Gallery Sad Quotes

Happiness from long ago that hasn’t carried into today turns into a sadness that’s too much to bear.

Great, she didn't lie to me. "Mind if I tag along with you? I would love to have some company. Please don't say no. I don't know if I can take it if you turn me down, beloved," he spoke inaudibly. "Remember the last time we were at an art gallery together?" he asked. "Sure I do," she remarked, walking slowly. Wish I hadn't gone anywhere with you, Creepville!

She wanted to explain everything to him—how certain notes of the Moonlight Sonata shredded her heart like wind inside a paper bag; how her soul felt as endless and deep as the sea churning on their left; how the sight of the young Muslim couple filled her with an emotion that was equal parts joy and sadness; and above all, how she wanted a marriage that was different from the dead sea of marriages she saw all around her, how she wanted something finer, deeper, a marriage made out of silk and velvet instead of coarse cloth, a marriage made of clouds and stardust and red earth and ocean foam and moonlight and sonatas and books and art galleries and passion and kindness and sorrow and ecstasy and of fingers touching from under a burqua.

I will love you with no regard to the actions of our enemies or the jealousies of actors. I will love you with no regard to the outrage of certain parents or the boredom of certain friends. I will love you no matter what is served in the world’s cafeterias or what game is played at each and every recess. I will love you no matter how many fire drills we are all forced to endure, and no matter what is drawn upon the blackboard in a blurring, boring chalk. I will love you no matter how many mistakes I make when trying to reduce fractions, and no matter how difficult it is to memorize the periodic table. I will love you no matter what your locker combination was, or how you decided to spend your time during study hall. I will love you no matter how your soccer team performed in the tournament or how many stains I received on my cheerleading uniform. I will love you if I never see you again, and I will love you if I see you every Tuesday. I will love you if you cut your hair and I will love you if you cut the hair of others. I will love you if you abandon your baticeering, and I will love you if you retire from the theater to take up some other, less dangerous occupation. I will love you if you drop your raincoat on the floor instead of hanging it up and I will love you if you betray your father. I will love you even if you announce that the poetry of Edgar Guest is the best in the world and even if you announce that the work of Zilpha Keatley Snyder is unbearably tedious. I will love you if you abandon the theremin and take up the harmonica and I will love you if you donate your marmosets to the zoo and your tree frogs to M. I will love you as the starfish loves a coral reef and as kudzu loves trees, even if the oceans turn to sawdust and the trees fall in the forest without anyone around to hear them. I will love you as the pesto loves the fetuccini and as the horseradish loves the miyagi, as the tempura loves the ikura and the pepperoni loves the pizza. I will love you as the manatee loves the head of lettuce and as the dark spot loves the leopard, as the leech loves the ankle of a wader and as a corpse loves the beak of the vulture. I will love you as the doctor loves his sickest patient and a lake loves its thirstiest swimmer. I will love you as the beard loves the chin, and the crumbs love the beard, and the damp napkin loves the crumbs, and the precious document loves the dampness in the napkin, and the squinting eye of the reader loves the smudged print of the document, and the tears of sadness love the squinting eye as it misreads what is written. I will love you as the iceberg loves the ship, and the passengers love the lifeboat, and the lifeboat loves the teeth of the sperm whale, and the sperm whale loves the flavor of naval uniforms. I will love you as a child loves to overhear the conversations of its parents, and the parents love the sound of their own arguing voices, and as the pen loves to write down the words these voices utter in a notebook for safekeeping. I will love you as a shingle loves falling off a house on a windy day and striking a grumpy person across the chin, and as an oven loves malfunctioning in the middle of roasting a turkey. I will love you as an airplane loves to fall from a clear blue sky and as an escalator loves to entangle expensive scarves in its mechanisms. I will love you as a wet paper towel loves to be crumpled into a ball and thrown at a bathroom ceiling and an eraser loves to leave dust in the hairdos of the people who talk too much. I will love you as a taxi loves the muddy splash of a puddle and as a library loves the patient tick of a clock. 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 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.

