Gallery Memories Quotes

I will love you as a thief loves a gallery and as a crow loves a murder, as a cloud loves bats and as a range loves braes. I will love you as misfortune loves orphans, as fire loves innocence and as justice loves to sit and watch while everything goes wrong. I will love you as a battlefield loves young men and as peppermints love your allergies, and I will love you as the banana peel loves the shoe of a man who was just struck by a shingle falling off a house. I will love you as a volunteer fire department loves rushing into burning buildings and as burning buildings love to chase them back out, and as a parachute loves to leave a blimp and as a blimp operator loves to chase after it. I will love you as a dagger loves a certain person’s back, and as a certain person loves to wear dagger proof tunics, and as a dagger proof tunic loves to go to a certain dry cleaning facility, and how a certain employee of a dry cleaning facility loves to stay up late with a pair of binoculars, watching a dagger factory for hours in the hopes of catching a burglar, and as a burglar loves sneaking up behind people with binoculars, suddenly realizing that she has left her dagger at home. I will love you as a drawer loves a secret compartment, and as a secret compartment loves a secret, and as a secret loves to make a person gasp, and as a gasping person loves a glass of brandy to calm their nerves, and as a glass of brandy loves to shatter on the floor, and as the noise of glass shattering loves to make someone else gasp, and as someone else gasping loves a nearby desk to lean against, even if leaning against it presses a lever that loves to open a drawer and reveal a secret compartment. I will love you until all such compartments are discovered and opened, and until all the secrets have gone gasping into the world. I will love you until all the codes and hearts have been broken and until every anagram and egg has been unscrambled. I will love you until every fire is extinguised and until every home is rebuilt from the handsomest and most susceptible of woods, and until every criminal is handcuffed by the laziest of policemen. I will love until M. hates snakes and J. hates grammar, and I will love you until C. realizes S. is not worthy of his love and N. realizes he is not worthy of the V. I will love you until the bird hates a nest and the worm hates an apple, and until the apple hates a tree and the tree hates a nest, and until a bird hates a tree and an apple hates a nest, although honestly I cannot imagine that last occurrence no matter how hard I try. I will love you as we grow older, which has just happened, and has happened again, and happened several days ago, continuously, and then several years before that, and will continue to happen as the spinning hands of every clock and the flipping pages of every calendar mark the passage of time, except for the clocks that people have forgotten to wind and the calendars that people have forgotten to place in a highly visible area. I will love you as we find ourselves farther and farther from one another, where we once we were so close that we could slip the curved straw, and the long, slender spoon, between our lips and fingers respectively. I will love you until the chances of us running into one another slip from slim to zero, and until your face is fogged by distant memory, and your memory faced by distant fog, and your fog memorized by a distant face, and your distance distanced by the memorized memory of a foggy fog. I will love you no matter where you go and who you see, no matter where you avoid and who you don’t see, and no matter who sees you avoiding where you go. I will love you no matter what happens to you, and no matter how I discover what happens to you, and no matter what happens to me as I discover this, and now matter how I am discovered after what happens to me as I am discovering this.

She remembered the heroines of novels she had read, and the lyrical legion of those adulterous women began to sing in her memory with sisterly voices that enchanted her. Now she saw herself as one of those amoureuses whom she had so envied: she was becoming, in reality, one of that gallery of fictional figures; the long dream of her youth was coming true.

It is love. I will have to run or hide. The walls of its prison rise up, as in a twisted dream. The beautiful mask has changed, but as always it is the one. Of what use are my talismans: the literary exercises, the vague erudition, the knowledge of words used by the harsh North to sing its seas and swords, the temperate friendship, the galleries of the Library, the common things, the habits, the young love of my mother, the militant shadow of my dead, the timeless night, the taste of dreams? Being with you or being without you is the measure of my time. Now the pitcher breaks about the spring, now the man arises to the sound of birds, now those that watch at the windows have gone dark, but the darkness has brought no peace. It, I know, is love: the anxiety and the relief at hearing your voice, the expectation and the memory, the horror of living in succession. It is love with its mythologies, with its tiny useless magics. There exists a corner that I dare not cross. Now the armies confine me, the hordes. (This room is unreal; she has not seen it.) The name of a woman gives me away. A woman hurts me in all of my body.

Grief is love with no place to go

I hope you gaze at cloud art galleries against azure summer skies and pause to gasp at rainbows and watch butterflies fly by; I hope wildflowers make you happy and sad songs make you cry and old books stacked in dusty nooks are gems you can't pass by; I hope burnt toast mornings are little things you handle with a smile and midnight talks and starlit walks keep you up once in awhile; I hope laundry warm from the dryer brings a sigh of contentment and front porch swings on cool evenings offer rest when you are spent; I hope your life is light in sorrow and heavy with laughter and you greet each season of your life like a new favorite chapter; I hope you honor every soul you meet and always go that extra mile and when you think of me, my love, I hope it's with a smile.

It was funny the way memory obliged the heart. His happy recollections were always afloat in his soupy subconscious where so many of his darker memories had sunk to the underbelly of his past and been as good as lost forever. But without conscious instruction, memory had edited and enlarged the finest moments of his life and stored them like masterpieces in the private gallery of his personal history.

