Gallery Walk Quotes

One of the the things she most liked about the city -apart from all its obvious attractions, the theatre, the galleries, the exhilarating walks by the river- was that so few people ever asked you personal questions.

He belonged to a walled city of the fifteenth century, a city of narrow, cobbled streets, and thin spires, where the inhabitants wore pointed shoes and worsted hose. His face was arresting, sensitive, medieval in some strange inexplicable way, and I was reminded of a portrait seen in a gallery I had forgotten where, of a certain Gentleman Unknown. Could one but rob him of his English tweeds, and put him in black, with lace at his throat and wrists, he would stare down at us in our new world from a long distant past—a past where men walked cloaked at night, and stood in the shadow of old doorways, a past of narrow stairways and dim dungeons, a past of whispers in the dark, of shimmering rapier blades, of silent, exquisite courtesy.

The killer awoke before dawn, he put his boots on. He took a face from the ancient gallery And he walked on down the hall He went into the room where his sister lived, and...then he Paid a visit to his brother, and then he He walked on down the hall, and And he came to a door...and he looked inside Father, yes son, I want to kill you Mother...I want to...fuck you

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!

The Doors The End This is the end, beautiful friend This is the end, my only friend The end of our elaborate plans The end of ev'rything that stands The end No safety or surprise The end I'll never look into your eyes again Can you picture what will be So limitless and free Desperately in need of some strangers hand In a desperate land Lost in a Roman wilderness of pain And all the children are insane All the children are insane Waiting for the summer rain There's danger on the edge of town Ride the king's highway Weird scenes inside the goldmine Ride the highway West baby Ride the snake Ride the snake To the lake To the lake The ancient lake baby The snake is long Seven miles Ride the snake He's old And his skin is cold The west is the best The west is the best Get here and we'll do the rest The blue bus is calling us The blue bus is calling us Driver, where you taking us? The killer awoke before dawn He put his boots on He took a face from the ancient gallery And he walked on down the hall He went into the room where his sister lived And then he paid a visit to his brother And then he walked on down the hall And he came to a door And he looked inside Father? Yes son I want to kill you Mother, I want to............. Come on, baby, take a chance with us Come on, baby, take a chance with us Come on, baby, take a chance with us And meet me at the back of the blue bus This is the end, beautiful friend This is the end, my only friend The end It hurts to set you free But you'll never follow me The end of laughter and soft lies The end of nights we tried to die This is the end

Showing STRENGTH doesn't mean we have to fight a battle...Sometimes it's far better to WALK AWAY from all the nonsense and those who indulge in it

Naturally, I have no heroes: I am my heroes. I am my brothers and sisters. I feel myself joined by the soul with all beauty. My heart sings with every brave endeavour. With the strange wings of impossible butterflies, with every rock that breathes life into the world. I stand shoulder to shoulder with all denouncers of meanness. I honour spirit and faith and uphold the glorious amateur. I'm in love with desperate men with desperate hands, walking in second-hand shoes searching for God and hearing God and hating God. I'm a desperate man, buckled with fear, I am a desperate man who demands to be listened to, who demands to connect. I'm a desperate man who denounces the dullness of money and status. I'm a desperate man who will not bow down to accolade or success. I'm a desperate man who loves the simplicity of painting and hates galleries and white walls and the dealers in art. Who loves unreasonableness and hotheadedness, who loves contradiction, hates publishing houses and also I am Vincent Van Gogh, Hiroshige and every living artist who dares to draw God on this planet.