From the line, watching, three things are striking: (a) what on TV is a brisk crack is here a whooming roar that apparently is what a shotgun really sounds like; (b) trapshooting looks comparatively easy, because now the stocky older guy who's replaced the trim bearded guy at the rail is also blowing these little fluorescent plates away one after the other, so that a steady rain of lumpy orange crud is falling into the Nadir's wake; (c) a clay pigeon, when shot, undergoes a frighteningly familiar-looking midflight peripeteia -- erupting material, changing vector, and plummeting seaward in a corkscrewy way that all eerily recalls footage of the 1986 Challenger disaster. All the shooters who precede me seem to fire with a kind of casual scorn, and all get eight out of ten or above. But it turns out that, of these six guys, three have military-combat backgrounds, another two are L. L. Bean-model-type brothers who spend weeks every year hunting various fast-flying species with their "Papa" in southern Canada, and the last has got not only his own earmuffs, plus his own shotgun in a special crushed-velvet-lined case, but also his own trapshooting range in his backyard (31) in North Carolina. When it's finally my turn, the earmuffs they give me have somebody else's ear-oil on them and don't fit my head very well. The gun itself is shockingly heavy and stinks of what I'm told is cordite, small pubic spirals of which are still exiting the barrel from the Korea-vet who preceded me and is tied for first with 10/10. The two brothers are the only entrants even near my age; both got scores of 9/10 and are now appraising me coolly from identical prep-school-slouch positions against the starboard rail. The Greek NCOs seem extremely bored. I am handed the heavy gun and told to "be bracing a hip" against the aft rail and then to place the stock of the weapon against, no, not the shoulder of my hold-the-gun arm but the shoulder of my pull-the-trigger arm. (My initial error in this latter regard results in a severely distorted aim that makes the Greek by the catapult do a rather neat drop-and-roll.) Let's not spend a lot of time drawing this whole incident out. Let me simply say that, yes, my own trapshooting score was noticeably lower than the other entrants' scores, then simply make a few disinterested observations for the benefit of any novice contemplating trapshooting from a 7NC Megaship, and then we'll move on: (1) A certain level of displayed ineptitude with a firearm will cause everyone who knows anything about firearms to converge on you all at the same time with cautions and advice and handy tips. (2) A lot of the advice in (1) boils down to exhortations to "lead" the launched pigeon, but nobody explains whether this means that the gun's barrel should move across the sky with the pigeon or should instead sort of lie in static ambush along some point in the pigeon's projected path. (3) Whatever a "hair trigger" is, a shotgun does not have one. (4) If you've never fired a gun before, the urge to close your eyes at the precise moment of concussion is, for all practical purposes, irresistible. (5) The well-known "kick" of a fired shotgun is no misnomer; it knocks you back several steps with your arms pinwheeling wildly for balance, which when you're holding a still-loaded gun results in mass screaming and ducking and then on the next shot a conspicuous thinning of the crowd in the 9-Aft gallery above. Finally, (6), know that an unshot discus's movement against the vast lapis lazuli dome of the open ocean's sky is sun-like -- i.e., orange and parabolic and right-to-left -- and that its disappearance into the sea is edge-first and splashless and sad.

Why, I thought sadly, as he returned with his topcoat over his arm, why hadn’t my mother married someone like him—? Or Mr. Bracegirdle? somebody she actually had something in common with—older maybe but personable, someone who enjoyed galleries and string quartets and poking around used book stores, someone attentive, cultivated, kind? Who would have appreciated her, and bought her pretty clothes and taken her to Paris for her birthday, and given her the life she deserved? It wouldn’t have been hard for her to find someone like that, if she’d tried.

On my mental instant replay, I realized that obliquely comparing his family to the Nazis was maybe not my finest moment. He was quiet a second, and then he said, 'Did you know that Hitler anted to be an artist, but since he couldn't get into art school, he turned into a Nazi?' 'Yes, I remember that.' 'Just imagine if he got into art school, the whole world would be different.' I said, 'It just shows that people should be allowed to be who they are. If they can't, then they turn into nasty, sad people.' He started to laugh. 'What if you went to the art gallery, and the guy was like, "Here you see a beautiful Monet, and here on your left is an early Hitler." Wouldn't that be weird?' I couldn't think of any subtle way to turn it back around again. He said, 'You would go to the gift shop and buy Hitler postcards, and you'd go, "Oh, look at this beautiful Hitler. I'm going to hang it in my room!" And people would wear Hitler t-shirts.' 'Yes,' I said. 'That would have been better.