But nothing happened there now of a nature to provoke a disturbance. There were no complaints to the management or the police, and the dark glory of the upper galleries was a legend in such memories as that of the late Emiel Kroger and the present Pablo Gonzales, and one by one, of course, those memories died out and the legend died out with them. Places like the Joy Rio and the legends about them make one more than usually aware of the short bloom and the long fading out of things. ("The Mysteries of the Joy Rio")

Whenever men have been thrust forward by fortune, whenever they have become part and parcel of another's influence, they have found abundant favour, their houses have been thronged, only so long as they themselves have kept their position; when they themselves have left it, they have slipped at once from the memory of men. But in the case of innate ability, the respect in which it is held increases, and not only does honour accrue to the man himself, but whatever has attached itself to his memory is passed on from one to another.

She remembered the heroines of novels she had read, and the lyrical legion of those adulterous women began to sing in her memory with sisterly voices that enchanted her. Now she saw herself as one of those amoureuses whom she had so envied: she was becoming, in reality, one of that gallery of fictional figures; the long dream of her youth was coming true.he remembered the heroines of novels she had read, and the lyrical legion of those adulterous women began to sing in her memory with sisterly voices that enchanted her. Now she saw herself as one of those amoureuses whom she had so envied: she was becoming, in reality, one of that gallery of fictional figures; the long dream of her youth was coming true.

Everywhere you walk, every place you go is full of art, explicit or hidden! If you can see them, you will be the richest art collector and your memory will be the richest art gallery!

Two Metro lines, two trains, two carriages, two people walking in parallel streets, two lives, couples criss-crossing without seeing each other, potential encounters, meetings which shall never take place. The imagination rewrites history. It modifies the local directory and the roll-call of those who frequent a town, a street, a house, a woman. It transfixes reflections in the mirror for all eternity. It hangs entire portrait galleries from the wall of our future memory on which magnificent strangers use a sharp knife to engrave their initials and a date.

And perhaps it was precisely because she knew nothing at all about chess that chess for her was not simply a parlor game or a pleasant pastime, but a mysterious art equal to all the recognized arts. She had never been in close contact with such people — there was no one to compare him with except those inspired eccentrics, musicians and poets whose image one knows as clearly and as vaguely as that of a Roman Emperor, an inquisitor or a comedy miser. Her memory contained a modest dimly lit gallery with a sequence of all the people who had in any way caught her fancy.

Poets claim that we recapture for a moment the self that we were long ago when we enter some house or garden in which we used to live in our youth. But these are most hazardous pilgrimages, which end as often in disappointment as in success. It is in ourselves that we should rather seek to find those fixed places, contemporaneous with different years. And great fatigue followed by a good night's rest can to a certain extent help us to do so. For in order to make us descend into the most subterranean galleries of sleep, where no reflexion from overnight, no gleam of memory comes to light up the interior monologue—if the latter does not itself cease—fatigue followed by rest will so thoroughly turn over the soil and penetrate the bedrock of our bodies that we discover down there, where our muscles plunge and twist in their ramifications and breathe in new life, the garden where we played in our childhood. There is no need to travel in order to see it again; we must dig down inwardly to discover it. What once covered the earth is no longer above but beneath it; a mere excursion does not suffice for a visit to the dead city: excavation is necessary also. But we shall see how certain fugitive and fortuitous impressions carry us back even more effectively to the past, with a more delicate precision, with a more light-winged, more immaterial, more headlong, more unerring, more immortal flight, than these organic dislocations.

Language shows clearly that memory is not an instrument for exploring the past but its theater. It is the medium of past experience, as the ground is the medium in which dead cities lie interred. He who seeks to approach his own buried past must conduct himself like a man digging. This confers the tone and bearing of genuine reminiscences. He must not be afraid to return again and again to the same matter, to scatter it as one scatters earth, to turn it over as one turns over soil. For the matter itself is only a deposit, a stratum, which yields only to the most meticulous examination what constitutes the real treasure hidden within the earth: the images, severed from earlier associations, that stand—like precious fragments or torsos in a collector’s gallery—in the prosaic rooms of our later understanding.

When you are facing the possibility of imminent death, people treat you differently: Their gaze lingers, recording each mole, tracing the shape of your lips, noting the exact shade of your eyes, as if they are painting a portrait of you to hang in memory's gallery. They take dozens of pictures and videos of you on their phones, trying to freeze-frame time, to bottle the sound of your laugh, to immortalize meaningful moments that can later be revisited in a memory cloud. All of this attention can feel like you are being memorialized while you are still alive.

A few months later, at a reception at the Serpentine Gallery, of which she was patron, the Princess was in fine form. She was relaxed, witty and happy among friends. The events of 1993 seemed a dim and dismal memory. As she chatted to the movie star Jeremy Irons he told her: ‘I’ve taken a year off acting.’ Diana smiled and replied: ‘So have I.

She drifted back to the gallery and looked down on the Great Hall. The grey and black flags danced before her eyes. Dear God, she couldn’t do it. They might as well ask her to go to Oxford and sit an exam. She could not be an ordinary mother to an ordinary baby. All those toys, the memorabilia of childhood. Perhaps it was different if you grew up happy, with memories of your father dandling you on his knee and your mother kissing your tears away. But for Elsie there was nothing but fear. Fear for the baby. Fear of the baby. Jolyon had turned out all right, she reminded herself. But it was easier with Jolyon being a boy. What if Rupert’s baby was born a girl? She could not love a daughter that looked like her. She could not bear to glance upon a mirror of her past without being sick.

