’s Own as a major point of reference... ........... At the same time as feminist approaches to Woolf were developing and expanding, so, too, was the critical interest in her modernist theories and her formal aesthetics. Again, Woolf ’s writing became central to critical and theoretical formulations on modernism. .......... This period also saw considerable critical interest in the influence of the visual arts on Woolf ’s writing, and particularly in the influence of the formalist theories of her Bloomsbury colleagues Roger Fry and Clive Bell.

17.  According as circumstances are favorable, one should modify one’s plans. [Sun Tzu, as a practical soldier, will have none of the “bookish theoric.” He cautions us here not to pin our faith to abstract principles; “for,” as Chang Yu puts it, “while the main laws of strategy can be stated clearly enough for the benefit of all and sundry, you must be guided by the actions of the enemy in attempting to secure a favorable position in actual warfare.” On the eve of the battle of Waterloo, Lord Uxbridge, commanding the cavalry, went to the Duke of Wellington in order to learn what his plans and calculations were for the morrow, because, as he explained, he might suddenly find himself Commander-in-chief and would be unable to frame new plans in a critical moment. The Duke listened quietly and then said: “Who will attack the first tomorrow—I or Bonaparte?” “Bonaparte,” replied Lord Uxbridge. “Well,” continued the Duke, “Bonaparte has not given me any idea of his projects; and as my plans will depend upon his, how can you expect me to tell you what mine are?”75] 18.  All warfare is based on deception. [The truth of this pithy and profound saying will be admitted by every soldier. Col. Henderson tells us that Wellington, great in so many military qualities, was especially distinguished by “the extraordinary skill with which he concealed his movements and deceived both friend and foe.”] 19. 

Watch movies. Read screenplays. Let them be your guide. […] Yes, McKee has been able to break down how the popular screenplay has worked. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars. But for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is no book on screenwriting. The best seminar is no seminar at all. To me, the writer wants to get as many outside voices OUT of his/her head as possible. Experts win by getting us to be dependent on their view of the world. They win when they get to frame the discussion, when they get to tell you there’s a right way and a wrong way to think about the game, whatever the game is. Because that makes you dependent on them. If they have the secret rules, then you need them if you want to get ahead. The truth is, you don’t. If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky’s screenplay for Network. Read it. Then watch the movie. Then read it again. If you love and want to make big blockbusters that also have great artistic merit, do the same thing with Lawrence Kasdan’s Raiders Of The Lost Ark screenplay and the movie made from it. Think about how the screenplays made you feel. And how the movies built from these screenplays did or didn’t hit you the same way. […] This sounds basic, right? That’s because it is basic. And it’s true. All the information you need is the movies and screenplays you love. And in the books you’ve read and the relationships you’ve had and your ability to use those things.

In my previous murals, I had tried to achieve a harmony in my painting with the architecture of the building. But to attempt such a harmony in the garden of the Institute would have defeated my purposes. For the walls here were of an intricate Italian baroque style, with little windows, heads of satyrs, doorways, and sculpturesque mouldings. It was within such a frame that I was to represent the life of an age which had nothing to do with baroque refinements -- a new life which was characterized by masses, machines, and naked mechanical power. So I set to work consciously to over-power the ornamentation of the room.

But it wasn't the photograph that caught her attention. It was what was tucked into the frame. Dominic's eyes followed hers. And a tinge of color appeared in his cheeks. Walking over, the butterflies skittering about her stomach, Sylvie reached out and touched the intricate little silhouette portrait of her own face. Her eyes lifted to Dominic's in-the-flesh face, which was currently much stiffer than that paper. "Pet," he said. "She cut a couple of portraits in here one day when we were talking about Operation Cake. Yours and Mariana's." "Yes. I saw Mariana's after you gave it to her." She ran her fingers around the paper contour of her plait, dropped her hand to the desk. "You didn't give me mine, though." "No, I didn't." "Because... we didn't get along? And you wanted to keep Pet's artwork?" "I did want to have some of Pet's art." Dominic's jaw ticked. "And somewhere along the line, I wanted that one in particular." Sylvie swallowed.