I was also one of those people who hadn’t caught up with the latest social networking site. Maura belonged to most of them. She passed most evenings befriending men who had tried to date-rape her in high school, but I was still stuck in the last virtual community, a sad place to be, like Europe, say, during the Black Death. Whenever I cruised this site, with its favorites lists and its paeans to somebody’s cousin’s gas station art gallery, I could not help but think of medieval corpses in the spring-thaw mud, buboes sprouted in every armpit and anus, black bile curling out of frozen mouths. Those of us still cursed with life wandered the blasted dales of this stricken network, wept and moaned and flogged ourselves with frayed AC adaptors, called out for God to strike us dead, or else let us find somebody who liked similar bands.

The show brought Claudia sadness finer than any requiem or any gravestone or anything beautiful or sorrowful that she could think of. On afternoons when she wasn't working with her husband or rotating on the platform in the Human Picture Gallery at Luna, she would go off by herself and pay her dime and linger in the corridors of the exhibit.

Waste forces within him, and a desert all around, this man stood still on his way across a silent terrace, and saw for a moment, lying in the wilderness before him, a mirage of honourable ambition, self-denial, and perseverance. In the fair city of this vision, there were airy galleries from which the loves and graces looked upon him, gardens in which the fruits of life hung ripening, waters of Hope that sparkled in his sight. A moment, and it was gone. Climbing to a high chamber in a well of houses, he threw himself down in his clothes on a neglected bed, and its pillow was wet with wasted tears. Sadly, sadly, the sun rose; it rose upon no sadder sight than the man of good abilities and good emotions, incapable of their directed exercise, incapable of his own help and his own happiness, sensible of the blight on him, and resigning himself to let it eat him away. VI.

This doesn’t mean that we should be sad, or go deaf, even if once a century these conditions produce sublime music. Nor must we be great artists in order to view our own struggles as objects of creative transformation. What if we simply took whatever pain we couldn’t get rid of, and turned it into something else? We could write, act, study, cook, dance, compose, do improv, dream up a new business, decorate our kitchens; there are hundreds of things we could do, and whether we do them “well,” or with distinction, is beside the point. This is why “arts therapy”—in which people express and process their troubles by making art—can be so effective, even if its practitioners don’t exhibit their work on gallery walls.

The problem: If you've an antique for sale, then, sad to relate, the world isn't your oyster. It's not that easy. Even if somebody gives you the National Gallery, your options are still very, very limited. Okay, you can sell the Old Masters, set up a trust, buy your favorite brewery. But that's strictly it. You're limited by honesty on one hand and law - that hobble of sanity - on the other.

Meeting the Prince of Wales I’ve known her [the Queen] since I was tiny so it was no big deal. No interest in Andrew and Edward--never thought about Andrew. I kept thinking, ‘Look at the life they have, how awful’ so I remember him coming to Althorp to stay, my husband, and the first impact was ‘God, what a sad man.’ He came with his Labrador. My sister was all over him like a bad rash and I thought, ‘God, he must really hate that.’ I kept out of the way. I remember being a fat, podgy, no make-up, unsmart lady but I made a lot of noise and he liked that and he came up to me after dinner and we had a big dance and he said: ‘Will you show me the gallery?’ and I was just about to show him the gallery and my sister Sarah comes up and tells me to push off and I said ‘At least, let me tell you where the switches are to the gallery because you won’t know where they are,’ and I disappeared. And he was charm himself and when I stood next to him the next day, a 16-year old, for someone like that to show you any attention--I was just so sort of amazed. ‘Why would anyone like him be interested in me?’ and it was interest. That was it for about two years. Saw him off and on with Sarah and Sarah got frightfully excited about the whole thing, then she saw something different happening which I hadn’t twigged on to, i.e. when he had his 30th birthday dance I was asked too. ‘Why is Diana coming as well?’ [my] sister asked. I said: ‘Well, I don’t know but I’d like to come.’ ‘Oh, all right then,’ that sort of thing. Had a very nice time at the dance--fascinating. I wasn’t at all intimidated by the surroundings [Buckingham Palace]. I thought, amazing place. Then I was asked to stay at the de Passes in July 1980 by Philip de Pass who is the son. ‘Would you like to come and stay for a couple of nights down at Petworth because we’ve got the Prince of Wales staying. You’re a young blood, you might amuse him.’ So I said ‘OK.’ So I sat next to him and Charles came in. He was all over me again and it was very strange. I thought ‘Well, this isn’t very cool.’ I thought men were supposed not to be so obvious, I thought this was very odd. The first night we sat down on a bale at the barbecue at this house and he’d just finished with Anna Wallace. I said: ‘You looked so sad when you walked up the aisle at Lord Mountbatten’s funeral.’ I said: ‘It was the most tragic thing I’ve ever seen. My heart bled for you when I watched. I thought, “It’s wrong, you’re lonely--you should be with somebody to look after you.