All the towering materialism which dominates the modern mind rests ultimately upon one assumption; a false assumption. It is supposed that if a thing goes on repeating itself it is probably dead; a piece of clockwork. People feel that if the universe was personal it would vary; if the sun were alive it would dance. This is a fallacy even in relation to known fact. For the variation in human affairs is generally brought into them, not by life, but by death; by the dying down or breaking off of their strength or desire. A man varies his movements because of some slight element of failure or fatigue. He gets into an omnibus because he is tired of walking; or he walks because he is tired of sitting still. But if his life and joy were so gigantic that he never tired of going to Islington, he might go to Islington as regularly as the Thames goes to Sheerness. The very speed and ecstacy of his life would have the stillness of death. The sun rises every morning. I do not rise every morning; but the variation is due not to my activity, but to my inaction. Now, to put the matter in a popular phrase, it might be true that the sun rises regularly because he never gets tired of rising. His routine might be due, not to a lifelessness, but to a rush of life. The thing I mean can be seen, for instance, in children, when they find some game or joke that they specially enjoy. A child kicks his legs rhythmically through excess, not absence, of life. Because children have abounding vitality, because they are in spirit fierce and free, therefore they want things repeated and unchanged. They always say, “Do it again”; and the grown-up person does it again until he is nearly dead. For grown-up people are not strong enough to exult in monotony. But perhaps God is strong enough to exult in monotony. It is possible that God says every morning, “Do it again” to the sun; and every evening, “Do it again” to the moon. It may not be automatic necessity that makes all daisies alike; it may be that God makes every daisy separately, but has never got tired of making them. It may be that He has the eternal appetite of infancy; for we have sinned and grown old, and our Father is younger than we. The repetition in Nature may not be a mere recurrence; it may be a theatrical ENCORE. Heaven may ENCORE the bird who laid an egg. If the human being conceives and brings forth a human child instead of bringing forth a fish, or a bat, or a griffin, the reason may not be that we are fixed in an animal fate without life or purpose. It may be that our little tragedy has touched the gods, that they admire it from their starry galleries, and that at the end of every human drama man is called again and again before the curtain. Repetition may go on for millions of years, by mere choice, and at any instant it may stop. Man may stand on the earth generation after generation, and yet each birth be his positively last appearance.

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.

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?

Arguments for preservation based on the beauty of wilderness are sometimes treated as if they were of little weight because they are "merely aesthetic". That is a mistake. We go to great lengths to preserve the artistic treasures of earlier human civilisations. It is difficult to imagine any economic gain that we would be prepared to accept as adequate compensation for, for instance, the destruction of the paintings in the Louvre. How should we compare the aesthetic value of wilderness with that of the paintings in the Louvre? Here, perhaps, judgment does become inescapably subjective; so I shall report my own experiences. I have looked at the paintings in the Louvre, and in many of the other great galleries of Europe and the United States. I think I have a reasonable sense of appreciation of the fine arts; yet I have not had, in any museum, experiences that have filled my aesthetic senses in the way that they are filled when I walk in a natural setting and pause to survey the view from a rocky peak overlooking a forested valley, or by a stream tumbling over moss-covered boulders set amongst tall tree-ferns, growing in the shade of the forest canopy, I do not think I am alone in this; for many people, wilderness is the source of the greatest feelings of aesthetic appreciation, rising to an almost mystical intensity.

Ah. Medieval-style ransom.” Toot looked confused. “He did run some, but I stopped him, my lord. Like, just now. In front of you. Right over there.” There were several conspicuous sounds behind me, the loudest from my apprentice, and I turned to eye everyone else. They were all either covering smiles or holding them back— poorly. “Hey, peanut gallery,” I said. “This isn’t as easy as I’m making it look.” “You’re doing fine,” Karrin said, her eyes twinkling. I sighed. “Come on, Toot,” I said, and walked over to Hook.

There may well be a scientific paper to be written on why walking in an art gallery is so much more exhausting than, say, climbing Helvellyn. My guess is that it is something to do with the energy required to hold muscles in tension, combined with the mental exertion of wondering what to say.

If Los Angeles is a woman reclining billboard model and the San Fernando Valley is her teenybopper sister, then New York is their cousin. Her hair is dyed autumn red or aubergine or Egyptian henna, depending on her mood. Her skin is pale as frost and she wears beautiful Jil Sander suits and Prada pumps on which she walks faster than a speeding taxi (when it is caught in rush hour, that is). Her lips are some unlikely shade of copper or violet, courtesy of her local MAC drag queen makeup consultant. She is always carrying bags of clothes, bouquets of roses, take-out Chinese containers, or bagels. Museum tags fill her pockets and purses, along with perfume samples and invitations to art gallery openings. When she is walking to work, to ward off bums or psychos, her face resembles the Statue of Liberty, but at home in her candlelit, dove-colored apartment, the stony look fades away and she smiles like the sterling roses she has brought for herself to make up for the fact that she is single and her feet are sore.