Because this week I’ve started in on a hundred reproductions of Rembrandt van Rijn, a hundred portraits of the old artist with the mushroom face, the face of a man pushed to the brink of eternity by art and drink, the door handle starting to turn, the final door pushed open from without by an unknown hand, and I’m beginning to have his puff-paste face, that peeling, piss-soaked wall of a face, I’m beginning to smile his half-moronic smile, to look at the world from the other side of human causes and events, and all my bales these days are framed with that portrait of Rembrandt van Rijn as an old man while I keep filling my drum with wastepaper and open books.

In this mortal frame of mine, which is made of a hundred bones and nine orifices, there is something, and this something is called a wind-swept spirit, for lack of a better name, for it is much like a thin drapery that is torn and swept away at the slightest stir of the wind. This something in me took to writing poetry years ago, merely to amuse itself at first, but finally making it its lifelong business. It must be admitted, however, that there were times when it sank into such dejection that it was almost ready to drop its pursuit, or again times when it was so puffed up with pride that it exulted in vain victories over others. Indeed, ever since it began to write poetry, it has never found peace with itself, always wavering between doubts of one kind and another. At one time it wanted to gain security by entering the service of a court, and at another it wished to measure the depth of its ignorance by trying to be a scholar, but it was prevented from either because of its unquenchable love of poetry. The fact is, it knows no other art than the art of writing poetry, and therefore, it hangs on to it more or less blindly. Matsuo Bashō, Journal of a Travel-Worn Satchel (tr. Nobuyuki Yuasa)

Jesus must have had man hands. He was a carpenter, the Bible tells us. I know a few carpenters, and they have great hands, all muscled and worn, with nicks and callused pads from working wood together with hardware and sheer willpower. In my mind, Jesus isn't a slight man with fair hair and eyes who looks as if a strong breeze could knock him down, as he is sometimes depicted in art and film. I see him as sturdy, with a thick frame, powerful legs, and muscular arms. He has a shock of curly black hair and an untrimmed beard, his face tanned and lined from working in the sun. And his hands—hands that pounded nails, sawed lumber, drew in the dirt, and held the children he beckoned to him. Hands that washed his disciples' feet, broke bread for them, and poured their wine. Hands that hauled a heavy cross through the streets of Jerusalem and were later nailed to it. Those were some man hands.

How often, ah, how often, between the desire of the heart and its fulfilment, lies only the briefest space of time and distance, and yet the desire remains forever unfulfilled! It is so near that we can touch it with the hand, and yet so far away that the eye cannot perceive it. What Mr. Churchill most desired was before him. The Romance he was longing to find and record had really occurred in his neighborhood, among his own friends. It had been set like a picture into the frame-work of his life, enclosed within his own experience. But he could not see it is as an object apart from himself; and as he was gazing at what was remote and strange and indistinct, the nearer incidents of aspiration, love, and death, escaped him. They were too near to be clothed by the imagination with the golden vapors of romance; for the familiar seems trivial, and only the distant and unknown completely fill and satisfy the mind.