It was ten at night and everyone had gone home. I trudged up the dark stairway to clean out my desk. There was no sadness or nostalgia, only disgust that I’d wasted so much time on unnecessary labor when I could have been sleeping and feeling nothing. I’d been stupid to believe that employment would add value to my life. I found a shopping bag in the break room and packed up my coffee mug, the spare change of clothes I kept in my desk drawer along with a few pairs of high heels, panty hose, a push-up bra, some makeup, a stash of cocaine I hadn’t used in a year. I thought about stealing something from the gallery—the Larry Clark photo hanging in Natasha’s office, or the paper cutter. I settled on a bottle of champagne—a lukewarm, and therefore appropriate, consolation.

My parents died one after the other my junior year of college—first my dad from cancer, then my mother from pills and alcohol six weeks later. All of this, the tragedy of my past, came reeling back with great force that night I woke up in the supply closet at Ducat for the last time. It was ten at night and everyone had gone home. I trudged up the dark stairway to clean out my desk. There was no sadness or nostalgia, only disgust that I’d wasted so much time on unnecessary labor when I could have been sleeping and feeling nothing. I’d been stupid to believe that employment would add value to my life. I found a shopping bag in the break room and packed up my coffee mug, the spare change of clothes I kept in my desk drawer along with a few pairs of high heels, panty hose, a push-up bra, some makeup, a stash of cocaine I hadn’t used in a year. I thought about stealing something from the gallery—the Larry Clark photo hanging in Natasha’s office, or the paper cutter. I settled on a bottle of champagne—a lukewarm, and therefore appropriate, consolation.

Waste forces within him, and a desert all around, this man stood still on his way across a silent terrace, and saw for a moment, lying in the wilderness before him, a mirage of honourable ambition, self-denial, and perseverance. In the fair city of this vision, there were airy galleries from which the loves and graces looked upon him, gardens in which the fruits of life hung ripening, waters of Hope that sparkled in his sight. A moment, and it was gone. Climbing to a high chamber in a well of houses, he threw himself down in his clothes on a neglected bed, and its pillow was wet with wasted tears. Sadly, sadly, the sun rose; it rose upon no sadder sight than the man of good abilities and good emotions, incapable of their directed exercise, incapable of his own help and his own happiness, sensible of the blight on him, and resigning himself to let it eat him away. Chapter 6 — Hundreds of People The quiet lodgings of Doctor Manette were in a quiet street-corner not far from Soho-square. On the afternoon of a certain fine Sunday when the waves of four months had roiled over the trial for treason, and carried

I had long wanted to see “true” indigo, and thought that drugs might be the way to do this. So one sunny Saturday in 1964, I developed a pharmacologic launchpad consisting of a base of amphetamine (for general arousal), LSD (for hallucinogenic intensity), and a touch of cannabis (for a little added delirium). About twenty minutes after taking this, I faced a white wall and exclaimed, “I want to see indigo now—now!” And then, as if thrown by a giant paintbrush, there appeared a huge, trembling, pear-shaped blob of the purest indigo. Luminous, numinous, it filled me with rapture: It was the color of heaven, the color, I thought, which Giotto had spent a lifetime trying to get but never achieved—never achieved, perhaps, because the color of heaven is not to be seen on earth. But it had existed once, I thought—it was the color of the Paleozoic sea, the color the ocean used to be. I leaned toward it in a sort of ecstasy. And then it suddenly disappeared, leaving me with an overwhelming sense of loss and sadness that it had been snatched away. But I consoled myself: Yes, indigo exists, and it can be conjured up in the brain. For months afterward, I searched for indigo. I turned over little stones and rocks near my house, looking for it. I examined specimens of azurite in the natural history museum—but even they were infinitely far from the color I had seen. And then, in 1965, when I had moved to New York, I went to a concert in the Egyptology gallery of the Metropolitan Museum of Art. In the first half, a Monteverdi piece was performed, and I was utterly transported. I had taken no drugs, but I felt a glorious river of music, four hundred years long, flowing from Monteverdi’s mind into my own. In this ecstatic mood, I wandered out during the intermission and looked at the ancient Egyptian objects on display—lapis lazuli amulets, jewelry, and so forth—and I was enchanted to see glints of indigo. I thought: Thank God, it really exists! During the second half of the concert, I got a bit bored and restless, but I consoled myself, knowing that I could go out and take a “sip” of indigo afterward. It would be there, waiting for me. But when I went out to look at the gallery after the concert was finished, I could see only blue and purple and mauve and puce—no indigo. That was nearly fifty years ago, and I have never seen indigo again.