When he chose to take a walk it was with a regular step in the entrance hall with its mosaic flooring, or in the circular gallery with its dome supported by twenty red porphyry Ionic columns, and illumined by blue painted windows.

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.

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

Nature gave us legs with which to do our own walking, and eyes with which to do our own seeing.

So, what’s up with the tie?” I asked, and Zayne stared down at it like he’d forgotten he’d been holding it. “Now that is a question I was dying to ask,” Roth commented. “BDSM, Stony? I am shooketh.” … “Blindfolded training. Not nearly as sexy as I was thinking, but still vastly entertaining” came the comment from the one-man peanut gallery. “That is a good idea.” Anticipation swirled in my chest. “Let’s go.” “This should be fun to watch,” Roth declared. “Can you not talk?” Zayne snapped as he walked to where I stood. “I don’t think that is a promise I can make.

My Beauty, Every day since the first day, you have made my life worth living.  You make me wake up every single day knowing that I am a blessed man.  With you, I am real.  You made me real when you walked into that gallery and looked up to see me.  You are the only one.  The only person ever able to really see me.  I want to spend every day of the rest of my life loving you.  That’s all I want, all I need.  Forever yours, E

Please—it would be my pleasure.” And I believed him that it would. I nodded dumbly. If the paintings along the halls were exquisite, then the ones selected for the gallery had to be beyond my human imaginings. “I would like that—very much.” He smiled at me still, broadly and without restraint or hesitation. Isaac had never smiled at me like that. Isaac had never made my breath catch, just a little bit. The feeling was startling enough that I walked out, grasping the crumpled paper in my pocket as if doing so could somehow keep that answering smile from tugging on my lips.

The episcopal palace was a huge and beautiful house, built of stone at the beginning of the last century by M. Henri Puget, Doctor of Theology of the Faculty of Paris, Abbe of Simore, who had been Bishop of D—— in 1712. This palace was a genuine seignorial residence. Everything about it had a grand air,—the apartments of the Bishop, the drawing-rooms, the chambers, the principal courtyard, which was very large, with walks encircling it under arcades in the old Florentine fashion, and gardens planted with magnificent trees. In the dining-room, a long and superb gallery which was situated on the ground-floor and opened on the gardens, M. Henri Puget had entertained in state, on July 29, 1714, My Lords Charles Brulart de Genlis, archbishop; Prince

principal courtyard, which was very large, with walks encircling it under arcades in the old Florentine fashion, and gardens planted with magnificent trees. In the dining-room, a long and superb gallery which was situated on the ground-floor and opened on the gardens, M. Henri Puget had entertained in state, on July 29, 1714, My Lords Charles Brulart de Genlis, archbishop; Prince d'Embrun; Antoine de Mesgrigny, the capuchin, Bishop of Grasse; Philippe de Vendome, Grand Prior of France, Abbe of Saint Honore de Lerins; Francois de Berton de Crillon, bishop, Baron de Vence; Cesar de Sabran de Forcalquier, bishop, Seignor of Glandeve; and Jean Soanen, Priest of the Oratory, preacher in ordinary to the king, bishop, Seignor of Senez. The portraits of these seven reverend personages decorated this apartment; and this memorable date, the 29th of July, 1714, was there engraved in letters of gold on a table of white marble.

There was the honour and austerity of money as he walked through art galleries, as he saw around him the collections of oil paintings by dead men, lit so carefully that warmth seemed to emanate from within - and not because their art was loved or understood but because it could be sold and bought for handsome sums.

The problem with museums [...] is that there's far too much art, so that no matter how well you plan your route or how noble your intentions, you will always find yourself walking irritably past priceless works of profound genius looking for the bathrooms. And you feel slightly cheapened afterwards, like you've let yourself down - at least I do.