Entering by a wide gateway, but without gates, into an inner court, surrounded on all sides by great marble pillars supporting galleries above, I saw a large fountain of porphyry in the middle, throwing up a lofty column of water, which fell, with a noise as of the fusion of all sweet sounds, into a basin beneath; overflowing which, it ran into a single channel towards the interior of the building. Although the moon was by this time so low in the west, that not a ray of her light fell into the court, over the height of the surrounding buildings; yet was the court lighted by a second reflex from the sun of other lands. For the top of the column of water, just as it spread to fall, caught the moonbeams, and like a great pale lamp, hung high in the night air, threw a dim memory of light (as it were) over the court below.

In one great case a man [Winston Churchill] who had been considered too brilliant and too reckless ever to be trusted with major office was the leader of the country [1941]. One of Rowe's last memories was of hearing him hissed by ex-servicemen from the public gallery of a law court because he had told an abrupt unpalatable truth about an old campaign. Now he had taught the country to love his unpalatable truths.

How are things going with your brothers?” “The judge set a date to hear me out after graduation. Mrs.Collins has been prepping me.” “That is awesome!” “Yeah.” “What’s wrong?” “Carrie and Joe hired a lawyer and I lost visitation.” Echo placed her delicate hand over mine.“Oh, Noah. I am so sorry." I’d spent countless hours on the couch in the basement, staring at the ceiling wondering what she was doing. Her laughter, her smile, the feel of her body next to mine, and the regret that I let her walk away too easily haunted me. Taking the risk, I entwined my fingers with hers. Odds were I’d never get the chance to be this close again. "No, Mrs. Collins convinced me the best thing to do is to keep my distance and follow the letter of the law." "Wow, Mrs. Collins is a freaking miracle worker. Dangerous Noah Hutchins on the straight and narrow. If you don’t watch out she’ll ruin your rep with the girls." I lowered my voice. "Not that it matters. I only care what one girl thinks about me." She relaxed her fingers into mine and stroked her thumb over my skin. Minutes into being alone together, we fell into each other again, like no time had passed. I could blame her for ending us, but in the end, I agreed with her decision. “How about you, Echo? Did you find your answers?” “No.” If I continued to disregard breakup rules, I might as well go all the way. I pushed her curls behind her shoulder and let my fingers linger longer than needed so I could enjoy the silky feel. “Don’t hide from me, baby. We’ve been through too much for that.” Echo leaned into me, placing her head on my shoulder and letting me wrap an arm around her. “I’ve missed you, too, Noah. I’m tired of ignoring you.” “Then don’t.” Ignoring her hurt like hell. Acknowledging her had to be better. I swallowed, trying to shut out the bittersweet memories of our last night together. “Where’ve you been? It kills me when you’re not at school.” “I went to an art gallery and the curator showed some interest in my work and sold my first piece two days later. Since then, I’ve been traveling around to different galleries, hawking my wares.” “That’s awesome, Echo. Sounds like you’re fitting into your future perfectly. Where did you decide to go to school?” “I don’t know if I’m going to school.” Shock jolted my system and I inched away to make sure I understood. “What the fuck do you mean you don’t know? You’ve got colleges falling all over you and you don’t fucking know if you want to go to school?” My damned little siren laughed at me. “I see your language has improved.” Poof—like magic, the anger disappeared. “If you’re not going to school, then what are your plans?” "I’m considering putting college off for a year or two and traveling cross-country, hopping from gallery to gallery.” “I feel like a dick. We made a deal and I left you hanging. I’m not that guy who goes back on his word. What can I do to help you get to the truth?” Echo’s chest rose with her breath then deflated when she exhaled. Sensing our moment ending, I nuzzled her hair, savoring her scent. She patted my knee and broke away. “Nothing. There’s nothing you can do.” "I think it’s time that I move on. As soon as I graduate, this part of my life will be over. I’m okay with not knowing what happened.” Her words sounded pretty, but I knew her better. She’d blinked three times in a row.

Matthew XV:30” The first bridge, Constitution Station. At my feet the shunting trains trace iron labyrinths. Steam hisses up and up into the night, which becomes at a stroke the night of the Last Judgment. From the unseen horizon and from the very center of my being, an infinite voice pronounced these things— things, not words. This is my feeble translation, time-bound, of what was a single limitless Word: “Stars, bread, libraries of East and West, playing-cards, chessboards, galleries, skylights, cellars, a human body to walk with on the earth, fingernails, growing at nighttime and in death, shadows for forgetting, mirrors busily multiplying, cascades in music, gentlest of all time's shapes. Borders of Brazil, Uruguay, horses and mornings, a bronze weight, a copy of the Grettir Saga, algebra and fire, the charge at Junín in your blood, days more crowded than Balzac, scent of the honeysuckle, love and the imminence of love and intolerable remembering, dreams like buried treasure, generous luck, and memory itself, where a glance can make men dizzy— all this was given to you, and with it the ancient nourishment of heroes— treachery, defeat, humiliation. In vain have oceans been squandered on you, in vain the sun, wonderfully seen through Whitman’s eyes. You have used up the years and they have used up you, and still, and still, you have not written the poem.

