Gallery Time Quotes

How right that the body changed over time, becoming a gallery of scars, a canvas of experience, a testament to life and one's capacity to endure it.

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.

When I was a younger man, art was a lonely thing. No galleries, no collectors, no critics, no money. Yet, it was a golden age, for we all had nothing to lose and a vision to gain. Today it is not quite the same. It is a time of tons of verbiage, activity, consumption. Which condition is better for the world at large I shall not venture to discuss. But I do know, that many of those who are driven to this life are desperately searching for those pockets of silence where we can root and grow. We must all hope we find them.

A summer rain had left the night clean and sparkling with drops of water. I leaned against the end pillar of the gallery, my head touching the soft tendrils of a jasmine which grew there in a constant battle with a wisteria, and I thought of what lay before me throughout the world and throughout time, and resolved to go about it delicately and reverently, learning that from each thing which would take me best to another.

I think that life would suddenly seem wonderful to us if we were threatened to die as you say. Just think of how many projects, travels, love affairs, studies, it–our life–hides from us, made invisible by our laziness which, certain of a future, delays them incessantly. ‘But let all this threaten to become impossible for ever, how beautiful it would become again! Ah! If only the cataclysm doesn’t happen this time, we won’t miss visiting the new galleries of the Louvre, throwing ourselves at the feet of Miss X, making a trip to India. ‘The cataclysm doesn’t happen, we don’t do any of it, because we find ourselves back in the heart of normal life, where negligence deadens desire. And yet we shouldn’t have needed the cataclysm to love life today. It would have been enough to think that we are humans, and that death may come this evening.

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!

And you can't help but worry for them, love them, want for them - those who go on down the close, foetid galleries of time and space without you.

You're very good. Are you a professional artist?" "I dabble," she said. Shadow had spent enough time talking to the English to know that this meant either that she dabbled, or that her work was regularly hung in the National gallery or the Tate Modern.

You meet dozens of people who tell you you can't do it. Surround yourself with the people who believe you will do it. Seek out and spend time with those rare people who tell you, no BS, why you haven't done it yet, what it takes to do it, and how they could help you do it. Note how this advice works whether 'it' is robbing a bank, opening a gallery, or writing a bestseller. "It" is up to you. But you can't do it alone.

When I was your age, art was a lonely thing: no galleries, no collecting, no critics, no money. We didn't have mentors. We didn't have parents. We were alone. But it was a great time, because we had nothing to lose and a vision to gain.

How had she ever been so ignorant? How right that the body changed over time, becoming a gallery of scars, a canvas of experience, a testament to life and one's capacity to endure it

Gus is the Cat at the Theatre Door. His name, as I ought to have told you before, Is really Asparagus. That's such a fuss To pronounce, that we usually call him just Gus. His coat's very shabby, he's thin as a rake, And he suffers from palsy that makes his paw shake. Yet he was, in his youth, quite the smartest of Cats — But no longer a terror to mice or to rats. For he isn't the Cat that he was in his prime; Though his name was quite famous, he says, in his time. And whenever he joins his friends at their club (which takes place at the back of the neighbouring pub) He loves to regale them, if someone else pays, With anecdotes drawn from his palmiest days. For he once was a Star of the highest degree — He has acted with Irving, he's acted with Tree. And he likes to relate his success on the Halls, Where the Gallery once gave him seven cat-calls. But his grandest creation, as he loves to tell, Was Firefrorefiddle, the Fiend of the Fell.

If, in time of peace, our museums and art galleries are important to the community, in time of war they are doubly valuable. For then, when the petty and the trivial fall way and we are face to face with final and lasting values, we… must summon to our defense all our intellectual and spiritual resources. We must guard jealously all we have inherited from a long past, all we are capable of creating in a trying present, and all we are determined to preserve in a foreseeable future. Art is the imperishable and dynamic expression of these aims. It is, and always has been, the visible evidence of the activity of free minds.…

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.

I remember walking in art galleries, through the nineteenth century: the obsession they had then with harems. Dozens of paintings of harems, fat women lolling on divans, turbans on their heads or velvet caps, being fanned with peacock tails, a eunuch in the background standing guard. Studies of sedentary flesh, painted by men who'd never been there. These pictures were supposed to be erotic, and I thought they were, at the time; but I see now what they were really about. They were paintings about suspended animation; about waiting, about objects not in use. They were paintings about boredom. But maybe boredom is erotic, when women do it, for men.

We are all women you assure me? Then I may tell you that the very next words I read were these – ‘Chloe liked Olivia …’ Do not start. Do not blush. Let us admit in the privacy of our own society that these things sometimes happen. Sometimes women do like women. ‘Chloe liked Olivia,’ I read. And then it struck me how immense a change was there. Chloe liked Olivia perhaps for the first time in literature. Cleopatra did not like Octavia. And how completely Antony and Cleopatra would have been altered had she done so! As it is, I thought, letting my mind, I am afraid, wander a little from Life’s Adventure, the whole thing is simplified, conventionalized, if one dared say it, absurdly. Cleopatra’s only feeling about Octavia is one of jealousy. Is she taller than I am? How does she do her hair? The play, perhaps, required no more. But how interesting it would have been if the relationship between the two women had been more complicated. All these relationships between women, I thought, rapidly recalling the splendid gallery of fictitious women, are too simple. So much has been left out, unattempted. And I tried to remember any case in the course of my reading where two women are represented as friends. There is an attempt at it in Diana of the Crossways. They are confidantes, of course, in Racine and the Greek tragedies. They are now and then mothers and daughters. But almost without exception they are shown in their relation to men.

She stared at me curiously. Her voice dropped to a whisper. "Sometimes, when I walk along the corridor here, I fancy I hear her just behind me. That quick, light footstep. I could not mistake it anywhere. And in the minstrels' gallery above the hall. I've seen her leaning there, in the evenings in the old days, looking down at the hall below and calling to the dogs. I can fancy her there now from time to time. It's almost as though I catch the sound of her dress sweeping the stairs as she comes down to dinner." She paused. She went on looking at me, watching my eyes. "Do you think she can see us, talking to one another now?" she said slowly. "Do you think the dead come back and watch the living?

Time can vanish in exploring these places, like wandering through an art gallery of unexpected forms and colors. Sometimes, I look up from my microscope at the end of an hour, and I’m taken aback at the plainness of the ordinary world, the drab and predictable shapes.

And you can't help but worry for them, love them, want for them - those who go on down the close, foetid galleries of time ad space without you.

Elsewhere there are no mobile phones. Elsewhere sleep is deep and the mornings are wonderful. Elsewhere art is endless, exhibitions are free and galleries are open twenty-four hours a day. Elsewhere alcohol is a joke that everybody finds funny. Elsewhere everybody is as welcoming as they’d be if you’d come home after a very long time away and they’d really missed you. Elsewhere nobody stops you in the street and says, are you a Catholic or a Protestant, and when you say neither, I’m a Muslim, then says yeah but are you a Catholic Muslim or a Protestant Muslim? Elsewhere there are no religions. Elsewhere there are no borders. Elsewhere nobody is a refugee or an asylum seeker whose worth can be decided about by a government. Elsewhere nobody is something to be decided about by anybody. Elsewhere there are no preconceptions. Elsewhere all wrongs are righted. Elsewhere the supermarkets don’t own us. Elsewhere we use our hands for cups and the rivers are clean and drinkable. Elsewhere the words of the politicians are nourishing to the heart. Elsewhere charlatans are known for their wisdom. Elsewhere history has been kind. Elsewhere nobody would ever say the words bring back the death penalty. Elsewhere the graves of the dead are empty and their spirits fly above the cities in instinctual, shapeshifting formations that astound the eye. Elsewhere poems cancel imprisonment. Elsewhere we do time differently. Every time I travel, I head for it. Every time I come home, I look for it.

think that life would suddenly seem wonderful to us if we were threatened to die as you say. Just think of how many projects, travels, love affairs, studies, it—our life—hides from us, made invisible by our laziness which, certain of a future, delays them incessantly. But let all this threaten to become impossible for ever, how beautiful it would become again! Ah! if only the cataclysm doesn’t happen this time, we won’t miss visiting the new galleries of the Louvre, throwing ourselves at the feet of Miss X, making a trip to India. The cataclysm doesn’t happen, we don’t do any of it, because we find ourselves back in the heart of normal life, where negligence deadens desire. And yet we shouldn’t have needed the cataclysm to love life today. It would have been enough to think that we are humans, and that death may come this evening.