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

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

I open the gallery door, walk in with that sinking feeling I always have in galleries. It’s the carpets that do it to me, the hush, the sanctimoniousness of it all: galleries are too much like churches, there’s too much reverence, you feel there should be some genuflecting going on. Also I don’t like it that this is where paintings end up, on these neutral-toned walls with the track lighting, sterilized, rendered safe and acceptable. It’s as if somebody’s been around spraying the paintings with air freshener, to kill the smell. The smell of blood on the wall.

And all at once it was as it had been before, on that gusty August day during the war, and she was twenty-three years old again, with holes in her sneakers, and Papa sitting beside her. And Richard walked in; into the gallery and into their lives. And Papa told him, "They will come...to paint the warmth of the sun and the colour of the wind." And that was how it had all begun.

The innocent-sounding words “Yes, it’s close enough to walk” can easily lure the unsuspecting tourist into an exhausting day-long climb, requiring supplemental oxygen, crampons, and a pickax.

To a person uninstructed in natural history, his country or seaside stroll is a walk through a gallery filled with wonderful works of art, nine-tenths of which have their faces turned to the wall.

To a person uninstructed in natural history, his country or sea-side stroll is a walk through a gallery filled with wonderful works of art, nine-tenths of which have their faces turned to the wall.

Let’s walk down the rue de Seine and look in all the galleries and in the windows of the shops.’ ‘Sure. We can walk anywhere and we can stop at some new café where we don’t know anyone and nobody knows us and have a drink.’ ‘We can have two drinks.’ ‘Then we can eat somewhere.’ ‘No. Don’t forget we have to pay the library.’ ‘We’ll come home and eat here and we’ll have a lovely meal and drink Beaune from the co-operative you can see right out of the window there with the price of the Beaune on the window. And afterwards we’ll read and then go to bed and make love.’ ‘And we’ll never love anyone else but each other.’ ‘No. Never.

Richard found himself, on otherwise sensible weekends, accompanying her to places like the National Gallery and the Tate Gallery, where he learned that walking around museums too long hurts your feet, that the great art treasures of the world all blur into each other after a while, and that it is almost beyond the human capacity for belief to accept how much museum cafeterias will brazenly charge for a slice of cake and a cup of tea.

It was crowded in the middle of the gallery, so we kept to the periphery, walking past the pictures. The faces flickered by like the faces of prisoners looking through those little square openings in maximum security cells.

And then I would go home to Velaris, where I would finally walk through the artists' quarter, and enter those shops and galleries and learn what they knew, and maybe - maybe one day - I would open my own shop. Not to sell my work, but to teach others. Maybe teach the others who were like me: broken in places and trying to fight it - trying to learn who they were around the dark and the pain. And I would go home at the end of every day exhausted but content - fulfilled. Happy.

She opened the door of the room and went into the corridor, and then she began her wanderings. It was a long corridor and it branched into other corridors and it led her up short flights of steps which mounted to others again. There were doors and doors, and there were pictures on the walls. Sometimes they were pictures of dark, curious landscapes, but oftenest they were portraits of men and women in queer, grand costumes made of satin and velvet. She found herself in one long gallery whose walls were covered with these portraits. She had never thought there could be so many in any house. She walked slowly down this place and stared at the faces which also seemed to stare at her. She felt as if they were wondering what a little girl from India was doing in their house. Some were pictures of children—little girls in thick satin frocks which reached to their feet and stood out about them, and boys with puffed sleeves and lace collars and long hair, or with big ruffs around their necks. She always stopped to look at the children, and wonder what their names were, and where they had gone, and why they wore such odd clothes. There was a stiff, plain little girl rather like herself. She wore a green brocade dress and held a green parrot on her finger. Her eyes had a sharp, curious look. "Where do you live now?" said Mary aloud to her. "I wish you were here." Surely no other little girl ever spent such a queer morning. It seemed as if there was no one in all the huge rambling house but her own small self, wandering about up-stairs and down, through narrow passages and wide ones, where it seemed to her that no one but herself had ever walked. Since so many rooms had been built, people must have lived in them, but it all seemed so empty that she could not quite believe it true.