The incident had occurred and was gone for me: itwasan incident of no moment, no romance, no interest in a sense; yet it marked with change one single hour of a monotonous life. (...) The new face, too, was like a new picture introduced to the gallery of memory; and it was dissimilar to all the others hanging there: firstly, because it was masculine; and, secondly, because it was dark, strong, and stern. I had it still before me when I entered Hay, and slipped the letter into the post-office; I saw it as I walked fast down-hill all the way home. When I came to the stile, I stopped a minute, looked round and listened, with an idea that a horse's hoofs might ring on the causeway again, and that a rider in a cloak, and a Gytrash-like Newfoundland dog, might be again apparent: I saw only the hedge and a pollard willow before me, rising up still and straight to meet the moonbeams; I heard only the faintest waft of wind roaming fitful among the trees round Thornfield, a mile distant; and when I glanced down in the direction of the murmur, my eye, traversing the hall-front, caught a light kindling in a window: it reminded me that I was late, and I hurried on. I did not like re-entering Thornfield. To pass its threshold was to return to stagnation; (...) to quell wholly the faint excitement wakened by my walk, - to slip again over my faculties the viewless fetters of an uniform and too still existence; of an existence whose very privileges of security and ease I was becoming incapable of appreciating.

From gallery-grave and the hunt of a wren-king to Low Mass and trailer camp is hardly a tick by the carbon clock, but I don't count that way nor do you: already it is millions of heartbeats ago back to the Bicycle Age, before which is no After for me to measure, j ust a still prehistoric Once where anything could happen. To you, to me, Stonehenge and Chartres Cathedral, the Acropolis, Blenheim, the Albert Memorial are works by the same Old Man under different names : we know what He did, what, even, He thought He thought, but we don't see why.

History belongs, above all, to the active and powerful man, the man who fights one great battle, who needs the exemplary men, teachers, and comforters and cannot find them among his contemporary companions. Thus, history belongs to Schiller: for our age is so bad, said Goethe, that the poet no longer encounters any useful nature in the human life surrounding him. Looking back to the active men, Polybius calls political history an example of the right preparation for ruling a state and the most outstanding teacher, something which, through the memory of other people's accidents, advises us to bear with resolution the changes in our happiness. Anyone who has learned to recognize the sense of history in this way must get annoyed to see inquisitive travellers or painstaking micrologists climbing all over the pyramids of the great things of the past. There, in the place where he finds the stimulation to breath deeply and to make things better, he does not wish to come across an idler who strolls around, greedy for distraction or stimulation, as among the accumulated art treasures of a gallery. In order not to despair and feel disgust in the midst of weak and hopeless idlers, surrounded by apparently active, but really only agitated and fidgeting companions, the active man looks behind him and interrupts the path to his goal to take a momentary deep breath. His purpose is some happiness or other, perhaps not his own, often that of a people or of humanity collectively. He runs back away from resignation and uses history as a way of fighting resignation. For the most part, no reward beckons him on, other than fame, that is, becoming a candidate for an honoured place in the temple of history, where he himself can be, in his turn, a teacher, consoler, and advisor for those who come later.

Conceivably, though, the sea might have filtered into her body over the years in tiny fragments like the parts of a picture puzzle which, while she'd never identified the whole, had pieced themselves together as the sea in all its sparkling radiance. An internal sea. Untouched by anyone... Having drunk too much, the mother was beginning to drift off with the sound of the children's high-pitched voices in her ears. Fragments of the sea... Could she trace the matrix into which she'd fitted them all the way back to the flood of light she'd experienced at the moment of birth? The light was pain. She didn't actually remember that time, of course. She'd thought she was reminded of it when she heard the first cries of her own children: yes, she'd thought then, it was painful and dazzling, and I couldn't help crying. With every cry I was longing to accustom myself to the flood of light. But before my body had time to adjust, the light had ceased to exist as light. Perhaps what I was seeing was the brightness of the internal sea? My mother's sea. There were other memories. The tale of the Little Mermaid she'd come across in a foreign picture book. Though it would never have occurred to her to see herself in the person of the lovely little princess, she'd been haunted by the idea that perhaps she had been present herself, somewhere in the deeps where the princess lived. She sensed the sea's wan bluish gleam in the Little Mermaid's sobs.

out what you’re allowed to say. Above all, trying to never, ever offend. To watch the mainstream, find out what kind of fiction they are telling themselves, find a bit part in it. Be appealing and acceptable, be what they want to see. (then) My client was a part of this system. Both victim and suspect, he killed countless Asian men. (gasp from the gallery) Killed them and then, six weeks later, became them again, as if nothing had happened, as if he had no memory or remorse. He allowed it to happen, allowed himself to become Generic, so that no one could even tell what was happening. He is guilty, Your Honor, and ladies and gentlemen of the jury. Guilty of wanting to be part of something that never wanted him. (beat) The defense rests.

We took one turn round the gallery; with Graham it was very pleasant to take such a turn. I always liked dearly to hear what he had to say about either pictures or books; because without pretending to be a connoisseur, he always spoke his thought, and that was sure to be fresh: very often it was also just and pithy. It was pleasant also to tell him some things he did not know--he listened so kindly, so teachably; unformalized by scruples lest so to bend his bright handsome head, to gather a woman's rather obscure and stammering explanation, should imperil the dignity of his manhood. And when he communicated information in return, it was with a lucid intelligence that left all his words clear graven on the memory; no explanation of his giving, no fact of his narrating, did I ever forget.