It was her concern and commitment to a friend which last year involved her in perhaps the most emotional period of her life. For five months she secretly helped to care for Adrian Ward-Jackson who had discovered that he was suffering from AIDS. It was a time of laughter, joy and much sorrow as Adrian, a prominent figure in the world of art, ballet and opera, gradually succumbed to his illness. A man of great charisma and energy, Adrian initially found it difficult to come to terms with his fate when in the mid-1980s he was diagnosed as HIV positive. His word as deputy chairman of the Aids Crisis Trust, where he first met the Princess, had made him fully aware of the reality of the disease. Finally he broke the news in 1987 to his great friend Angela Serota, a dancer with the Royal Ballet until a leg injury cut short her career and now prominent in promoting dance and ballet. For much of the time, Angela, a woman of serenity and calm practicality, nursed Adrian, always with the support of her two teenage daughters. He was well enough to receive a CBE at Buckingham Palace in March 1991 for his work in the arts--he was a governor of the Royal Ballet, chairman of the Contemporary Arts Society and a director of the Theatre Museum Association--and it was at a celebratory lunch held at the Tate Gallery that Angela first met the Princess. In April 1991 Adrian’s condition deteriorated and he was confined to his Mayfair apartment where Angela was in almost constant attendance. It was from that time that Diana made regular visits, once even brining her children Princes Willian and Harry. From that time Angela and the Princess began to forge a supportive bond as they cared for their friend. Angela recalls: “I thought she was utterly beautiful in a very profound way. She has an inner spirit which shines forth though there was also a sense of pervasive unhappiness about her. I remember loving the way she never wanted me to be formal.” When Diana brought the boys to see her friends, a reflection of her firmly held belief that her role as mother is to bring them up in a way that equips them for every aspect of life and death, Angela saw in William a boy much older and more sensitive than his years. She recalls: “He had a mature view of illness, a perspective which showed awareness of love and commitment.” At first Angela kept in the background, leaving Diana alone in Adrian’s room where they chatted about mutual friends and other aspects of life. Often she brought Angela, whom she calls “Dame A”, a gift of flowers or similar token. She recalls: “Adrian loved to hear about her day-to-day work and he loved too the social side of life. She made him laugh but there was always the perfect degree of understanding, care and solicitude. This is the point about her, she is not just a decorative figurehead who floats around on a cloud of perfume.” The mood in Mount Street was invariably joyous, that sense of happiness that understands about pain. As Angela says: “I don’t see death as sad or depressing. It was a great journey he was going on. The Princess was very much in tune with that spirit. She also loved coming for herself, it was an intense experience. At the same time Adrian was revitalized by the healing quality of her presence.” Angela read from a number of works by St. Francis of Assisi, Kahil Gibran and the Bible as well as giving Adrian frequent aromatherapy treatments. A high spot was a telephone call from Mother Teresa of Calcutta who also sent a medallion via Indian friends. At his funeral they passed Diana a letter from Mother Teresa saying how much she was looking forward to meeting her when she visited India. Unfortunately Mother Teresa was ill at that time so the Princess made a special journey to Rome where she was recuperating. Nonetheless that affectionate note meant a great deal to the Princess.

Happiness from long ago that hasn’t carried into today turns into a sadness that’s too much to bear.

If I were a bird,I could wish a flight unrestrained, and without bothering my sadness.

Every second from Life,is an experimental trip,that teaches the physics of our sadness or happiness, leaving a tempest blow.