Suppose someone says, “Unfortunately, the popularity of soccer, the world’s favorite pastime, is starting to decline.” You suspect he is wrong. How do you question the claim? Don’t even think of taking a personal shot like “You’re silly.” That only adds heat, not light. “I don’t think so” only expresses disagreement without delving into why you disagree. “What do you mean?” lowers the emotional temperature with a question but it’s much too vague. Zero in. You might say, “What do you mean by ‘pastime’?” or “What evidence is there that soccer’s popularity is declining? Over what time frame?” The answers to these precise questions won’t settle the matter, but they will reveal the thinking behind the conclusion so it can be probed and tested. Since Socrates, good teachers have practiced precision questioning, but still it’s often not used when it’s needed most. Imagine how events might have gone if the Kennedy team had engaged in precision questioning when planning the Bay of Pigs invasion: “So what happens if they’re attacked and the plan falls apart?” “They retreat into the Escambray Mountains, where they can meet up with other anti-Castro forces and plan guerrilla operations.” “How far is it from the proposed landing site in the Bay of Pigs to the Escambray Mountains?” “Eighty miles.” “And what’s the terrain?” “Mostly swamp and jungle.” “So the guerrillas have been attacked. The plan has fallen apart. They don’t have helicopters or tanks. But they have to cross eighty miles of swamp and jungle before they can begin to look for shelter in the mountains? Is that correct?” I suspect that this conversation would not have concluded “sounds good!” Questioning like that didn’t happen, so Kennedy’s first major decision as president was a fiasco. The lesson was learned, resulting in the robust but respectful debates of the Cuban missile crisis—which exemplified the spirit we encouraged among our forecasters.

First a Christian wades in the rivers of God his grace up to the ankles, with some good frame of spirit; yet but weakly, for a man hath strength in his ankle bones... and yet may have but feeble knees.... So farre as you walk in the waters, so far are you healed; why then in the next place, he must wade till he come to the knees, goe a thousand Cubits, a mile further, and get more strenght to pray, and to walk on in your callings with more power and strength. Secondly, but yet a man that wades but to the knees, his loynes are not drenched, for nothing is healed but what is in the water. Now the affections of a man are placed in his loynes, God tries the reines; a man may have many unruly affections, though he be padling in the wayes of grace; he may walk on in some eavennesse, and yet have of the rottennesse of his heart in the sight of God: why then, though hast waded but to the knees, and it is a mercy that thou art come so farre; but yet the loynes want healing, why, wade a mile further then; the grace of God yet comes too shallow in us, our passions are yet unmortified, so as we know not how to grieve in measure, our wrath is vehement and immoderate, you must therefore wade untill the loynes bee girt with a golden girdle; wade an-end, & think all is not well untill you be so deep, & by this you may take a scantling, what measure of grace is poured out upon you. And if thou hast gone so farre, that God hath in some meaure healed thy affections, that thou canst be angry and sin not, &c. it is well, and this we must attain to. But suppose the loyns should be in a good measure healed, yet there is more goes to it then all this; and yet when a man is come thus farre, he may laugh at all temptations, and blesse God in all changes; But yet goe another thousand Cubits, and then you shall swimme; there is such a meaure of grace in which a man may swimme as fish in water, with all readinesse and dexterity, gliding an-end, as if he had water enough to swimme in; such a Christian doth not creep or walk, but he runs the wayes of Gods Commandements; what ever he is to doe or to suffer he is ready for all, so every way drenched in grace, as let God turn him any way, he is never drawn dry.

And what is it that experiences our self? Only our self! There is only one substance in experience and it is pervaded by and made out of knowing or awareness. In the classical language of non-duality this is sometimes expressed in phrases such as, ‘Awareness only knows itself’, but this may seem abstract. It is simply an attempt to describe the seamless intimacy of experience in which there is no room for a self, object, other or world; no room to step back from experience and find it happy or unhappy, right or wrong, good or bad; no time in which to step out of the now into an imaginary past or into a future in which we may become, evolve or progress; no possibility of stepping out of the intimacy of love into relationship with an other; no possibility of knowing anything other than knowing, of being anything other than being, of loving anything other than loving; no possibility of a thought arising which would attempt to frame the intimacy of experience in the abstract forms of the mind; no possibility for our self to become a self, a fragment, a part; no possibility for the world to jump outside and for the self to contract inside; no possibility for time, distance or space to appear.