My dear, I could hardly keep still in my chair. I wanted to dash out of the house and leap in a taxi and say, "Take me to Charles's unhealthy pictures." Well, I went, but the gallery after luncheon was so full of absurd women in the sort of hats they should be made to eat, that I rested a little--I rested here with Cyril and Tom and these saucy boys. Then I came back at the unfashionable time of five o'clock, all agog, my dear; and what did I find? I found, my dear, a very naughty and very successful practical joke. It reminded me of dear Sebastian when he liked so much to dress up in false whiskers. It was charm again, my dear, simple, creamy English charm, playing tigers.

These galleries are hung, mostly, with images from 'Frog and Toad,' and he moves from each to each, not really seeing them but rather remembering the experience of viewing them for the first time, in JB's studio, when he and Willem were new to each other, when he felt as if he was growing new body parts—a second heart, a second brain—to accommodate this excess of feeling, the wonder of his life.

They had found themselves looking at each other straight, and for a longer time on end than was usual even at parties in galleries; but that, after all, would have been a small affair, if there hadn't been something else with it. It wasn't, in a word, simply that their eyes had met; other conscious organs, faculties, feelers had met as well.

It is astonishing how much you can enjoy almost everything. There are few things more desirable than to be an accepter and an enjoyer. You can like and enjoy almost any kind of food or way of life. You can enjoy country life, dogs, muddy walks, towns, noise, people, clatter. In the one there is repose, ease for nerves, time for reading, knitting, embroidery, and the pleasure of growing things; in the other theatres, art galleries, good conerts, and seeing friends you would otherwise seldom see. I am happy to say that I can enjoy almost everything.

He disregarded everything, he gave everything to art. He tirelessly visited galleries, spent whole hours standing before the works of great masters, grasped and pursued a wondrous brush. He never finished anything without testing himself several times by these great teachers and reading wordless but eloquent advice for himself in their paintings.

Nora said, “Every time I’ve gone to a gallery, the rest of my life, I’ve thought about the works that weren’t there. Shadow-paintings, you know, that no one can see but you. But there are all these happy young people around you and you realize no, they’re not bereft. They don’t see the empty spaces.

Of course we will send postcards to Nutsawoo. And we shall bring him back a present as well. In fact,' she went on, with the instinctive knack every good governess has for turning something enjoyable into a lesson, and vice versa, 'I will expect all three of you to practice your writing by keeping a journal of our trip so that Nutsawoo may know how we spend our days. Why, by the time we return, he will think he has been to London himself! He will be the envy of all his little squirrel friends,' she declared. Penelope had no way of knowing if this last statement was true. Could squirrels feel envy? Would they give two figs about London? Did Nutsawoo even have friends?

...we are all in our fifties now. Healthwise, we’ve been fortunate, but it’s just a matter of time before our luck runs out and one of us gets cancer. Then we’ll be picked off like figures at a shooting gallery, easy targets given the lives we’ve led.

Sooner or later it must come out, even if other men rediscover it. And then...Governments and powers will struggle to get hither, they will fight against one another and against these moon people. It will only spread warfare and multiply the occasions of war. In a little while, in a very little while if I tell my secret, this planet to it's deepest galleries will be strewn with human dead. Other things are doubtful, but this is certain...It is not as though man had any use for the moon. What good would the moon be to men? Even of their own planet what have they made but a battleground and theatre of infinite folly? Small as his world is, and short as his time, he has still in his little life down there far more than he can do. No! Science has toiled too long forging weapons for fools to use. It is time she held her hand. Let him find it out for himself again-in a thousand years' time.

What man can you show me who places any value on his time, who reckons the worth of each day, who understands that he is dying daily?

Our lips met and parted, and his tongue slid deep to taste me. The sounds from the peanut gallery—choking and retching—and the tug on my robe instantly drained the heat from the encounter. “That’s disgusting,” Kola assured me with a glare that a six-year-old shouldn’t have had. “Why?” I asked snidely. “Your mouth has germs,” he informed me haughtily. “That’s why you told Hannah not to lick Chilly.” “No, I told her not to lick Chilly because the cat doesn’t like to be licked by her.” “He licks his body.” “He does,” Hannah, our four-year-old, agreed with a nod. “Kola’s right.” “But he doesn’t want you to do it,” I assured my daughter. “How do you know?” Kola questioned. I had to think. Kola waited, squinting at me. “Do not lick the cat! Nobody licks the cat!” Sam ordered when the silence stretched for too long.

as though one’s life were a series of galleries in which all the portraits of any one period had a marked family likeness, the same (so to speak) tonality — this early Swann abounding in leisure, fragrant with the scent of the great chestnut-tree, of baskets of raspberries and of a sprig of tarragon.

From what I know of you already, you have quite a reputation for providing customer satisfaction." Julie's cheeks burned. For Kate's benefit she said, "I try." "Oh, I'm certain you do more than try. You go all out." He paused for several beats. Then, "I've driven past the gallery thousands of times and always admired the works displayed in the windows. But I haven't had a reason to stop." "And now you did?" "Now I did." She drew herself up. "Well, I'm sure Katherine will find the perfect piece for you. She's very knowledgeable." "He came to see you." "That's right, Ms. Rutledge. Not that Ms. Fields isn't perfectly charming and, I'm sure, knowledgeable." He shot Kate a smile over his shoulder, which she returned before he came back around to Julie. "But I'm placing myself in your very capable hands.

I had a teacher at school who told me once that I was a mistress of self-reinvention. I didn't know what he was on about at the time, I thought he was putting me on, but I've since come to like the idea. Runaway, lover, wife, waitress, gallery manager, nanny, and a few more in between. So who do I want to be tomorrow?

Continue to act thus, my dear Lucilius – set yourself free for your own sake; gather and save your time, which till lately has been forced from you, or filched away, or has merely slipped from your hands. Make yourself believe the truth of my words, – that certain moments are torn from us, that some are gently removed, and that others glide beyond our reach. The most disgraceful kind of loss, however, is that due to carelessness. Furthermore, if you will pay close heed to the problem, you will find that the largest portion of our life passes while we are doing ill, a goodly share while we are doing nothing, and the whole while we are doing that which is not to the purpose. What man can you show me who places any value on his time, who reckons the worth of each day, who understands that he is dying daily? For we are mistaken when we look forward to death; the major portion of death has already passed. Whatever years be behind us are in death's hands.

While we are postponing, life speeds by. Nothing, Lucilius, is ours, except time. We were entrusted by nature with the ownership of this single thing, so fleeting and slippery that anyone who will can oust us from possession. What fools these mortals be! They allow the cheapest and most useless things, which can easily be replaced, to be charged in the reckoning, after they have acquired them; but they never regard themselves as in debt when they have received some of that precious commodity, – time! And yet time is the one loan which even a grateful recipient cannot repay. You

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.

Never trust the occultist who tells you that he is the head of a tradition, because if he were, in the first place, he would not tell the fact to the uninitiated, and in the second place he would in all probability be living in great seclusion and inaccessible to all but his immediate subordinates. If a man is a great artist he does not need to inform us of the fact; we shall know him by his pictures that are hung in the galleries of the nation, and we shall, moreover, find that he guards himself from casual acquaintances because of the inroads on his time to which his fame renders him liable. The more eminent a person, the harder he is to approach, not out of any spirit of pride and exclusiveness, but because so many people want to see him that discrimination has to be used in admitting them.

Edward genially enough did not disagree with what I said, but he didn't seem to admit my point, either. I wanted to press him harder so I veered close enough to the ad hominem to point out that his life—the life of the mind, the life of the book collector and music lover and indeed of the gallery-goer, appreciator of the feminine and occasional boulevardier—would become simply unlivable and unthinkable in an Islamic republic. Again, he could accede politely to my point but carry on somehow as if nothing had been conceded. I came slowly to realize that with Edward, too, I was keeping two sets of books. We agreed on things like the first Palestinian intifadah, another event that took the Western press completely off guard, and we collaborated on a book of essays that asserted and defended Palestinian rights. This was in the now hard-to-remember time when all official recognition was withheld from the PLO. Together we debated Professor Bernard Lewis and Leon Wieseltier at a once-celebrated conference of the Middle East Studies Association in Cambridge in 1986, tossing and goring them somewhat in a duel over academic 'objectivity' in the wider discipline. But even then I was indistinctly aware that Edward didn't feel himself quite at liberty to say certain things, while at the same time feeling rather too much obliged to say certain other things. A low point was an almost uncritical profile of Yasser Arafat that he contributed to Interview magazine in the late 1980s.

We may never know what another person is thinking--never truly get into anyone else's head--but photography brings us as close as anything can. When the members of an audience at an art gallery look at a picture, they can step for a moment inside the mind of the artist. Like telepathy. Like time travel. At some future date, when people gaze at my photographs of the islands, they will see what I saw. They will stand where I stood, on this granite, surrounded by this ocean. Perhaps they will even feel some of the elation I have experienced here.