I am sad that I did not see any of this myself. By the time I had received the communication on television and in my morning paper, felt the tugging pull toward Manhattan, and made my preparations to migrate, I learned that the army ants had all died. The Art Form simply disintegrated, all at once, like one of those exploding, vanishing faces in paintings by the British artist Francis Bacon There was no explanation, beyond the rumored, unproved possibility of cold drafts in the gallery over the weekend. Monday morning they were sluggish, moving with less precision, dully. Then, the death began, affecting first one part and then another, and within a day all 2 million were dead, swept away into large plastic bags and put outside for the engulfment and digestion by the sanitation truck. It is a melancholy parable. I am unsure of the meaning, but I do think it has something to do with all that plastic- that, and the distance from earth. It is a long, long way from the earth of a Central American jungle to the ground floor of a gallery, especially when you consider that Manhattan itself is suspended on a kind of concrete platform, propped up by a meshwork of wires, pipes, and water mains. But I think it was chiefly the plastic, which seems to me the most unearthly of all man's creations so far. I do not believe you can suspend army ants away from the earth, on plastic, for any length of time. They will lose touch, run out of energy, and die for lack of current.

How does your Grace prefer to be addressed?” asked Charm. After all, “Major Nathair” and as a man was how they had been introduced, but they had appeared in a gown in the ladies’ gallery at the Assembly Hall and been referred to as a woman by Count Seabrough. Charm’s guest hadn’t sat down, and now leaned elegantly against the conservatory’s framework. Long and elegant. As if they were a man and this utterly unthreatened, completely self-assured. As if they owned the space they took up by the right of their mere existence, instead of existing in a space borrowed from others. And that, oh genius that it was, was the surest part of the guise. The major knew their worth to a point of surety that, in a woman, would be overweaning arrogance. As a woman they would not be beautiful. It was their audacity that made them breathtaking. Major Nathair’s thin lips curled up in amusement. “Do you know, no one has ever asked me that?” “That seems a sad lack of manners in those who have the good fortune to be closely enough acquainted with you. Obviously, I shall refer to you as masculine if I speak of you as Major Nathair to others, and in feminine if I have any reason to refer to Your Grace by your Imperial title; but as this is a private space, and Orchard House is very good at keeping secrets, is there a manner of address you prefer?

LARGE FUNERAL HOMES Same with real estate: most people, I am convinced, are happier in close quarters, in a real barrio-style neighborhood, where they can feel human warmth and company. But when they have big bucks they end up pressured to move into outsized, impersonal, and silent mansions, far away from neighbors. On late afternoons, the silence of these large galleries has a funereal feel to it, but without the soothing music. This is something historically rare: in the past, large mansions were teeming with servants, head-servants, butlers, cooks, assistants, maids, private tutors, impoverished cousins, horse grooms, even personal musicians. And nobody today will come to console you for having a mansion—few will realize that it is quite sad to be there on Sunday evening.

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.

The thought of Clara became a preoccupation, and with the love which at length he recongised there blended a sense of fate fulfilling itself. His enthusiasms, his purposes, never defined as education would have defined them, were dissipated into utter vagueness. He lost his guiding interests, and found himself returning to those of boyhood. The country once more attracted him; he took out of his old sketch-books, bought a new one, revived the regret that he could not be a painter of landscape. A visit to one or two picture-galleries, and then again profound discouragement, recognition of the fact that he was a mechanic and never could be anything else. It was the end of his illusions. For him not even passionate love was to preserve the power od idealising its object. He loved Clara with all the desire of his being, but could no longer deceive himself in judging her character. The same sad clearness of vision affected his judgement of the world about him, of the activities in which he had once been zealous, of the conditions which enveloped his life and the lives of those dear to him. The spirit of revolt often enough stirred within him, but no longer found utterance in the speech which brings no relief; he did his best to dispel the mood, mocking at it as folly. Consciously he set himself that task of becoming a practical man, of learning to make the best of life as he found it, of shunning as the fatal error that habit of mind which kept John Hewett on the rack. Who was he that he should look for pleasant things in his course through the world? ‘We are the lower orders; we are the working classes,’ he said bitterly to his friend, and that seemed the final answer to all his aspirations.