If somebody swapped the real sword for the fake while it was in Dumbledore’s office,” she panted, as they propped the painting against the side of the tent, “Phineas Nigellus would have seen it happen, he hangs right beside the case!” “Unless he was asleep,” said Harry, but he still held his breath as Hermione knelt down in front of the empty canvas, her wand directed at its center, cleared her throat, then said: “Er--Phineas? Phineas Nigellus?” Nothing happened. “Phineas Nigellus?” said Hermione again. “Professor Black? Please could we talk to you? Please?” “‘Please’ always helps,” said a cold, snide voice, and Phineas Nigellus slid into his portrait. At once, Hermione cried: “Obscuro!” A black blindfold appeared over Phineas Nigellus’s clever, dark eyes, causing him to bump into the frame and shriek with pain. “What--how dare--what are you--?” “I’m very sorry, Professor Black,” said Hermione, “but it’s a necessary precaution!” “Remove this foul addition at once! Remove it, I say! You are ruining a great work of art! Where am I? What is going on?” “Never mind where we are,” said Harry, and Phineas Nigellus froze, abandoning his attempts to peel off the painted blindfold. “Can that possibly be the voice of the elusive Mr. Potter?” “Maybe,” said Harry, knowing that this would keep Phineas Nigellus’s interest. “We’ve got a couple of questions to ask you--about the sword of Gryffindor.” “Ah,” said Phineas Nigellus, now turning his head this way and that in an effort to catch sight of Harry, “yes. That silly girl acted most unwisely there--” “Shut up about my sister,” said Ron roughly. Phineas Nigellus raised supercilious eyebrows. “Who else is here?” he asked, turning his head from side to side. “Your tone displeases me! The girl and her friends were foolhardy in the extreme. Thieving from the headmaster!” “They weren’t thieving,” said Harry. “That sword isn’t Snape’s.” “It belongs to Professor Snape’s school,” said Phineas Nigellus. “Exactly what claim did the Weasley girl have upon it? She deserved her punishment, as did the idiot Longbottom and the Lovegood oddity!” “Neville is not an idiot and Luna is not an oddity!” said Hermione. “Where am I?” repeated Phineas Nigellus, staring to wrestle with the blindfold again. “Where have you brought me? Why have you removed me from the house of my forebears?” “Never mind that! How did Snape punish Ginny, Neville, and Luna?” asked Harry urgently. “Professor Snape sent them into the Forbidden Forest, to do some work for the oaf, Hagrid.” “Hagrid’s not an oaf!” said Hermione shrilly. “And Snape might’ve thought that was a punishment,” said Harry, “but Ginny, Neville, and Luna probably had a good laugh with Hagrid. The Forbidden Forest…they’ve faced plenty worse than the Forbidden Forest, big deal!

The air is crisp on my skin, and though my hands are wrapped under thick gloves, I shove my fists into my pockets anyway. The wind penetrates here through every layer, including skin. I’m dressed in fur so thick that walking feels like an exertion. It slows me down more than I would like, and even though I know there’s no imminent threat of attack, I still don’t like being unprepared in case one comes. It shakes me more than the cold ever could. When I turn to Lira, the ends of her hair are white with frost. “Try not to breathe,” I tell her. “It might get stuck halfway out.” Lira flicks up her hood. “You should try not to talk then,” she retorts. “Nobody wants your words being preserved for eternity.” “They’re pearls of wisdom, actually.” I can barely see Lira’s eyes under the mass of dark fur from her coat, but the mirthless curl of her smile is ever-present. It lingers in calculated amusement as she considers what to say next. Readies to ricochet the next blow. Lira pulls a line of ice from her hair, artfully indifferent. “If that is what pearls are worth these days, I’ll make sure to invest in diamonds.” “Or gold,” I tell her smugly. “I hear it’s worth its weight.” Kye shakes the snow from his sword and scoffs. “Anytime you two want to stop making me feel nauseated, go right ahead.” “Are you jealous because I’m not flirting with you?” Madrid asks him, warming her finger on the trigger mechanism of her gun. “I don’t need you to flirt with me,” he says. “I already know you find me irresistible.” Madrid reholsters her gun. “It’s actually quite easy to resist you when you’re dressed like that.” Kye looks down at the sleek red coat fitted snugly to his lithe frame. The fur collar cuddles against his jaw and obscures the bottoms of his ears, making it seem as though he has no neck at all. He throws Madrid a smile. “Is it because you think I look sexier wearing nothing?” Torik lets out a withering sigh and pinches the bridge of his nose. I’m not sure whether it’s from the hours we’ve gone without food or his inability to wear cutoffs in the biting cold, but his patience seems to be wearing thin. “I could swear that I’m on a life-and-death mission with a bunch of lusty kids,” he says. “Next thing I know, the lot of you will be writing love notes in rum bottles.” “Okay,” Madrid says. “Now I feel nauseated.