Tom pondered the institutional indifference to the arrival of a new year—as though the Lights were not impressed by something as prosaic as the mere effluction of time. And it was true—the view from the gallery on New Year’s Day was indistinguishable from that of New Year’s Eve.

Those who wish their virtue to be advertised are not striving for virtue but for renown. Are you not willing to be just without being renowned? Nay, indeed you must often be just and be at the same time disgraced. And then, if you are wise, let ill repute, well won, be a delight.

What man can you show me who places any value on his time, who reckons the worth of each day, who understands that he is dying daily? For we are mistaken when we look forward to death; the major portion of death has already passed. Whatever years be behind us are in death's hands.

the most precious beings to her, and so is June. She likes to imagine a place, a safe place, where she can live one day with June and the children. June is older, wiser. She knows. She knows that two women cannot live together like a couple and be treated normally. This may occur in New York, perhaps, but not in Paris. Not in 1973. Certainly not in the kind of society the Rey family live in. She tries to explain this to Clarisse. She says they need to wait, to take their time, that things can happen quietly, slowly, with less difficulty. But Clarisse is younger and more impatient. She doesn’t want to wait. She doesn’t want to take her time.” The pain is setting in at last, like a familiar, dangerous friend you let in with apprehension. My chest feels constricted, too small to contain my lungs. I stop and take a couple of deep breaths. Angèle comes to stand behind me. Her warm body presses against mine. It gives me the strength to carry on. “That Christmas is a dreadful one for Clarisse. Never has she felt lonelier. She misses June desperately. June has her busy, active life in New York, her gallery, her society, her friends, her artists. Clarisse has only her children. She has no friends apart from Gaspard, the son of her mother-in-law’s maid. Can she trust him? What

Be vulnerable. I have tried forever to stop being vulnerable. It’s not going to happen, so, fuck it, I’ll just embrace it. And how many times have I let myself be overwhelmed by fear, I can’t even count. But always, I have found the courage to overcome those two and make it. Being vulnerable has made me the artist I am and continues to be a part of my daily existence. How else could I open my heart and create? Worrying about not being good enough or being terrified to start a new project brings out the fear. So, fuck it, I’ll embrace the fear too. Being courageous has brought me rewards I should never forget. From accomplishing my first gallery exhibitions to realizing I could handle trauma in my family with strength I didn’t know I had. All I can hope for is that I continue to allow myself to be vulnerable, face my fears and go on with courage. Maybe when facing our very human vulnerability and fear, we should take off the armor and adopt those two with an open heart. Maybe that is the ultimate act of courage. Be vulnerable.

In fact, so far as ‘love’ was concerned, I had been living for some years past in a rather makeshift manner. This was not because I felt the matter to be of little interest, like a man who hardly cares what he eats provided hunger is satisfied, or one prepared to discuss painting, should the subject arise, though never tempted to enter a picture gallery. On the contrary, my interest in love was keen enough, but the thing itself seemed not particularly simple to come by.

Pregnancy had seemed a reasonable excuse for letting her metal-smithing tools languish, but that accounted for only eighteen months of the last twenty-six years. Motherhood wasn't the real problem, though it took him a long time to figure out what was. She needed resistance, the very quality that metal most demonstrably offered up. Suddenly Glynis had no difficulty to overcome, no hard artisan's life with galleries filching half the too-small price of a mokume brooch that had taken three weeks to forge. No, her husband made a good living, and if she slept late and dawdled the afternoon away reading Lustre, American Craft Magazine and Lapidary Journal, the phone bill would still get paid. For that matter, she needed need itself. She could overcome her anguish about embarking on an object that, once completed, might not meet her exacting standards only if she had no choice. In this sense, his helping had hurt her. By providing the financial cushion that should have facilitated making all the metal whathaveyou she liked, he had ruined her life. Wrapped in a slackening bow, ease was a poisonous present.

Now while it's hanging in the gallery I pine for it. But once it's on my own wall, perhaps it will be different -- once it's here all the time, every time I lift my eyes ... when I come into the living room in the morning and in the evening ... Will it make me happy? Yes, a voice inside him said, it will make you happy.

To be lord of space, a man must be free of all bonds of place. To be heir of all things, his heart must have no things in it. He must be like him who makes things, not like one who would put everything in his pocket. He must stand on the upper, not the lower side of them. He must be as the man who makes poems, not the man who gathers books of verse. God, having made a sunset, lets it pass, and makes such a sunset no more. He has no picture-gallery, no library. What if in heaven men shall be so busy growing, that they have not time to write or to read!

But didn't everyone get everything? Hadn't they had enough yet? Everything on earth is tailored for this everyone. Everyone gets all the TV programs, damn near all the cinema, and about eighty percent of all music. After that come the secondary medium of painting and those other visual arts that do not move. Those are generally just for someone and although you always hear people moaning that there isn't enough of them, in truth someone does all right. Galleries, museums, basements in Berlin, studio flats, journals, bare walls in urban centers—someone gets what they want and deserve, most of the time. But where are the things that no one wants? Every now and then Alex would see or hear something that appeared to be for no one but soon enough it turned out to be for someone and, after a certain amount of advertising revenue had been spent, would explode into the world for everyone. Who was left to make stuff for no one?

Correct me if I’m wrong,” he said, “but I was under the impression that you weren’t looking for anything more than a short-term arrangement either, Miss Free Spirit.” She flushed. “I wasn’t the one who ran for the door that night. I was doing just fine with the summer-fling thing.” “I did not run for the door. I left in a hurry, but I did not run.” “Details.” “Important details. And I’d like to remind you that I showed at your gallery the next morning,” he said. “It’s not like I didn’t call. And how the hell do you think I felt when you told me that the sex had been therapeutic? You made it sound like a good massage or a tonic, damn it.” She bit her lip. “Well, it was in a way.” “Great. Well, do me a favor. The next time you want physical therapy, call a masseuse or a chiropractor. Or buy a vibrator.

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.

Museum architectural search committees have invariably included the Kimbell in their international scouting tours of exemplary art galleries (a practice pioneered by Velma Kimbell, the founder’s widow, in 1964). Those groups no doubt respond to the Kimbell with suitable reverence, but given the buildings they later commissioned, many post-Bilbao museum patrons obviously wanted something quite different. The disparity between Kahn’s museums and recent examples of that genre parallels the discrepancy he saw between postwar Modernism and ancient Classicism: “Our stuff looks tinny compared to it.” At a time when commercial values are systematically corrupting the museum - one of civilized society’s most elevating experiences - the example of Kahn, among the most courageous and successful architectural reformers of all time, seems more relevant and cautionary than ever.

He swore, reaching for Jonathan's nerves before the man could fire a third time. Victor caught them, turned the dial, as he had in the art gallery, and just like in the art gallery, the blue-white light of Jonathan's forcefield flared up, instantly shielding him. Victor felt his hold slipping, but this time he didn't let go. Every object had a shatter point, a limitation to its tensile strength. Apply enough force, and it would break.

I said that I too sometimes did not understand what I saw in galleries, or read in books. Though I understood the pressure of feeling like you had to have a view or opinion, especially one that you could articulate clearly, which usually only came with a certain education. This, I said, allowed you to speak of history and context, and was in many ways like a foreign language. For a long time, I had believed in this language, and I had done my best to become fluent in it. But I said that sometimes, increasingly often in fact, I was beginning to feel like this kind of response too was false, a performance, and not the one I had been looking for. Sometimes, I looked at a painting, and felt completely nothing. Or if I had a feeling, it was only intuitive, a reaction, nothing that could be expressed in words. It was all right, I said, to simply say if that was so. The main thing was to be open, to listen, to know when and when not to speak.

I was getting into bed, pulling back the covers, when Kathy walked into the bedroom, brushing her teeth. “I forgot to tell you. Nicole is back in London next week.” “Nicole?” “You remember Nicole. We went to her going-away party.” “Oh, yeah. I thought she moved to New York.” “She did. And now she’s back.” A pause. “She wants me to meet her on Thursday … Thursday night after rehearsal.” I don’t know what aroused my suspicion. Was it the way Kathy was looking in my direction but not making eye contact? I sensed she was lying. I didn’t say anything. Neither did she. She disappeared from the door. I could hear her in the bathroom, spitting out the toothpaste and rinsing her mouth. Perhaps there was nothing to it. Perhaps it was entirely innocent and Kathy really was going to meet Nicole on Thursday. Perhaps. Only one way to find out. CHAPTER NINETEEN THERE WERE NO QUEUES OUTSIDE Alicia’s gallery this time, as there had been that day, six years ago, when I had gone to see the Alcestis.