In short, the observer is choked with observations. Only to prevent us from being submerged by chaos, nature and society between them have arranged a system of classification which is simplicity itself; stalls, boxes, amphitheatre, gallery. The moulds are filled nightly. There is no need to distinguish details. But the difficulty remains—one has to choose. For though I have no wish to be Queen of England or only for a moment—I would willingly sit beside her; I would hear the Prime Minister's gossip; the countess whisper, and share her memories of halls and gardens; the massive fronts of the respectable conceal after all their secret code; or why so impermeable? And then, doffing one's own headpiece, how strange to assume for a moment some one's—any one's—to be a man of valour who has ruled the Empire; to refer while Brangaena sings to the fragments of Sophocles, or see in a flash, as the shepherd pipes his tune, bridges and aqueducts. But no—we must choose. Never was there a harsher necessity! or one which entails greater pain, more certain disaster; for wherever I seat myself, I die in exile: Whittaker in his lodging-house; Lady Charles at the Manor.

The Threatened One" It is love. I will have to hide or flee. Its prison walls grow larger, as in a fearful dream. The alluring mask has changed, but as usual it is the only one. What use now are my talismans, my touchstones: the practice of literature, vague learning, an apprenticeship to the language used by the flinty Northland to to sing of its seas and its swords, the serenity of friendship, the galleries of the library, ordinary things, habits, the young love of my mother, the soldierly shadow cast by my dead ancestors, the timeless night, the flavor of sleep and dream? Being with you or without you is how I measure my time. Now the water jug shatters above the spring, now the man rises to the sound of birds, now those who look through the windows are indistinguishable, but the darkness has not brought peace. It is love, I know it; the anxiety and relief at hearing your voice, the hope and the memory, the horror at living in succession. It is love with its own mythology, its minor and pointless magic. There is a street corner I do not dare to pass. Now the armies surround me, the rabble. (This room is unreal. She has not seen it) A woman’s name has me in thrall. A woman’s being afflicts my whole body.

the absence of an ‘international standard burglar’, the nearest I know to a working classification is one developed by a U.S. Army expert [118]. Derek is a 19-year old addict. He's looking for a low-risk opportunity to steal something he can sell for his next fix. Charlie is a 40-year old inadequate with seven convictions for burglary. He's spent seventeen of the last twenty-five years in prison. Although not very intelligent he is cunning and experienced; he has picked up a lot of ‘lore’ during his spells inside. He steals from small shops and suburban houses, taking whatever he thinks he can sell to local fences. Bruno is a ‘gentleman criminal’. His business is mostly stealing art. As a cover, he runs a small art gallery. He has a (forged) university degree in art history on the wall, and one conviction for robbery eighteen years ago. After two years in jail, he changed his name and moved to a different part of the country. He has done occasional ‘black bag’ jobs for intelligence agencies who know his past. He'd like to get into computer crime, but the most he's done so far is stripping $100,000 worth of memory chips from a university's PCs back in the mid-1990s when there was a memory famine. Abdurrahman heads a cell of a dozen militants, most with military training. They have infantry weapons and explosives, with PhD-grade technical support provided by a disreputable country. Abdurrahman himself came third out of a class of 280 at the military academy of that country but was not promoted because he's from the wrong ethnic group. He thinks of himself as a good man rather than a bad man. His mission is to steal plutonium. So Derek is unskilled, Charlie is skilled, Bruno is highly skilled and may have the help of an unskilled insider such as a cleaner, while Abdurrahman is not only highly skilled but has substantial resources.

What evokes persecution is precisely that which challenges a worldview, that which up-ends a symbolic universe. It is somewhat threatening to other first-century Jews to regard your community as the true Temple, and perhaps it is just as well to keep such ideas within the walls of an enclosed community in the desert; but since the belief, as held in Qumran, involves an intensification of Torah, the vicarious purification of the Land, the fierce defence of the race, and the dream of an eventually rebuilt and purified physical Temple in Jerusalem itself, one can imagine Pharisees debating it vigorously but not seeking authority from the chief priests to exterminate it. It embodied, after all, too many of the central worldview-features. The equivalent belief as held within Christianity seems to have had no such redeeming features. No new Temple would replace Herod’s, since the real and final replacement was Jesus and his people. No intensified Torah would define this community, since its sole definition was its Jesus-belief.28 No Land claimed its allegiance, and no Holy City could function for it as Jerusalem did for mainline Jews; Land had now been transposed into World, and the Holy City was the new Jerusalem, which, as some Jewish apocalyptic writers had envisaged, would appear, like the horses and chariots of fire around Elisha, becoming true on earth as it was in heaven.29 Racial identity was irrelevant; the story of this new community was traced back to Adam, not just to Abraham, and a memory was preserved of Jesus’ forerunner declaring that Israel’s god could raise up children for Abraham from the very stones.30 Once we understand how worldviews function, we can see that the Jewish neighbours of early Christians must have regarded them, not as a lover of Monet regards a lover of Picasso, but as a lover of painting regards one who deliberately sets fire to art galleries—and who claims to do so in the service of Art.31