To narrow natural rights to such neat slogans as "liberty, equality, fraternity" or "life, liberty, property," . . . was to ignore the complexity of public affairs and to leave out of consideration most moral relationships. . . . Burke appealed back beyond Locke to an idea of community far warmer and richer than Locke's or Hobbes's aggregation of individuals. The true compact of society, Burke told his countrymen, is eternal: it joins the dead, the living, and the unborn. We all participate in this spiritual and social partnership, because it is ordained of God. In defense of social harmony, Burke appealed to what Locke had ignored: the love of neighbor and the sense of duty. By the time of the French Revolution, Locke's argument in the Second Treatise already had become insufficient to sustain a social order. . . . The Constitution is not a theoretical document at all, and the influence of Locke upon it is negligible, although Locke's phrases, at least, crept into the Declaration of Independence, despite Jefferson's awkwardness about confessing the source of "life, liberty, and the pursuit of happiness." If we turn to the books read and quoted by American leaders near the end of the eighteenth century, we discover that Locke was but one philosopher and political advocate among the many writers whose influence they acknowledged. . . . Even Jefferson, though he had read Locke, cites in his Commonplace Book such juridical authorities as Coke and Kames much more frequently. As Gilbert Chinard puts it, "The Jeffersonian philosophy was born under the sign of Hengist and Horsa, not of the Goddess Reason"--that is, Jefferson was more strongly influenced by his understanding of British history, the Anglo-Saxon age particularly, than by the eighteenth-century rationalism of which Locke was a principal forerunner. . . . Adams treats Locke merely as one of several commendable English friends to liberty. . . . At bottom, the thinking Americans of the last quarter of the eighteenth century found their principles of order in no single political philosopher, but rather in their religion. When schooled Americans of that era approved a writer, commonly it was because his books confirmed their American experience and justified convictions they held already. So far as Locke served their needs, they employed Locke. But other men of ideas served them more immediately. At the Constitutional Convention, no man was quoted more frequently than Montesquieu. Montesquieu rejects Hobbes's compact formed out of fear; but also, if less explicitly, he rejects Locke's version of the social contract. . . . It is Montesquieu's conviction that . . . laws grow slowly out of people's experiences with one another, out of social customs and habits. "When a people have pure and regular manners, their laws become simple and natural," Montesquieu says. It was from Montesquieu, rather than from Locke, that the Framers obtained a theory of checks and balances and of the division of powers. . . . What Madison and other Americans found convincing in Hume was his freedom from mystification, vulgar error, and fanatic conviction: Hume's powerful practical intellect, which settled for politics as the art of the possible. . . . [I]n the Federalist, there occurs no mention of the name of John Locke. In Madison's Notes of Debates in the Federal Convention there is to be found but one reference to Locke, and that incidental. Do not these omissions seem significant to zealots for a "Lockean interpretation" of the Constitution? . . . John Locke did not make the Glorious Revolution of 1688 or foreordain the Constitution of the United States. . . . And the Constitution of the United States would have been framed by the same sort of men with the same sort of result, and defended by Hamilton, Madison, and Jay, had Locke in 1689 lost the manuscripts of his Two Treatises of Civil Government while crossing the narrow seas with the Princess Mary.