This is merely one of the sides of the conspiracy. The other side is that of the spectator who, for want of understanding anything whatever most of the time, consumes his own culture at one remove. He literally consumes the fact that he understands nothing and that there is no necessity in all this except the imperative of culture, of being a part of the integrated circuit of culture. But culture is itself merely an epiphenomenon of global circulation. The idea of art has become rarefied and minimal, leading ultimately to conceptual art, where it ends in the non-exhibition of non-works in non-galleries - the apotheosis of art as non-event. As a corollary, the consumer circulates in all this in order to experience his non- enjoyment of the works.

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.

The charm of a city, now we come to it, is not unlike the charm of flowers. It partly depends on seeing time creep across it. Charm needs to be fleeting. Nothing could be less palatable than a museum-city propped up by prosthetic devices of concrete. Paris is not in danger of becoming a museum-city, thanks to the restlessness and greed of promoters. Yet their frenzy to demolish everything is less objectionable than their clumsy determination to raise housing projects that cannot function without the constant presence of an armed police force… All these banks, all these glass buildings, all these mirrored facades are the mark of a reflected image. You can no longer see what’s happening inside, you become afraid of the shadows. The city becomes abstract, reflecting only itself. People almost seem out of place in this landscape. Before the war, there were nooks and crannies everywhere. Now people are trying to eliminate shadows, straighten streets. You can’t even put up a shed without the personal authorization of the minister of culture. When I was growing up, my grandpa built a small house. Next door the youth club had some sheds, down the street the local painter stored his equipment under some stretched-out tarpaulin. Everybody added on. It was telescopic. A game. Life wasn’t so expensive — ordinary people would live and work in Paris. You’d see masons in blue overalls, painters in white ones, carpenters in corduroys. Nowadays, just look at Faubourg Sainte-Antoine — traditional craftsmen are being pushed out by advertising agencies and design galleries. Land is so expensive that only huge companies can build, and they have to build ‘huge’ in order to make it profitable. Cubes, squares, rectangles. Everything straight, everything even. Clutter has been outlawed. But a little disorder is a good thing. That’s where poetry lurks. We never needed promoters to provide us, in their generosity, with ‘leisure spaces.’ We invented our own. Today there’s no question of putting your own space together, the planning commission will shut it down. Spontaneity has been outlawed. People are afraid of life.

A wonderful man, Ivan Ivanovich! He has a great love of melons. They’re his favorite food. As soon as he finishes dinner and goes out to the gallery in nothing but his shirt, he immediately tells Gapka to bring two melons. Then he cuts them up himself, collects the seeds in a special piece of paper, and begins to eat. Then he tells Gapka to bring the inkpot and himself, with his own hand, writes on the paper with the seeds: “This melon was eaten on such-and-such date.” If there was some guest at the time, then: “with the participation of so-and-so.

Flaubert believed that it was impossible to explain one art form in terms of another, and that great paintings required no words of explanation. Braque thought the ideal state would be reached when we said nothing at all in front of a painting. But we are very far from reaching that state. We remain incorrigibly verbal creatures who love to explain things, to form opinions, to argue. Put us in front of a picture and we chatter, each in our different way. Proust, when going round an art gallery, liked to comment on who the people in the pictures reminded him of in real life; which might have been a deft way of avoiding the direct aesethetic confrontation. But it is a rare picture that stuns, or argues, us into silence. And if one does, it is only a short time before we want to explain and understand the very silence into which we have been plunged.

I barely registered moving into the long gallery, one hand absentmindedly wrapping around my throat as I looked up at the paintings. So many, so different, yet all arranged to flow together seamlessly... Such different views and snippets and angles of the world. Pastorals, portraits, still lifes . . . each a story and an experience, each a voice shouting or whispering or singing about what that moment, that feeling, had been like, each a cry into the void of time that they had been here, had existed. Some had been painted through eyes like mine, artists who saw in colors and shapes I understood. Some showcased colors I had not considered; these had a bend to the world that told me a different set of eyes had painted them. A portal into the mind of a creature so unlike me, and yet . . . and yet I looked at its work and understood, and felt, and cared.

As it recurred again and again, it set me thinking of what my architect's books say about the custom in early times to consecrate the choir as soon as it was built, and that the nave, being finished sometimes half a century later, often did not get any blessing at all: I wondered idly if that had been the case at St. Barnabe, and whether something not usually supposed to be at home in a Christian church, might have entered undetected, and taken possession of the west gallery. I had read of such things happening too, but not in works on architecture. ("In The Court Of The Dragon")

In the seven years I worked at the Tate Gallery in London about six and a half were spent discussing possible exhibition titles. “I Kid You Not,” “No Word of a Lie,” “It’s a Material World,” were all discussed at some time or another as potential names for a show. A typical “titles meeting” would involve about fifteen people, thirteen of whom remained mute, other than to say “no” or “absolutely not,” while a couple of optimistic individuals made suggestions. It was ridiculous, of course, but it does highlight a central tension in the art world: public engagement versus scholarship.

In the parlor was a huge camera on wheels like the ones used in public parks, and the backdrop of a marine twilight, painted with homemade paints, and the walls papered with pictures of children at memorable moments: the first Communion, the bunny costume, the happy birthday. Year after year, during contemplative pauses on afternoons of chess, Dr. Urbino had seen the gradual covering over of the walls, and he had often thought with a shudder of sorrow that in the gallery of casual portraits lay the germ of the future of the city, governed and corrupted by those unknown children, where note even the ashes of his glory would remain.

Ultimately, the salon, Steffens noted, helped change the public perception of Greenwich Village, although hardly in the manner Dodge had hoped. What had been a neighborhood better known for cheap rents and no shortage of decrepit apartments was becoming almost chic, a kind of Latin Quarter in Manhattan. Small theaters and art galleries sprang up, and midtown shoppers and tourists took the time to cruise through the Village for a look at the new trendsetters. Steffens did not recall it as being exceptionally fashionable back in 1911, judging his own lifestyle to be “Bohemian, but not the fake sort.” If it was not fake, it was hardly genuine, either. Steffens was not about to starve in Greenwich Village.

Did you go to the the theatre last time you were here? 'No, it's too expensive.' 'What did you do?' 'What tourists always do in New York City. Empire State, Statue of and all the galleries. There's a million galleries.' 'Where'd you stay?' 'The first two nights, I slept in an abandoned car. A Pontiac Grand Am.' Weren't you scared?' 'Not really. It had a doorman.

He began as a minor imitator of Fitzgerald, wrote a novel in the late twenties which won a prize, became dissatisfied with his work, stopped writing for a period of years. When he came back it was to BLACK MASK and the other detective magazines with a curious and terrible fiction which had never been seen before in the genre markets; Hart Crane and certainly Hemingway were writing of people on the edge of their emotions and their possibility but the genre mystery markets were filled with characters whose pain was circumstantial, whose resolution was through action; Woolrich's gallery was of those so damaged that their lives could only be seen as vast anticlimax to central and terrible events which had occurred long before the incidents of the story. Hammett and his great disciple, Chandler, had verged toward this more than a little, there is no minimizing the depth of their contribution to the mystery and to literature but Hammett and Chandler were still working within the devices of their category: detectives confronted problems and solved (or more commonly failed to solve) them, evil was generalized but had at least specific manifestations: Woolrich went far out on the edge. His characters killed, were killed, witnessed murder, attempted to solve it but the events were peripheral to the central circumstances. What I am trying to say, perhaps, is that Hammett and Chandler wrote of death but the novels and short stories of Woolrich *were* death. In all of its delicacy and grace, its fragile beauty as well as its finality. Most of his plots made no objective sense. Woolrich was writing at the cutting edge of his time. Twenty years later his vision would attract a Truffaut whose own influences had been the philosophy of Sartre, the French nouvelle vague, the central conception that nothing really mattered. At all. But the suffering. Ah, that mattered; that mattered quite a bit.

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.