On Friday, 3 December1993, at a charity luncheon in aid of the Headway National Head Injuries Association, the Princess announced her withdrawal from public life. In a sometimes quavering, yet defiant, voice she appealed for ‘time and space’ after more than a decade in the spotlight. During her five-minute speech she made a particular point of the unrelenting media exposure: ‘When I started my public life 12 years ago, I understood that the media might be interested in what I did. I realized then that their attention would inevitably focus on both our private and public lives. But I was not aware of how overwhelming that attention would become; nor the extent to which it would affect both my public duties and my personal life, in a manner that has been hard to bear.’ As she later said: ‘The pressure was intolerable then, and my job, my work was being affected. I wanted to give 110 per cent to my work, and I could only give 50…I owed it to the public to say “Thank you, I’m disappearing for a bit, but I’ll come back.”’ Indicating that she would continue to support a small number of charities while she set about rebuilding her private life, the Princess emphasized: ‘My first priority will continue to be our children, William and Harry, who deserve as much love, care and attention as I am able to give, as well as an appreciation of the tradition into which they were born.’ While she singled out the Queen and the Duke of Edinburgh for their ‘kindness and support’, Diana never once mentioned her estranged husband. In private, she was unequivocal about where the blame lay for her departure from the stage. ‘My husband’s side have made my life hell for the last year,’ she told a friend. When she reached the relative sanctuary of Kensington Palace that afternoon, Diana was relieved, saddened but quietly elated. Her retirement would give her a much-needed chance to reflect and refocus. If the separation had brought her the hope of a new life, her withdrawal from royal duties would give her the opportunity to translate that hope into a vibrant new career, one that would employ to the full her undoubted gifts of compassion and caring on a wider, international stage. A few months later, at a reception at the Serpentine Gallery, of which she was patron, the Princess was in fine form. She was relaxed, witty and happy among friends. The events of 1993 seemed a dim and dismal memory. As she chatted to the movie star Jeremy Irons he told her: ‘I’ve taken a year off acting.’ Diana smiled and replied: ‘So have I.

In tribunal, Mother held a funeral. Fake condolers spread, A debate they held For here I was, Behind bars, Her heart I took stealthily, And she… Fell for me, Unwillingly. Silence! the judge said to audience: Mother, defense, Reporters, radio agents, The girl's father; the wronged. Plead your case, judge says, to the father, my prosecutor, to guillotine, pushing me closer. "This boy is but a thief, Stealing a heart from my daughter. His poetry starting a war within her, Between his charm and care For her and another, Between his eloquence and fear, And how much closer she went. On love she came to reflect. And his way a choice she sent: Love not the rhyme, but me… repent. Or let poetry be enough, throw away my love. Of quitting poetry, he reported then betrayed her heart and stole it. Now without him she is With her love he lives And caused his madness her death This, your honor is the case. I now demand Justice, And the guillotine." "Silence! Defense." This boy, your honor, A poet and a sweet-talker, Both things, inevitable and meritless. He, I say, shall be sold To the unemployed, And those who of hope are void, Or to radio agents To break him apart And be, for entertainment, sold in a gallery of yearning and joining, specially or renouncement and criticism, alternately, or love unescapable. Money, it shall yield, a compensation to the girl and her lost heart that is now ancient." "Silence! The Mother." "Your honor, If him you must kill, Include me in the will. Let the pond of his blood Water the crops Let its source be my heart and his unpublished poems and the starved bellies and the nibs of birds the branch inhabitants That should be rather the middle Between his memory and the kill Rather fearless Not a hunger filled injustice" The father, "I object, It is all of him I want A compensation for my daughter and her heart" The defense, "Rather to pieces be fractioned, Between the ill, the unemployed and the runaway; Divided." A humming noise, In his honor's chest, In my rhymes, Rather… in the entire court. "Silence!", he said. He a man who is free His heart telling him to revolt The only power he's got Is but a plea to God To be by the revolution killed not And by karma hit not. What I now see fit, Is for him to be executed, by what to his nature is opposite. Deny him the pen And the flag Tell him every detail of the girl and her lost heart No way to reach her will be allowed he This is my decree Allowed not his poetry Is but death to the free To be by his words suffocated To love stealthily "All Rise!" "Case dismissed." Oh, la la la Oh, la la la

In 2000, the National Gallery in London put on a millennial exhibition entitled “Seeing Salvation.” That was a case in point—especially remembering that European countries tend to be far more “secularized” than the United States. It consisted mostly of artists’ depictions of Jesus’s crucifixion. Many critics sneered. All those old paintings about someone being tortured to death! Why did we need to look at rooms full of such stuff? Fortunately, the general public ignored the critics and turned up in droves to see works of art, which, like the crucifixion itself, seem to carry a power beyond theory and beyond suspicion. The Gallery’s director, Neil McGregor, moved from that role to become director of the British Museum, a job he did with great distinction and effect for the next decade. The final piece he acquired in the latter capacity, before moving to a similar position in Berlin, was a simple but haunting cross made from fragments of a small boat. The boat, which been carrying refugees from Eritrea and Somalia, was wrecked off the coast of the Italian island of Lampedusa, south of Sicily, on October 3, 2013. Of the 500 people on board, 349 drowned. A local craftsman, Francesco Tuccio, was deeply distressed that nothing more could have been done to save people, and he made several crosses out of fragments of the wrecked vessel. One was carried by Pope Francis at the memorial service for the survivors. The British Museum contacted Mr. Tuccio, and he made a cross especially for the museum, thanking the authorities there for drawing attention to the suffering that this small wooden object would symbolize. Why the cross rather than anything else?

He brought back an undigested mixture of Spanish anarchism, Russian terrorism, Soviet Marxism, Mexican agrarianism, and Paris studio revolutions. He also brought back with him a highly sophisticated technique and sensibility, memories of a thousand great works he had seen in the cathedrals, palaces, and galleries of Europe, love for his native land, a determination to build his art on a fusion of his Paris sophistication with the plastic heritage of his people, and to paint for them on public walls.

Memories haunted me often and prevented my mind from settling soon. I had to choose a hard path for bread, while the dilemma began to overrule me. That was the cause of a journey to a new World to hide from the blame. No one was willing to encourage a penniless adventurer, my major disappointment!