Chapter One: The Dawn and the Dread Heartbeat, heartbeat comes from Valhallan way, To meet down in judgment, to ply its trade. Two →swords← to join in worthy cross, Actions to be rendered, one to be lost. She did come now from ’yond northern slope, A day of reckoning did she again once hope. A devout meeting was her qwesterly bane, To stay her hand was to go insane. St. Kari of the Blade to meet her past, A wicked enemy, peerless of match. Rode Kari she her charger on down, Past the Dead Land where Gaul sat crowned. A killing job, yea, she desired to lastly kill, To set things right so her heart might lie still. Upon the mist and roaring plain, She entered in, a soul uncontained. A fierce wind in deed, and forever freed, Enemies she annihilhates (’tis hur’ creed). Her own advanced guard of a sort, Multitudes to follow in her report. Know this Valkyrie from on cold, An ancient maiden soft and bold. A warrior spirit from Ages past, A fragmented mind like broken glass. Solid in stature this eternal framed being, Yet crippled within from internaled bleedings. A sword saint so refined in the poetic art, A noble character yet with a banshee’s heart. Rhythmed horse now to the beats, Kari emboldened amid the sleet. Beyond the mountain she does come, Unto southern fields wherein rules hot sun. Far from that murderous Deadlands ground, The land up swells; the dead still abound. Traverses she those bygones of leprous civilizations Those cities crumbled by the exhalted of oblivions. Stark traces etched now bare in the land, That are no more again, save dust in the hand. A cool stream now in desert sans (Does more good when one is damned). Stopped she her mount to admire the flow, A lovely stream with skeletons packed below. Blue air whisps; dragon flied motion. Flintsteel striking!!! Sparked of commotion. Cold water chortles rushtish with tint, Told of past carnage, it whetted her glint. Fallen warriors, they are no more, Swirls and eddies mark their discord. Gurgled shouts slung and gathered, Faces glazed while steel lathered. Refreshing though it was to her mouth, She smelled an air; she flared about. Came up that ridge of loud, sanded hill, Below a man and his half-score of kills. Kari’s eyes waxed in smug contempt, Possibilities ran deep with no repent . . . On Kari, Valkyrie, Cold Steel Eternity Vol. II

Anything Bunny wrote was bound to be alarmingly original, since he began with such odd working materials and managed to alter them further by his befuddled scrutiny, but the John Donne paper must have been the worst of all the bad papers he ever wrote (ironic, given that it was the only thing he ever wrote that saw print. After he disappeared, a journalist asked for an excerpt from the missing young scholar's work and Marion gave him a copy of it, a laboriously edited paragraph of which eventually found its way into People magazine). Somewhere, Bunny had heard that John Donne had been acquainted with Izaak Walton, and in some dim corridor of his mind this friendship grew larger and larger, until in his mind the two men were practically interchangeable. We never understood how this fatal connection had established itself: Henry blamed it on Men of Thought and Deed, but no one knew for sure. A week or two before the paper was due, he had started showing up in my room about two or three in the morning, looking as if he had just narrowly escaped some natural disaster, his tie askew and his eyes wild and rolling. 'Hello, hello,' he would say, stepping in, running both hands through his disordered hair. 'Hope I didn't wake you, don't mind if I cut on the lights, do you, ah, here we go, yes, yes…' He would turn on the lights and then pace back and forth for a while without taking off his coat, hands clasped behind his back, shaking his head. Finally he would stop dead in his tracks and say, with a desperate look in his eye: 'Metahemeralism. Tell me about it. Everything you know. I gotta know something about metahemeralism.' 'I'm sorry. I don't know what that is.' 'I don't either,' Bunny would say brokenly. 'Got to do with art or pastoralism or something. That's how I gotta tie together John Donne and Izaak Walton, see.' He would resume pacing. 'Donne. Walton. Metahemeralism. That's the problem as I see it.' 'Bunny, I don't think "metahemeralism" is even a word.' 'Sure it is. Comes from the Latin. Has to do with irony and the pastoral. Yeah. That's it. Painting or sculpture or something, maybe.' 'Is it in the dictionary?' 'Dunno. Don't know how to spell it. I mean' – he made a picture frame with his hands – 'the poet and the fisherman. Parfait. Boon companions. Out in the open spaces. Living the good life. Metahemeralism's gotta be the glue here, see?' And so it would go, for sometimes half an hour or more, with Bunny raving about fishing, and sonnets, and heaven knew what, until in the middle of his monologue he would be struck by a brilliant thought and bluster off as suddenly as he had descended. He finished the paper four days before the deadline and ran around showing it to everyone before he turned it in. 'This is a nice paper, Bun -,' Charles said cautiously. 'Thanks, thanks.' 'But don't you think you ought to mention John Donne more often? Wasn't that your assignment?' 'Oh, Donne,' Bunny had said scoffingly. 'I don't want to drag him into this.' Henry refused to read it. 'I'm sure it's over my head, Bunny, really,' he said, glancing over the first page. 'Say, what's wrong with this type?' 'Triple-spaced it,' said Bunny proudly. 'These lines are about an inch apart.' 'Looks kind of like free verse, doesn't it?' Henry made a funny little snorting noise through his nose. 'Looks kind of like a menu,' he said. All I remember about the paper was that it ended with the sentence 'And as we leave Donne and Walton on the shores of Metahemeralism, we wave a fond farewell to those famous chums of yore.' We wondered if he would fail.