The faint metallic smell of the falling snow surrounds her. calm yourself. Listen. Cars splash along streets, and snowmelt drums through runnels; she can hear snowflakes tick and patter through the trees. She can smell the cedars in the Jarin des Plantes a quarter mile away. Here the Metro hurdles beneath the sidewalk; that's the Quai Saint-Bernard. Here the sky opens up, and she hears the clacking of branches: that's the narrow stripe of gardens behind the Gallery of Paleontology. This, she realizes, must be the corner of the quay and rue Cuvier. ' Six blocks, forty buildings, ten tiny trees in a square. This street intersects this street intersects this street. One centimeter at a time. Her father stirs the keys in his packets. Ahead loom the tall, grand houses that flanked the gardens, reflecting sound. She says, "we go left

A morning-flowered dalliance demured and dulcet-sweet with ebullience and efflorescence admiring, cozy cottages and elixirs of eloquence lie waiting at our feet - We'll dance through fetching pleasantries as we walk ephemeral roads evocative epiphanies ethereal, though we know our hearts are linked with gossamer halcyon our day a harbinger of pretty things infused with whispers longing still and gamboling in sultry ways to feelings, all ineffable screaming with insouciance masking labyrinthine paths where, in our nonchalance, we walk through the lilt of love’s new morning rays. Mellifluous murmurings from a babbling brook that soothes our heated passion-songs and panoplies perplexed with thought of shadows carried off with clouds in stormy summer rains… My dear, and that I can call you 'dear' after ripples turned to crashing waves after pyrrhic wins, emotions drained we find our palace sunned and rayed with quintessential moments lit with wildflower lanterns arrayed on verandahs lush with mutual love, the softest love – our preferred décor of life's lilly-blossom gate in white-fenced serendipity… Twilight sunlit heavens cross our gardens, graced with perseverance, bliss, and thee, and thou, so splendid, delicate as a morning dove of charm and mirth – at least with me; our misty mornings glide through air... So with whippoorwill’d sweet poetry - of moonstones, triumphs, wonder-woven in chandliers of winglet cherubs wrought with time immemorial, crafted with innocence, stowed away and brought to light upon our day in hallelujah tapestries of ocean-windswept galleries in breaths of ballet kisses, light, skipping to the breakfast room cascading chrysalis's love in diaphanous imaginings delightful, fleeting, celestial-viewed as in our eyes which come to rest evocative, exuberant on one another’s moon-stowed dreams idyllic, in quiescent ways, peaceful in their radiance resplendent with a myriad of thought soothing muse, rhapsodic song until the somnolence of night spreads out again its shaded truss of luminescent fantasies waiting to be loved by us… Oh, love! Your sincerest pardons begged! I’ve gone too long, I’ve rambled, dear, and on and on and on and on - as if our hours were endless here… A morning toast, with orange-juiced lips exalting transcendent minds suffused with sunrise symphonies organic-born tranquilities sublimed sonorous assemblages with scintillas of eternity beating at our breasts – their embraces but a blushing, longing glance away… I’ll end my charms this enraptured morn' before cacophony and chafe coarse in crude and rough abrade when cynical distrust is laid by hoarse and leeching parasites, distaste fraught with smug disgust by hairy, smelly maladroit mediocrities born of poisoned wells grotesque with selfish lies - shrill and shrieking, biting, creeping around our love, as if they rose from Edgar Allen’s own immortal rumpled decomposing clothes… Oh me, oh my! I am so sorry! can you forgive me? I gone and kissed you for so long, in my morning imaginings, through these words, through this song - ‘twas supposed to be "a trifle treat," but little treats do sometimes last a little longer; and, oh, but oh, but if I could, I surly would keep you just a little longer tarrying here, tarrying here with me this pleasant morn

Jaidee always insisted that the Kingdom was a happy country, that old story about the Land of Smiles. But Kanya cannot think of a time when she has seen smiles as wide as those in museum photos from before the Contraction. She sometimes wonders if those people in the photos were acting, if perhaps the National Gallery is intended to depress her, or if it is really true that at one point people smiled so totally, so fearlessly.

It's a difficult path that we tread, us Indie self-publishers, but we're not alone. How many bands practicing in their dad’s garage have heard of a group from the neighbourhood who got signed by a recording company? Or how many artists who love to paint, but are not really getting anywhere with it hear of someone they went to art school with being offered an exhibition in a gallery? How many chefs who love to get creative around food hear of someone else who’s just landed a job with Marco Pierre White? There’s no difference between us and them. There is, however, a huge difference in how everyone else perceives the writer. And there’s a huge difference between all of us – the writers, the musicians, the composers, the chefs, the dance choreographers and to a certain extent the tradesmen - and the rest of society in that no one understands us. It’s a wretched dream to hope that our creativity gets recognised while our family thinks we’re wasting our time when the lawn needs mowing, the deck needs painting and the bedroom needs decorating. It’s acceptable to go into the garage to tinker about with a motorbike, but it’s a waste of a good Sunday afternoon if you go into the garage and practice your guitar, or sit in your study attempting to capture words that have been floating around your brain forever.

After dark on Saturday night one could stand on the first tee of the golf-course and see the country-club windows as a yellow expanse over a very black and wavy ocean. The waves of this ocean, so to speak, were the heads of many curious caddies, a few of the more ingenious chauffeurs, the golf professional's deaf sister--and there were usually several stray, diffident waves who might have rolled inside had they so desired. This was the gallery. The balcony was inside. It consisted of the circle of wicker chairs that lined the wall of the combination clubroom and ballroom. At these Saturday-night dances it was largely feminine; a great babel of middle-aged ladies with sharp eyes and icy hearts behind lorgnettes and large bosoms. The main function of the balcony was critical. It occasionally showed grudging admiration, but never approval, for it is well known among ladies over thirty-five that when the younger set dance in the summer-time it is with the very worst intentions in the world, and if they are not bombarded with stony eyes stray couples will dance weird barbaric interludes in the corners, and the more popular, more dangerous, girls will sometimes be kissed in the parked limousines of unsuspecting dowagers. But, after all, this critical circle is not close enough to the stage to see the actors' faces and catch the subtler byplay. It can only frown and lean, ask questions and make satisfactory deductions from its set of postulates, such as the one which states that every young man with a large income leads the life of a hunted partridge. It never really appreciates the drama of the shifting, semicruel world of adolescence. No; boxes, orchestra-circle, principals, and chorus are represented by the medley of faces and voices that sway to the plaintive African rhythm of Dyer's dance orchestra.

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.

This was all splendid stuff for Luciaphils; it was amazing how at a first glance she recognised everybody. The gallery, too, was full of dears and darlings of a few weeks' standing, and she completed a little dinner-party for next Tuesday long before she had made the circuit. All the time she kept Stephen by her side, looked over his catalogue, put a hand on his arm to direct his attention to some picture, took a speck of alien material off his sleeve, and all the time the entranced Adele felt increasingly certain that she had plumbed the depth of the adorable situation. Her sole anxiety was as to whether Stephen would plumb it too. He might--though he didn't look like it--welcome these little tokens of intimacy as indicating something more, and when they were alone attempt to kiss her, and that would ruin the whole exquisite design. Luckily his demeanour was not that of a favoured swain; it was, on the other hand, more the demeanour of a swain who feared to be favoured, and if that shy thing took fright, the situation would be equally ruined. . . . To think that the most perfect piece of Luciaphilism was dependent on the just perceptions of Stephen! As the three made their slow progress, listening to Lucia's brilliant identifications, Adele willed Stephen to understand; she projected a perfect torrent of suggestion towards his mind. He must, he should understand. . .

Grant paused in the act of turning the thing over, to consider the face a moment longer. A judge? A soldier? A prince? Someone used to great responsibility, and responsible in his authority. Someone too-conscientious. A worrier; perhaps a perfectionist. A man at ease in a large design, but anxious over details. A candidate for gastric ulcer. Someone, too, who had suffered ill-health as a child. He had that incommunicable, that indescribable look that childhood suffering leaves behind it; less positive than the look on a cripple’s face, but as inescapable. This the artist had both understood and translated into terms of paint. The slight fullness of the lower eyelid, like a child that has slept too heavily; the texture of the skin; the old-man look in a young face. He turned the portrait over to look for a caption. On the back was printed: Richard the Third. From the portrait in the National Portrait Gallery. Artist Unknown.