That day, as I contemplated the Medusa, I felt the shattering heartbreak of a long-forgotten memory. My mind carried me back to a moment when I was ten years old, left by my mother to wander alone in the Art Institute of Chicago, scared and confused, until a small colorful diptych by Giovanni di Paolo beckoned to me from across a gallery. A portal opened. A month later, my mother committed suicide. The portal slammed shut. I never looked at art again. Until I did. —

Something, somewhere, pulls me from the dark and explodes inside me, a rush of vivid scenes that fly at me like memories with wings, shimmering and breathing, moments from my life, most keenly felt, an infinite gallery of my own experiences coming at random, one on top of another, side by side, singular then merging into one, a sweeping view of my entire existence, but every detail and color exact, all lift and movement just as it had been. I relive every emotion precisely as it had felt, every wound and disappointment, but enchantment too; and not only my own feelings - I can go inside someone else and know what they'd seen and felt, known all the sadness and joy they carried from their own lives. Not only people, but animals and things - the whole universe alive to sensation and feeling - now alive to me! There is no progression, not even time at all, a second and a thousand years, both and neither. Everything at once and separate, present, and then gone, but indelible. Everything I have told you little bird. Al this reached for me and gathered me in its arms. Carried me across the gateway, and back to life.

In October, Louise showed several new paintings at the Panoras Gallery on Fifty-Sixth Street. During this period, she painted nudes, interiors, several versions of MacDuff, many portraits, at least two paintings set in public buses, and other New York street-life subjects. Her stylized figures were often inspired by random encounters and eavesdropping. Observing underdogs and outsiders in action, she was drawn to faces and to cityscapes and to a style that incorporated storytelling and allegory. Louise’s new work was influenced by the scene painting of the Works Progress Administration and Mexican muralists; by Käthe Kollwitz and German expressionists like Max Beckmann, Oskar Kokoschka, and Egon Schiele; by Alice Neel, Francis Bacon, and other portraitists—and, to an increasing extent, by medieval tapestries and frescoes by Bolognese Renaissance artists such as Pellegrino Tibaldi. Louise kept working to reveal the lives behind the faces she portrayed—their backstory—and began to introduce some southern imagery from her own memories. She was fascinated by the story beneath the surface and whatever metaphysical qualities she could draw from the depths of her subject.

I looked over at the kids. It was a sensible, pragmatic solution to the problem of integrating the Quiet People into society. And if those kids started to prefer living above ground, going to uni in far off exotic places like Reading and Cambridge, and marrying out of the tribe? Well then, after a while the whole problem just fades away, doesn’t it? Along with the memories of the old people and the unwritten histories. And silence would reign in the galleries of their forefathers. Not that they were exactly noisy now.

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Come to London with me,” she heard Devon say. “What?” she asked, bewildered. “Come to London with me,” he repeated. “I have to leave within a fortnight. Bring the girls and your maid. It will be good for everyone, including you. At this time of year there’s nothing to do in Hampshire, and London offers no end of amusements.” Kathleen looked at him with a frown. “You know that’s impossible.” “You mean because of mourning.” “Of course that’s what I mean.” She didn’t like the sparks of mischief that had appeared in his eyes. “I’ve already considered that,” he told her. “Not being as familiar with the rules of propriety as yourself, I undertook to consult a paragon of society about what activities might be permissible for young women in your situation.” “What paragon? What are you talking about?” Shifting her weight more comfortably in his lap, Devon reached across the table to retrieve a letter by his plate. “You’re not the only one who received correspondence today.” He extracted the letter from its envelope with a flourish. “According to a renowned expert on mourning etiquette, even though attending a play or a dance is out of the question, it’s permissible to go to a concert, museum exhibition, or private art gallery.” Devon proceeded to read aloud from the letter. “This learned lady writes, One fears that the prolonged seclusion of young persons may encourage a lasting melancholy in such malleable natures. While the girls must pay appropriate respect to the memory of the late earl, it would be both wise and kind to allow them a few innocent recreations. I would recommend the same for Lady Trenear, whose lively disposition, in my opinion, will not long tolerate a steady diet of monotony and solitude. Therefore you have my encouragement to--” “Who wrote that?” Kathleen demanded, snatching the letter from his hand. “Who could possibly presume to--” She gasped, her eyes widening as she saw the signature at the conclusion of the letter. “Dear God. You consulted Lady Berwick?

According to a renowned expert on mourning etiquette, even though attending a play or a dance is out of the question, it’s permissible to go to a concert, museum exhibition, or private art gallery.” Devon proceeded to read aloud from the letter. “This learned lady writes, One fears that the prolonged seclusion of young persons may encourage a lasting melancholy in such malleable natures. While the girls must pay appropriate respect to the memory of the late earl, it would be both wise and kind to allow them a few innocent recreations. I would recommend the same for Lady Trenear, whose lively disposition, in my opinion, will not long tolerate a steady diet of monotony and solitude. Therefore you have my encouragement to--” “Who wrote that?” Kathleen demanded, snatching the letter from his hand. “Who could possibly presume to--” She gasped, her eyes widening as she saw the signature at the conclusion of the letter. “Dear God. You consulted Lady Berwick?” Devon grinned. “I knew you would accept no one’s judgment but hers.” He bounced Kathleen a little on his knee. The slim, supple weight of her was anchored amid the rustling layers of skirts and underskirts, the pretty curves of her body corseted into a narrow column. With every movement she made, little whiffs of soap and roses floated around them. She reminded him of one of those miniature sweet-smelling bundles that women tucked into dressers and wardrobes. “Come,” he said, “London isn’t such an appalling idea, is it? You’ve never stayed at Ravenel House--and it’s in far better condition than this heap of ruins.