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.

J. R. R. Tolkien’s famous essay, “On Fairy-Stories,” in Tree and Leaf (New York: HarperCollins, 2001), pp. 1–82. The consolation . . . the joy of the happy ending . . . the sudden joyous ‘turn’ . . . this joy which . . . stories can produce supremely well, is not essentially ‘escapist’ nor ‘fugitive.’ . . . It is a sudden and miraculous grace: never to be counted on to recur. It does not deny the existence of dyscatastrophe, of sorrow and failure. Indeed, the possibility of these is necessary to the joy of deliverance. Rather, it denies (in the face of much evidence, if you will) universal final defeat, and thus is evangelium, giving a fleeting glimpse of Joy, Joy beyond the walls of the world, poignant as grief. It is the mark of a good story, of the higher or more complete kind, that however wild its events, however fantastic or terrible the adventures, it can give . . . when the ‘turn’ comes, a catch of the breath, a beat and lifting of the heart, near to (or indeed accompanied by) tears, as keen as that given by any form of literary art, and having a peculiar quality. In . . . the ‘turn’ . . . we get a piercing glimpse of joy, and heart’s desire, that for a moment passes outside the frame, rends indeed the very web of story, and lets a gleam come through.” Tolkien, “On Fairy-Stories,” pp. 68–69. Later Tolkien argues that the ultimate story—the gospel—is the essence of all other stories with the joy-giving happy ending. “This ‘joy’ . . . merits more consideration. The peculiar quality of the ‘joy’ in a successful Fantasy can . . . be explained as a sudden glimpse of an underlying . . . Reality. . . . The Gospels contain . . . a story of a larger kind which embraces all the essence of fairy-stories. They contain . . . the greatest and most complete conceivable eucatastrophe. But this story has entered history and the primary world. . . . The Birth of Christ is the eucatastrophe of Man’s history. The Resurrection is the eucatastrophe of the story of the Incarnation. This story ends in joy. . . . There is no tale ever told that men would rather find was true, and none which so many skeptical men have accepted as true on its own merits. For the Art of it has the supremely convincing tone of Primary Art, that is, of Creation. To reject it leads either to sadness or to wrath. . . . [T]his story is supreme; and it is true. Art has been verified. God is Lord, of angels, and of men—and of elves. Legend and History have met and fused.” Tolkien, “On Fairy-Stories,” pp. 71–73.