Her pretty name of Adina seemed to me to have somehow a mystic fitness to her personality. Behind a cold shyness, there seemed to lurk a tremulous promise to be franker when she knew you better. Adina is a strange child; she is fanciful without being capricious. She was stout and fresh-coloured, she laughed and talked rather loud, and generally, in galleries and temples, caused a good many stiff British necks to turn round. She had a mania for excursions, and at Frascati and Tivoli she inflicted her good-humoured ponderosity on diminutive donkeys with a relish which seemed to prove that a passion for scenery, like all our passions, is capable of making the best of us pitiless. Adina may not have the shoulders of the Venus of Milo...but I hope it will take more than a bauble like this to make her stoop. Adina espied the first violet of the year glimmering at the root of a cypress. She made haste to rise and gather it, and then wandered further, in the hope of giving it a few companions. Scrope sat and watched her as she moved slowly away, trailing her long shadow on the grass and drooping her head from side to side in her charming quest. It was not, I know, that he felt no impulse to join her; but that he was in love, for the moment, with looking at her from where he sat. Her search carried her some distance and at last she passed out of sight behind a bend in the villa wall. I don't pretend to be sure that I was particularly struck, from this time forward, with something strange in our quiet Adina. She had always seemed to me vaguely, innocently strange; it was part of her charm that in the daily noiseless movement of her life a mystic undertone seemed to murmur "You don't half know me! Perhaps we three prosaic mortals were not quite worthy to know her: yet I believe that if a practised man of the world had whispered to me, one day, over his wine, after Miss Waddington had rustled away from the table, that there was a young lady who, sooner or later, would treat her friends to a first class surprise, I should have laid my finger on his sleeve and told him with a smile that he phrased my own thought. .."That beautiful girl," I said, "seems to me agitated and preoccupied." "That beautiful girl is a puzzle. I don't know what's the matter with her; it's all very painful; she's a very strange creature. I never dreamed there was an obstacle to our happiness--to our union. She has never protested and promised; it's not her way, nor her nature; she is always humble, passive, gentle; but always extremely grateful for every sign of tenderness. Till within three or four days ago, she seemed to me more so than ever; her habitual gentleness took the form of a sort of shrinking, almost suffering, deprecation of my attentions, my petits soins, my lovers nonsense. It was as if they oppressed and mortified her--and she would have liked me to bear more lightly. I did not see directly that it was not the excess of my devotion, but my devotion itself--the very fact of my love and her engagement that pained her. When I did it was a blow in the face. I don't know what under heaven I've done! Women are fathomless creatures. And yet Adina is not capricious, in the common sense... .So these are peines d'amour?" he went on, after brooding a moment. "I didn't know how fiercely I was in love!" Scrope stood staring at her as she thrust out the crumpled note: that she meant that Adina--that Adina had left us in the night--was too large a horror for his unprepared sense...."Good-bye to everything! Think me crazy if you will. I could never explain. Only forget me and believe that I am happy, happy, happy! Adina Beati."... Love is said to be par excellence the egotistical passion; if so Adina was far gone. "I can't promise to forget you," I said; "you and my friend here deserve to be remembered!

As a species we are a predominantly intelligent and exploratory animal, and beliefs harnessed to this fact will be the most beneficial for us. A belief in the validity of the acquisition of knowledge and a scientific understanding of the world we live in, the creation and appreciation of aesthetic phenomena in all their many forms, and the broadening and deepening of our range of experiences in day-to-day living, is rapidly becoming the 'religion' of our time. Experience and understanding are our rather abstract god-figures, and ignorance and stupidity will make them angry. Our schools and universities are our religious training centres, our libraries, museums, art galleries, theatres, concert halls and sports arenas are our places of communal worship. At home we worship with our books. newspapers. magazines, radios and television sets. In a sense, we still believe in an after-life, because part of the reward obtained from our creative works is the feeling that, through them, we will 'live on' after we are dead. Like all religions, this one has its dangers, but if we have to have one, and it seems that we do, then it certainly appears to be the one most suitable for the unique biological qualities of our species. Its adoption by an ever-growing majority of the world population can serve as a compensating and reassuring source of optimism to set against the pessimism (...) concerning our immediate future as a surviving species.

I should think of the universe as a giant painting rendered in more than three dimensions; some scientists say eleven, some say fewer, some say more, but no one knows—or will ever know—for sure. In an art gallery, when you stand too close to a large canvas executed in only two dimensions, you can see the artist’s brushstrokes and certain details clearly, but you can’t understand either the full effect of the piece or the artist’s intentions. You have to step back and step back again, and sometimes yet again, in order to grasp the totality of the work. To understand the universe, our world, and all life in the world, you have to step out of time, which for living humanity is not an option, because we are a part of this painting, characters within it, able to perceive it only as a continuing series of events, episodes. However, because we are conscious creatures with the gift of reason, we can seek and learn and extrapolate from what we learn, and conceive the truth.

You're trying to be charming again," Shelby muttered. "Am I succeeding?" Some questions were best ignored. "I really don't know how to be more succinct, Alan." Was that part of the appeal? he wondered. The fact that the free-spirited Gypsy could turn into the regal duchess in the blink of an eye. He doubted she had any notion she was as much one as the other. "You have a wonderful speaking voice.What time will you be ready?" Shelby huffed and frowned and considered. "If I agree to spend some time with you today, will you stop sending me things?" Alan was silent for a long moment. "Are you going to take a politician's word?" Now she had to laugh. "All right, you've boxed me in on that one." "It's a beautiful day, Shelby.I haven't had a free Saturday in over a month. Come out with me." She twined the phone cord around her finger. A refusal seemed so petty, so bad-natured.He was really asking her for very little, and-dammit-she wanted to see him. "All right, Alan, every rule needs to be bent a bit now and again to prove it's really a rule after all." "If you say so.Where would you like to go? There's an exhibition of Flemish art at the National Gallery." Shelby's lips curved. "The zoo," she said and waited for his reaction. "Fine," Alan agreed without missing a beat. "I'll be there in ten minutes." With a sigh,Shelby decided he just wasn't an easy man to shake. "Alan, I'm not dressed." "I'll be there in five." On a burst of laughter, she slammed down the phone.

I love the way the rain melts the colors together, like a chalk drawing on the sidewalk. There is a moment, just after sunset, when the shops turn on their lights and steam starts to fog up the windows of the cafés. In French, this twilight time implies a hint of danger. It's called entre chien et loup, between the dog and the wolf. It was just beginning to get dark as we walked through the small garden of Palais Royal. We watched as carefully dressed children in toggled peacoats and striped woolen mittens finished the same game of improvised soccer we had seen in the Place Sainte Marthe. Behind the Palais Royal the wide avenues around the Louvre gave way to narrow streets, small boutiques, and bistros. It started to drizzle. Gwendal turned a corner, and tucked in between two storefronts, barely wider than a set of double doors, I found myself staring down a corridor of fairy lights. A series of arches stretched into the distance, topped with panes of glass, like a greenhouse, that echoed the plip-plop of the rain. It was as if we'd stepped through the witch's wardrobe, the phantom tollbooth, what have you, into another era. The Passage Vivienne was nineteenth-century Paris's answer to a shopping mall, a small interior street lined with boutiques and tearooms where ladies could browse at their leisure without wetting the bustles of their long dresses or the plumes of their new hats. It was certainly a far cry from the shopping malls of my youth, with their piped-in Muzak and neon food courts. Plaster reliefs of Greek goddesses in diaphanous tunics lined the walls. Three-pronged brass lamps hung from the ceiling on long chains. About halfway down, there was an antique store selling nothing but old kitchenware- ridged ceramic bowls for hot chocolate, burnished copper molds in the shape of fish, and a pewter mold for madeleines, so worn around the edges it might have belonged to Proust himself. At the end of the gallery, underneath a clock held aloft by two busty angels, was a bookstore. There were gold stencils on the glass door. Maison fondée en 1826.

He was beautiful. Whatever else he was, Sage was by far the most magnetic man I had ever seen. I had felt it in my dreams, and it was even more true in real life. I welcomed the chance to study him without his knowledge. He glanced up, and I quickly closed my eyes, feigning sleep. Had he seen me? The scratching stopped. He was looking at me, I knew it. I held my breath and willed my eyes not to pop open and see if he was staring. Finally the scratching started up again. I forced myself to slowly count to ten before I opened my eyelids the tiniest bit and peeked through my lashes. Good-he wasn’t looking at me. I opened my eyes a little wider. What was he doing? Moving only my eyes, I glanced down at the dirt floor in front of him… …and saw a picture of me, fast asleep. It was incredible. I could see his tools laid out beside the picture: rocks in several sizes and shapes, a couple of twigs…the most rudimentary materials, and yet what he was etching into the floor wouldn’t look out of place on an art gallery wall. It was beautiful…far more beautiful than I thought I actually looked in my sleep. Is that how he saw me? Sage lifted his head again, and I shut my eyes. I imagined him studying me, taking careful note of my features and filtering them through his own senses. My heartbeat quickened, and it took all my willpower to remain still. “You can keep pretending to be asleep if you’d like, but I don’t see a career for you as an actress,” he teased. My eyes sprang open. Sage’s head was again bent over his etching, but a grin played on his face as he worked. “You knew?” I asked, mortified. Sage put a finger to his lips, glancing toward Ben. “About two minutes before you woke up, I knew,” he whispered. “Your breathing hanged.” He bent back over the drawing, then impishly asked, “Pleasant dreams?” My heart stopped, and I felt myself blush bright crimson as I remembered our encounter in the bottom of the rowboat. I sent a quick prayer to whoever or whatever might be listening that I hadn’t re-enacted any of it in my sleep, then said as nonchalantly as possible, “I don’t know, I can’t remember what I dreamed about. Why?” He swapped out the rock in his hand for one with a thinner edge and worked for another moment. “No reason…just heard my name.” I hoped the dim moonlight shadowed the worst of my blush. “Your name,” I reiterated. “That’s…interesting. They say dreams sort out things that happen when we’re awake.” “Hmm. Did you sort anything out?” he asked. “Like I said, I can’t remember.” I knew he didn’t believe me. Time to change the subject. I nodded to the etching. “Can I come look?