All I have I would have given, gladly, not to be standing here today.” The chamber became hushed. He had struck exactly the right note of sorrowful humility. It was a good start, George thought. Johnson continued in the same vein, speaking with slow dignity. If he felt the impulse to rush, he was controlling it firmly. He wore a dark-blue suit and tie, and a shirt with a tab-fastened collar, a style considered formal in the South. He looked occasionally from one side to the other, speaking to the whole of the chamber and at the same time seeming to command it. Echoing Martin Luther King, he talked of dreams: Kennedy’s dreams of conquering space, of education for all children, of the Peace Corps. “This is our challenge,” he said. “Not to hesitate, not to pause, not to turn about and linger over this evil moment, but to continue on our course so that we may fulfill the destiny that history has set for us.” He had to stop, then, because of the applause. Then he said: “Our most immediate tasks are here on this hill.” This was the crunch. Capitol Hill, where Congress sat, had been at war with the president for most of 1963. Congress had the power to delay legislation, and used it often, even when the president had campaigned and won public support for his plans. But since John Kennedy announced his civil rights bill they had gone on strike, like a factory full of militant workers, delaying everything, mulishly refusing to pass even routine bills, scorning public opinion and the democratic process. “First,” said Johnson, and George held his breath while he waited to hear what the new president would put first. “No memorial oration or eulogy could more eloquently honor President Kennedy’s memory than the earliest possible passage of the civil rights bill for which he fought so long.” George leaped to his feet, clapping for joy. He was not the only one: the applause burst out again, and this time went on longer than previously. Johnson waited for it to die down, then said: “We have talked long enough in this country about civil rights. We have talked for one hundred years or more. It is time, now, to write the next chapter—and to write it in the books of law.” They applauded again. Euphoric, George looked at the few black faces in the chamber: five Negro congressmen, including Gus Hawkins of California, who actually looked white; Mr. and Mrs. Wright in the presidential box, clapping; a scatter of dark faces among the spectators in the gallery. Their expressions showed relief, hope, and gladness. Then his eye fell on the rows of seats behind the cabinet, where the senior senators sat, most of them Southerners, sullen and resentful. Not a single one was joining in the applause. •

My life is a museum,” says my ninety-one-year-old aunt. “I can walk through any of the galleries at any time.

The music, once admitted to the soul, becomes also a sort of spirit, and never dies. It wanders perturbedly through the halls and galleries of the memory, and is often heard again, distinct and living as when it first displaced the wavelets of the air. Now at times, then, these phantoms of sound floated back upon her fancy; if gay, to call a smile from every dimple; if mournful, to throw a shade upon her brow, — to make her cease from her childishmirth, and sit apart and muse.

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The cultural greenhouse effect: the toxic cloud caused by emissions from millions of museums, galleries, festivals, conferences and symposiums is much more catastrophic than the disappearance of the ozone layer. The asphyxia caused by the activity of thousands of creative brains damages the quality of life more certainly than all the world's industrial pollution. And if no Tokyo Congress has yet managed to control technological pollution, what body could put a brake on cultural nuisance?

Sideshows in wooden shacks, peanuts and popcorn, rag-throated barkers, hot babies spilling out of tired arms, petty swindles, puerile divisions, a wooden elephant, a Ferris Wheel, an observation tower, hot sands, squalling children, bathers indecently fat or inhumanly lean shrieking in a crowded and dirty ocean, sweaty citizens, pickpockets picking empty pockets, lung-testers, noisome bicyclists, merry-go-rounds, weight-pounding machines, punching machines, “one-baby-down-one-cigar!” – ring throwing at ugly canes, ball throwing at coons, “guess your weight!” – tintype tents, dusty clam chowder served by toughs in maculate aprons, reliques of old picnics, a captive balloon, squalling babies covered with prickly heat, drooling sots and boozy women with their hair in strings, a boardwalk fetid with sweaty citizens, museums with snake-charmers who could charm nothing else, pretzels, fly-haunted pyramids of mucilaginous pies, shrieking babies with pins sticking in them, spanked by weary mothers and sworn at by jaded fathers, lemonade where overfed flies commit suicide, only to be disinterred by unmanicured thumbs, nigrescent bananas, heel-marked orange peelings, fractured chicken bones, shooting galleries snapping and banging and smelly of powder, saloon odious with old beer slops and inebriates, umbrellas on the sand where gap-toothed bicyclists grin at fat beauties of enormous hip, little girls and boys with bony legs all hives and scratches paddling in the surf-lather with dripping drawers and fife-like shrieks, gaily bedight nymphs proud of their shapes and dawdling about in wet bathing suits that keep no secrets, poor mewling babies that really need to go home, dance halls where flat-headed youths and women with plackets agape spiel slowly in a death-clutch, German bands whose music sounds like horses with the heaves, the steeplechase, where men and women straddle the same hobbyhorse and slide yelling down the ringing grooves of small change, rancid sandwiches, sticky candies made of adulterated sweets and dye, more clam chowder, banging, bumping cars on creaking trestles filled with yowling couples, tangle-faced babies howling toward apoplexy, dusty shoes, obsolete linen, draggle skirts, sweat, fatigue, felicity – that is the Coney Island of long memory.

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