Perry said, “Am I sorry? If that’s what you mean—I’m not. I don’t feel anything about it. I wish I did. But nothing about it bothers me a bit. Half an hour after it happened, Dick was making jokes and I was laughing at them. Maybe we’re not human. I’m human enough to feel sorry for myself. Sorry I can’t walk out of here when you walk out. But that’s all.” Cullivan could scarcely credit so detached an attitude; Perry was confused, mistaken, it was not possible for any man to be that devoid of conscience or compassion. Perry said, “Why? Soldiers don’t lose much sleep. They murder, and get medals for doing it. The good people of Kansas want to murder me—and some hangman will be glad to get the work. It’s easy to kill—a lot easier than passing a bad check. Just remember: I only knew the Clutters maybe an hour. If I’d really known them, I guess I’d feel different. I don’t think I could live with myself. But the way it was, it was like picking off targets in a shooting gallery.

December 12th THE BEAT GOES ON “Walk the long gallery of the past, of empires and kingdoms succeeding each other without number. And you can also see the future, for surely it will be exactly the same, unable to deviate from the present rhythm. It’s all one whether we’ve experienced forty years or an aeon. What more is there to see?” —MARCUS AURELIUS, MEDITATIONS, 7.49

…But Jessica changed all that. Richard found himself, on otherwise sensible weekends, accompanying her to places like the National Gallery and the Tate Gallery, where he learned that walking around museums too long hurts your feet, that the great art treasures of the world all blur into each other after a while, and that it is almost beyond the human capacity for belief to accept how much museum cafeterias will brazenly charge for a slice of cake and a cup of tea. "Here's your tea and your éclair," he told her. "It would have cost less to buy one of those Tintorettos." "Don't exaggerate," said Jessica cheerfully. "Anyway, there aren't any Tintorettos at the Tate." "I should have had that cherry cake," said Richard. "Then they would have been able to afford another Van Gogh.

Savannah,” he started in a softer voice, “Wait. Please. I—I didn’t mean … I just didn’t want you to …” “I’m going home,” she said, rushing from the room before he could say another word. “Savannah!” He shot out of bed, following her through his bedroom door and running down the gallery as fast as his bum leg would allow. While walking or jogging were good for him, he wasn’t supposed to sprint on it, and it ached and burned as he got to the top of stairs only to hear the front door slam in her wake. “GOD DAMN IT!” he bellowed, lowering himself to sit on the landing as his leg throbbed with pain. Miss Potts appeared out of nowhere to stand at the base of the stairs with her hands on her hips. She pursed her lips and tsked. “Somehow I don’t think peach cobbler is going to fix this one.

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.

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

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.

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.

The truth is that the similarity in dress, and the spirit of the age as it is echoed by the face, occupy so much more significant a place in someone than his caste, which occupies a large place only in the person in question’s self-esteem and in the imagination of others, that, to be made aware that a great nobleman of Louis-Philippe’s time differs less from a bourgeois of Louis-Philippe’s time than from a great nobleman of the time of Louis XV, there is no need to walk the galleries of the Louvre.

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

When he was alone, José Arcadio Buendía consoled himself with the dream of the infinite rooms. He dreamed that he was getting out of bed, opening the door and going into an identical room with the same bed with a wrought-iron head, the same wicker chair, and the same small picture of the Virgin of Help on the back wall. From that room he would go into another that was just the same, the door of which would open into another that was just the same, the door of which would open into another one just the same, and then into another exactly alike, and so on to infinity. He liked to go from room to room, as in a gallery of parallel mirrors, until Prudencio Aguilar would touch him on the shoulder. Then he would go back from room to room, walking in reverse, going back over his trail, and he would find Prudencio Aguilar in the room of reality. But one night, two weeks after they took him to| his bed, Prudencio Aguilar touched his shoulder in an intermediate room and he stayed there forever, thinking that it was the real room.

There may well be a scientific paper to be written on why walking in an art gallery is so much more exhausting than, say, climbing Helvellyn. My “guess is that it is something to do with the energy required to hold muscles in tension, combined with the mental exertion of wondering what to say. Whatever the reason, I sank exhausted onto the leather couch and watched Connie instead, the way her skirt stretched across her bottom, the movement of her hands, her neck as she raised her eyes to a canvas. That was art, right there. That was beauty.