To be lord of space, a man must be free of all bonds to place. To be heir of all things, his heart must have no THINGS in it. He must be like him who makes things, not like one who would put everything in his pocket. He must stand on the upper, not the lower side of them. He must be as the man who makes poems, not the man who gathers books of verse. God, having made a sunset, lets it pass, and makes such a sunset no more. He has no picture-gallery, no library. What if in heaven men shall be so busy growing, that they have not time to write or to read!

For all the allure of speciously stress-free suburbs, for all the grinding of city life, cities endure. And when all those diverse energies are harnessed, and those choices, private and public, cohere, and all the bargains made in a million ways every day hold up, then a city flourishes and is the most stimulating center for life, and the most precious artifact, a culture can create. Think of great cities large and small (size, as with any work of art, does not necessarily determine value) and, in addition to nodes of government, commerce, law, hospitals, libraries, and newspapers will come to mind, as will restaurants and theaters and houses of worship and museums and opera houses and galleries and universities. And so will stadia and arenas and parks. In short, once finds not simply commerce but culture, not simply work but leisure, not only negotium but otium, not simply that which ennobles but also that which perfects us. Such has forever been the ultimate purpose of a city, to mirror our higher state, not simply to shelter us from wind and rain. As with leisure, so with the city: It is the setting to make us not the best that Nature can make us, but to manifest the best we, humankind, adding Art to Nature, can make us.

There,he reminds me of you." Shelby indicated a black panther stretched in a path of sunlight, calmly watching the river of people who passed by. "Is that so?" Alan studied the cat. "Indolent? Subdued?" Shelby let out her smoke-edged laugh. "Oh,no, Senator.Patient, brooding. And arrogant enough to believe this confinement is nothing he can't work with." Turning, she leaned back against the barrier to consider Alan as she had considered the panther. "He's taken stock of the situation,and decided he can pretty much have his own way as things are.I wonder..." Her brows drew together inn concentration. "I wonder just what he'd do if he were really crossed.He doesn't appear to have a temper. Cats usually don't until they're pushed too far just that one time, and then-they're deadly." Alan gave her an odd smile before he took her hand to draw her toward the path again. "He normally sees that he's not often crossed." Shelby tossed her head and met the smile with a bland look. "Let's go look at the monkeys.It always makes me think I'm sitting in the Senate Gallery." "Nasty," he commented and tugged on her hair. "I know.I couldn't help it." Briefly she rested her head on his shoulder as they walked. "I'm often not a nice person. Grant and I both seem to have inherited a streak of sarcasm-or maybe it's cynicism.

Are there no men present? Do you promise me that behind that red curtain over there the figure of Sir Chartres Biron is not concealed? We are all women, you assure me? Then I may tell you that the very next words I read were these—“Chloe liked Olivia . . .” Do not start. Do not blush. Let us admit in the privacy of our own society that these things sometimes happen. Sometimes women do like women. “Chloe liked Olivia,” I read. And then it struck me how immense a change was there. Chloe liked Olivia perhaps for the first time in literature. Cleopatra did not like Octavia. And how completely Antony and Cleopatra would have been altered had she done sol As it is, I thought, letting my mind, I am afraid, wander a little from Life’s Adventure, the whole thing is simplified, conventionalised, if one dared say it, absurdly. Cleopatra’s only feeling about Octavia is one of jealousy. Is she taller than I am? How does she do her hair? The play, perhaps, required no more. But how interesting it would have been if the relationship between the two women had been more complicated. All these relationships between women, I thought, rapidly recalling the splendid gallery of fictitious women, are too simple. So much has been left out, unattempted. And I tried to remember any case in the course of my reading where two women are represented as friends.

The portrait was stolen on 21 August 1911 and the Louvre was closed for an entire week to aid the investigation of the theft. French poet Guillaume Apollinaire, who had once called for the Louvre to be burnt down, was arrested and put in jail. Apollinaire tried to implicate his friend Pablo Picasso, who was also brought in for questioning, but both were later released and exonerated. At the time, the painting was believed to be lost forever, and it was two years before the real thief was discovered. Louvre employee Vincenzo Peruggia had stolen it by entering the building during regular hours, concealing himself in a broom closet and walking out with it hidden under his coat after the museum had closed. Peruggia was an Italian patriot, who believed Leonardo’s painting should be returned to Italy for display in an Italian museum. Peruggia may have also been motivated by a friend who sold copies of the painting, which would skyrocket in value after the theft of the original. After having kept the painting in his apartment for two years, Peruggia grew impatient and was finally caught when he attempted to sell it to the directors of the Uffizi Gallery in Florence. The painting was exhibited all over Italy and returned to the Louvre in 1913. Peruggia was hailed for his patriotism in Italy and served only six months in jail for the crime.

We don’t talk about anything substantial, it’s just the introductory session, the getting-to-know-you stuff; he asks me what the trouble is and I tell him about the panic attacks, the insomnia, the fact that I lie awake at night too frightened to fall asleep. He wants me to talk a bit more about that, but I’m not ready yet. He asks me whether I take drugs, drink alcohol. I tell him I have other vices these days, and I catch his eye and I think he knows what I mean. Then I feel as if I ought to be taking this a bit more seriously, so I tell him about the gallery closing and that I feel at a loose end all the time, my lack of direction, the fact that I spend too much time in my head.

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.

We both had wanted to see a Mark Rothko exhibit at the Yale Art Gallery but, because of a labor dispute, some of the university's buildings, including the museum, were closed. As Bill and I walked by, he decided he could get us in if we offered to pick up the litter that had accumulated in the gallery's courtyard. Watching him talk our way in was the first time I saw his persuasiveness in action. We had the entire museum to ourselves. We wandered through the galleries talking about Rothko and twentieth-century art. I admit to being surprised at his interest in and knowledge of subjects that seemed, at first, unusual for a Viking from Arkansas. We ended up in the museum's courtyard, where I sat in the large lap of Henry Moore's sculpture Drape Seated Woman while we talked until dark.

And one cold Tuesday in December, when Marie-Laure has been blind for over a year, her father walks her up rue Cuvier to the edge of the Jardin des Plantes. "Here, ma chérie, is the path we take every morning. Through the cedars up ahead is the Grand Gallery." "I know, Papa." He picks her up and spins her around three times. "Now," he says, "you're going to take us home." Her mouth drops open. "I want you to think of the model, Marie." "But I can't possibly!" "I'm one step behind you. I won't let anything happen. You have your cane. You know where you are." "I do not!" "You do." Exasperation. She cannot even say if the gardens are ahead or behind. "Calm yourself, Marie. One centimeter at a time." "I'm far, Papa. Six blocks, at least." "Six blocks is exactly right. Use logic. Which way should we go first?" The world pivots and rumbles. Crows shout, brakes hiss, someone to her left bangs something metal with what might be a hammer. She shuffles forward until the tip of her cane floats in space. The edge of a curb? A pond, a staircase, a cliff? She turns ninety degrees. Three steps forward. Now her cane finds the base of a wall. "Papa?" "I'm here." Six paces seven paces eight. A roar of noise - an exterminator just leaving a house, pump bellowing - overtakes them. Twelve paces farther on, the bell tied around the handle of a shop door rings, and two women came out, jostling her as they pass. Marie-Laure drops her cane; she begins to cry. Her father lifts her, holds her to his narrow chest. "It's so big," she whispers. "You can do this, Marie." She cannot.

I think that life would suddenly seem wonderful to us if we were threatened to die as you say. Just think of how many projects, travels, love affairs, studies, it—our life—hides from us, made invisible by our laziness which, certain of a future, delays them incessantly. But let all this threaten to become impossible for ever, how beautiful it would become again! Ah! if only the cataclysm doesn’t happen this time, we won’t miss visiting the new galleries of the Louvre, throwing ourselves at the feet of Miss X, making a trip to India. The cataclysm doesn’t happen, we don’t do any of it, because we find ourselves back in the heart of normal life, where negligence deadens desire. And yet we shouldn’t have needed the cataclysm to love life today. It would have been enough to think that we are humans, and that death may come this evening.