Then Jim the cabbage man said, ‘Who in God’s name is going to tell Ephraim?’ And everyone started talking again. ‘He won’t take kindly to it…’ ‘Never known him live anywhere else, not since his family died…’ ‘That was a terrible winter, that was. The churchyard was full to bursting.’ ‘The lighthouse is his family these days…’ It made me realise how little I knew of Ephraim. Though I didn’t know how or when his family had died, I understood what it felt like to lose someone. Yet to lose all your family at once must be terrible, and sadness welled up in my throat. He had no one left; we had our mum, and even then it still hurt, knowing Dad would never be back. No wonder poor Ephraim never smiled. Mr. Spratt clapped his hands for quiet. ‘I’ll be visiting Mr Pengilly directly to inform him of my plans.’ ‘Good luck – you’ll need it,’ said Jim, shaking his head. The crowd dispersed soon after that. Glad to be going home, we walked down the hill, falling back into an even gloomier silence. Home. I’d already started thinking of the lighthouse in that way. Poor Ephraim: it’d be a hundred times worse for him and Pixie. Nor could I believe Mr. Spratt could just get rid of a lighthouse or indeed how he’d do it. Yet who’d have thought they’d evacuate all the zoo animals out of London or the famous paintings from the National Gallery? And what about us school children, sent from our families to the middle of nowhere? If you had a family: from what Queenie’d said, Esther didn’t even have that. All sorts were happening because of this war, not to mention missing sisters and codes I couldn’t break. There was so much I still didn’t understand. Maybe it was possible to remove a lighthouse, though I still wasn’t sure how.

He frowned with difficulty at everyone’s quick transition. He felt something crack in the room. It was like the feeling an artist got when he closed up his gallery, walked upstairs to his living quarters, and stared at the window to watch his former crowd rush to party next door and forget his exhibition one martini at a time. It was like goodbye. There was an unsaid, incomprehensive quality of unfairness to endings. They lacked a transition. The guitarist’s identity, for example, was in her strumming ten seconds ago, not when she finished and looked up at the seduced crowd as “her” again. The singer’s heart was housed in his lyrics, not in his thick-accented voice that rooms never understood.

Although Reed tried valiantly, the income from print sales never balanced out the high cost of framing, advertising, printing announcements, and the rent on New York’s prestigious gallery row, West Fifty-seventh Street. She confessed that the Delphic Studios were “a philanthropic endeavor rather than a business enterprise” and that, sadly, “sales were so infrequent as to make hope of any return at all from commissions a remote possibility.

Etienne’s going to find out stuff about voodoo. Oh, and Roo and I are going to research that little boy who died at the feed store. And Miranda gets Magnolia Gallery--but of course we’ll all help her with that. And…and I guess that’s about it.” “Damn.” Parker did his best to sound disappointed. “I was hoping for a whole lot more.” Nodding sympathetically, Roo swept him with solemn eyes. “How sad. That’s exactly what Ashley always says about you.” “Oh, except for this other idea I had.” Ashley glanced hopefully around the group. “Instead of calling it Ghost Walk, why don’t we call it something else?” “Great idea.” Parker was adamant. “Why don’t we call it off?

Etienne’s going to find out stuff about voodoo. Oh, and Roo and I are going to research that little boy who died at the feed store. And Miranda gets Magnolia Gallery--but of course we’ll all help her with that. And…and I guess that’s about it.” “Damn.” Parker did his best to sound disappointed. “I was hoping for a whole lot more.” Nodding sympathetically, Roo swept him with solemn eyes. “How sad. That’s exactly what Ashley always says about you.” “Oh, except for this other idea I had.” Ashley glanced hopefully around the group. “Instead of calling it Ghost Walk, why don’t we call it something else?” “Great idea.” Parker was adamant. “Why don’t we call it off?” “How about”--Ashley paused dramatically, her eyes sparkling--“Walk of the Spirits?” As everyone traded glances, Gage repeated it several times out loud. “Yeah. I like it.” “Me, too,” Miranda spoke up. “I think it’s good.” “I think it’s romantic,” Ashley sighed. “Walk of the Spirits…don’t you think it’s wonderfully romantic?” “I think it’s wonderfully…you.” Etienne patted Ashley’s shoulder. “But could we move a little faster here? I got me a lotta work to do this evening.” “That’s okay, this is just our first outline. We still have to refine it. And we still have a lot more research to do.” Gage nodded. “Then we have to write up a script for the tour. And everything has to be timed. And--” “Enough torture.” Parker glowered at each of them. “I get the idea.” “But hey, y’all.” Ashley fairly glowed with pride. “The important thing is that Miss Dupree loves our project even more now. Did you see the look on her face when she was reading our outline? I’ve never seen her that excited about any assignment before, have you?” “I’ve never seen her excited about anything.” Parker exchanged guy looks with Etienne. “She needs to get laid.” “You know, at some point, we really need to do a trial run of this thing,” Gage advised, ignoring Parker. “Seeing it in daylight is totally different than seeing it at night. If we’re gonna get the full effect, we need to walk it after dark.