BARABAS: As for myself, I walk abroad a-nights, And kill sick people groaning under walls. Sometimes I go about and poison wells; And now and then, to cherish Christian thieves, I am content to lose some of my crowns, That I may, walking in my gallery, See 'em go pinion'd along by my door. Being young, I studied physic, and began To practice first upon the Italian; There I enrich'd the priests with burials, And always kept the sexton's arms in ure With digging graves and ringing dead men's knells. And, after that, was I an engineer, And in the wars 'twixt France and Germany, Under pretence of helping Charles the Fifth, Slew friend and enemy with my stratagems: Then, after that, was I an usurer, And with extorting, cozening, forfeiting, And tricks belonging unto brokery, I fill'd the gaols with bankrupts in a year, And with young orphans planted hospitals; And every moon made some or other mad, And now and then one hang himself for grief, Pinning upon his breast a long great scroll How I with interest tormented him. But mark how I am blest for plaguing them: I have as much coin as will buy the town.

Walking into a bookshop is a depressing thing. It’s not the pretentious twats, browsing books as part of their desirable lifestyle. It’s not the scrubby members of staff serving at the counter: the pseudo-hippies and fucking misfits. It’s not the stink of coffee wafting out from somewhere in the building, a concession to the cult of the coffee bean. No, it’s the books. I could ignore the other shit, decide that maybe it didn’t matter too much, that when consumerism meets culture, the result is always going to attract wankers and everything that goes with them. But the books, no, they’re what make your stomach sink and that feeling of dark syrup on the brain descend. Look around you, look at the shelves upon shelves of books – for years, the vessels of all knowledge. We’re part of the new world now, but books persist. Cheap biographies, pulp fiction; glossy covers hiding inadequate sentiments. Walk in and you’re surrounded by this shit – to every side a reminder that we don’t want stimulation anymore, we want sedation. Fight your way through the celebrity memoirs, pornographic cook books, and cheap thrills that satisfy most and you get to the second wave of vomit-inducing product: offerings for the inspired and arty. Matte poetry books, classics, the finest culture can provide packaged and wedged into trendy coverings, kidding you that you’re buying a fashion accessory, not a book. But hey, if you can stomach a trip further into the shop, you hit on the meatier stuff – history, science, economics – provided they can stick ‘pop.’ in front of it, they’ll stock it. Pop. psychology, pop. art, pop. life. It’s the new world – we don’t want serious anymore, we want nuggets of almost-useful information. Books are the past, they’re on the out. Information is digital now; bookshops, they’re somewhere between gallery and museum.

She was not afraid of cyclones in the darkest bile-green-and-black skies during storms that cracked off the limbs of oaks and the tops of pines and made the tin roof of the house and gallery pop and groan and bend upward at the edges. Nor of the hail that pocked the tin like buckshot raining down. Nor of lightning that split trees their length and left smoldering charred skeletons rooted to the wet, scorched earth. She was not afraid of God, with his sly and untrustworthy balance of love and wrath, who was yet curious enough to make himself vulnerable and walk among humans just like herself in the beautiful, harrowing embodiment of Jesus.

My son is the man who is handing his passport to the policeman. My son is the policeman who is receiving the passport. My son is the old man in front of me in the queue, here, in the air-port, in Beijing. Over the last twelve months, I have been seeing the face of my son in the faces of all the Chinese people I have happened to meet. I was walking in Milan, Italy, when Laura called me and told me that our application had been finally sent to China. We would be receivinga son or a daughter from China. I was excited. I put my phone into my jacket pocket and slowed down in the Corso Vittorio Emanuele gallery. There was a multitude of people around me, but I was totally unaware of their existence. I was trying to picture my son’s, or my daughter’s face and hands. I wondered what age he or she was. For a while I kept imagining and reviewing all the possibilities, and all the hypotheses, but I was not able to create an image which would bring an end to my seeking. Then, suddenly, I found him. He was walking in front of me with his wife and little daughter. I was not sure about his origin, if he were truly Chinese or not, but it was definitely him. He was a little younger than I. I was happy to see he was so distinguished, with his gold-rimmed glasses and nicely ironed, blue shirt.