Lady Thornton!” the prosecutor rapped out, and he began firing questions at her so rapidly that she could scarcely keep track of them. “Tell us the truth, Lady Thornton. Did that man”-his finger pointed accusingly to where Ian was sitting, out of Elizabeth’s vision-“fid you and bribe you to come back here and tell us this absurd tale? Or did he find you and threaten your life if you didn’t come here today? Isn’t it true that you have no idea where your brother is? Isn’t it true that by your own admission a few moments ago you fled in terror for your life from this cruel man? Isn’t it true that you are afraid of further cruelty from him-“ “No!” Elizabeth cried. Her gaze raced over the male faces around and above her, and she could see not one that looked anything but either dubious or contemptuous of the truths she had told. “No further questions!” “Wait!” In that infinitesimal moment of time Elizabeth realized that if she couldn’t convince them she was telling the truth, she might be able to convince them she was too stupid to make up such a lie. “Yes, my lord,” her voice rang out. “I cannot deny it-about his cruelty, I mean.” Sutherland swung around, his eyes lighting up, and renewed excitement throbbed in the great chamber. “You admit this is a cruel man?” “Yes, I do,” Elizabeth emphatically declared. “My dear, poor woman, could you tell us-all of us-some examples of his cruelty?” “Yes, and when I do, I know you will all understand how truly cruel my husband can be and why I ran off with Robert-my brother, that is.” Madly, she tried to think of half-truths that would not constitute perjury, and she remembered Ian’s words the night he came looking for her at Havenhurst. “Yes, go on.” Everyone in the galleries leaned forward in unison, and Elizabeth had the feeling the whole building was tipping toward her. “When was the last time your husband was cruel?” “Well, just before I left he threatened to cut off my allowance-I had overspent it, and I hated to admit it.” “You were afraid he would beat you for it?” “No, I was afraid he wouldn’t give me more until next quarter!” Someone in the gallery laughed, then the sound was instantly choked. Sutherland started to frown darkly, but Elizabeth plunged ahead. “My husband and I were discussing that very thing-my allowance, I mean-two nights before I ran away with Bobby.” “And did he become abusive during that discussion? Is that the night your maid testified that you were weeping?” “Yes, I believe it was!” “Why were you weeping, Lady Thornton?” The galleries tipped further toward her. “I was in a terrible taking,” Elizabeth said, stating a fact. “I wanted to go away with Bobby. In order to do it, I had to sell my lovely emeralds, which Lord Thornton gave me.” Seized with inspiration, she leaned confiding inches toward the Lord Chancellor upon the woolsack. “I knew he would buy me more, you know.” Startled laughter rang out from the galleries, and it was the encouragement Elizabeth desperately needed. Lord Sutherland, however, wasn’t laughing. He sensed that she was trying to dupe him, but with all the arrogance typical of most of his sex, he could not believe she was smart enough to actually attempt, let alone accomplish it. “I’m supposed to believe you sold your emeralds out of some freakish start-out of a frivolous desire to go off with a man you claim was your brother?” “Goodness, I don’t know what you are supposed to believe. I only know I did it.” “Madam!” he snapped. “You were on the verge of tears, according to the jeweler to whom you sold them. If you were in a frivolous mood, why were you on the verge of tears?” Elizabeth gave him a vacuous look. “I liked my emeralds.

Sometimes a spouse, in trying to relieve a partner’s distress, accomplishes just the opposite. Judy is an artist. One evening she was quite upset by her problems in getting ready for a show, and she started to tell her husband, Cliff, about them. She wanted his support, encouragement, and sympathy. But Cliff instead fired off a barrage of instructions: “One, you’ve got to get all the people together in the group. Two, you have to call anyone else who is involved. Three, you want to get your accountant in on it—check with the bank to see how much money you still have. Four, you could contact the PR people. Five, call the gallery and see about the time.” Judy felt rejected by Cliff and thought, “He doesn’t care about how I feel. He just wants to get me off his back.” But in his eyes, Cliff thought that he was filling the bill. He had given her his best advice—he thought that he was being supportive. To Judy, however, Cliff was being controlling, not supportive. She was seeking sympathy and emotional rapport, while he was tuned in to problem solving. How can you find the appropriate channel? One point

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.

The credit for Erté's rediscovery must be given to French writer Jacques Damase, who met the artist when preparing a book on the Parisian music-hall. It was not merely his active presence which astounded Damase, but the fact that neatly stored away were thousands of perfectly preserved drawings representing a life's work. The immediate result was an exhibition at Galerie Motte in 1965, organised with Jacques Perrin, who the following year held another exhibition at his own gallery in Paris. Through the Motte exhibition, Erté was brought to the attention of galleria Milano, which in 1965 included some of his work in a pioneering exhibition of Art Déco. The most prominent event in this sequence was was Erté inclusion in the important exhibition Les Années 25 held at Musée des Arts Décoratifs, Paris, in 1966, which put an historical and artistic seal on Art Déco and the diverse artistic activities of the 'twenties. It is fair to say, however, that complete international reappraisal only came about after Grosvenor gallery in London became his world agents. Jacques Damase had suggested an exhibition of Erté's work to this London gallery, to which, at that time, I was acting as an art consultant. As a result we were able to prepare his first ever London exhibition in 1967. The remarkable success it achieved was presaged by a smaller exhibition in New York a few months earlier. It had planned to follow the London show with a similar collection in new York, based on work by Erté done for America. The new York premises were available earlier than planned and it was decided to go ahead none the less.

office into a sauna. She dropped her purse and keys on the credenza right inside the door and flipped the light switch. Nothing happened. The electricity had already gone out. The only light in the house came from the glowing embers of scrub oak and mesquite logs in the fireplace. She held her hands out to warm them, and the rest of the rush from the drive down the slick, winding roads bottomed out, leaving her tired and sleepy. She rubbed her eyes and vowed she would not cry. Didn’t Grand remember that the day she came home from the gallery showings was special? Sage had never cut down a Christmas tree all by herself. She and Grand always went out into the canyon and hauled a nice big cedar back to the house the day after the showing. Then they carried boxes of ornaments and lights from the bunkhouse and decorated the tree, popped the tops on a couple of beers, and sat in the rocking chairs and watched the lights flicker on and off. She went to the kitchen and opened the refrigerator, but it was pitch-black inside. She fumbled around and there wasn’t even a beer in there. She finally located a gallon jar of milk and carried it to the cabinet, poured a glass full, and downed it without coming up for air. It took some fancy maneuvering to get the jar back inside the refrigerator, but she managed and flipped the light switch as she was leaving. “Dammit! Bloody dammit!” she said a second time using the British accent from the man who’d paid top dollar for one of her paintings. One good thing about the blizzard was if that crazy cowboy who thought he was buying the Rockin’ C could see this weather, he’d change his mind in a hurry. As soon as she and Grand got done talking, she’d personally send him an email telling him that the deal had fallen through. But he’d have to wait until they got electricity back to even get that much. Sage had lived in the house all of her twenty-six years and

Self-consciousness is the curse of the city and all that sophistication implies. It is the glimpse of oneself in a storefront window, the unbidden awareness of reactions on the faces of other people- the novelist’s world, not the poet’s. I’ve lived there. I remember what the city has to offer; human companionship, major league baseball, and a clatter of quickening stimulus like a rush from strong drugs that leaves you drained. I remember how you bide your time in the city, and think, if you stop to think, “next year, I’ll start living…next year I’ll start my life.” Innocence is a better world. Innocence sees that this is it, and finds it world enough, and time. Innocence is not the prerogative of infants and puppies, and far less of mountains and fixed stars, which have no prerogatives at all. It is not lost to us; the world is a better place than that. Like any other of the spirit’s good gifts, it is there if you want it, free for the asking, as has been stressed by stronger words than mine. It is possible to pursue innocence as hounds pursue hares; singlemindledly, driven by a kind of love, crashing over creeks, keening and lost in fields and forests, circling, vaulting over hedges and hills wide-eyed, giving loud tongue all unawares to the deepest, most incomprehensible longing, a root-flame in the heart, and that warbling chorus resounding back from the mountains, hurling itself from ridge to ridge over the valley, now faint, now clear ringing the air through which the hounds tear, open-mouthed, the echoes of their own wails dimly knocking in their lungs. What I call innocence is the spirit’s unselfconscious state at any moment of pure devotion to any object. It is at once a receptiveness and total concentration. One needn’t be, shouldn’t be reduced to a puppy. If you wish to tell me that the city offers galleries, I’ll pour you a drink and enjoy your company while it lasts; but I’ll bear with me to my grave those pure moments at the Tate (was it the Tate?) where I stood planted, open-mouthed, born, before that one particular canvas, that river, up to my neck, gasping, lost, receding into watercolor depth and depth to the vanishing point, buoyant, awed, and had to be literally hauled away. These are our few live seasons. Let us live them as purely as we can, in the present.