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.

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.

I like everything about you, Larry. I like the way you look and how you’re so clever, and I like it when we laugh together and watch TV together. I like going to art galleries with you and hearing you get all bitchy about some of the artists. I like watching you when you’re doing marking, ’cause you get these funny looks on your face. I like watching you sleep and hearing that snuffly noise you make. I like waking up with you at weekends and spending the day together, just doing stuff like walking round town and shopping and cooking and stuff.” I kind of ran out of breath after that. For a moment, I thought he was going to cry.“Is there anything you don’t like about me?

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.

...mist lifted its curtain off the lower galleries, uncovering the hazy robed figures of monks walking where dancing girls and warriors once served a king. Shadows shifted from gray to gold. Out of sight, sunlight scaled the temple's back walls, curving up from the east. Light traced the massive bud-shaped towers. Simone had been right, this was Irene's arrival in Cambodia, her entire being narrowed to a single pinpoint of expectation as the pinnacles atop the towers sparked and burst into flame. She leaned forward,watching a city rise fro the depths of the planet. In an instant the fire was extinguished and the sun owned the sky. Angkor Wat exposed its colossal sandstone expanse, revealing itself for what it was - the largest temple in the world.

FV: Hasn't all art, in a way, submitted to words - reduced itself to the literary...admitted its failure through all the catalogues and criticism, monographs and manifestos — ML: Explanations? FV: Exactly. All the artistry, now, seems expended in the rhetoric and sophistry used to differentiate, to justify its own existence now that so little is left to do. And who's to say how much of it ever needed doing in the first place? [...] Nothing's been done here but the re-writing of rules, in denial that the game was already won, long ago, by the likes of Duchamp, Arp, or Malevich. I mean, what's more, or, what's less to be said than a single black square? ML: Well, a triangle has fewer sides, I suppose. FV: Then a circle, a line, a dot. The rest is academic; obvious variations on an unnecessary theme, until you're left with just an empty canvas - which I'm sure has been done, too. ML: Franz Kline, wasn't it? Or, Yves Klein - didn't he once exhibit a completely empty gallery? No canvases at all. FV: I guess, from there, to not exhibit anything - to do absolutely nothing at all - would be the next "conceptual" act; the ultimate multimedia performance, where all artforms converge in negation and silence. And someone's probably already put their signature to that, as well. But even this should be too much, to involve an artist, a name. Surely nothing, done by no-one, is the greatest possible artistic achievement. Yet, that too has been done. Long, long ago. Before the very first artists ever walked the earth.

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.

When I opened my eyes, we were still surrounded by darkness. A lantern, standing on the ground, showed a bubbling well. The water splashing from the well disappeared, almost at once, under the floor on which I was lying, with my head on the knee of the man in the black cloak and the black mask. He was bathing my temples and his hands smelt of death. I tried to push them away and asked, ‘Who are you? Where is the voice?’ His only answer was a sigh. Suddenly, a hot breath passed over my face and I perceived a white shape, beside the man’s black shape, in the darkness. The black shape lifted me on to the white shape, a glad neighing greeted my astounded ears and I murmured, ‘Cesar!’ The animal quivered. Raoul, I was lying half back on a saddle and I had recognized the white horse out of the PROFETA, which I had so often fed with sugar and sweets. I remembered that, one evening, there was a rumor in the theater that the horse had disappeared and that it had been stolen by the Opera ghost. I believed in the voice, but had never believed in the ghost. Now, however, I began to wonder, with a shiver, whether I was the ghost’s prisoner. I called upon the voice to help me, for I should never have imagined that the voice and the ghost were one. You have heard about the Opera ghost, have you not, Raoul?” “Yes, but tell me what happened when you were on the white horse of the Profeta?” “I made no movement and let myself go. The black shape held me up, and I made no effort to escape. A curious feeling of peacefulness came over me and I thought that I must be under the influence of some cordial. I had the full command of my senses; and my eyes became used to the darkness, which was lit, here and there, by fitful gleams. I calculated that we were in a narrow circular gallery, probably running all round the Opera, which is immense, underground. I had once been down into those cellars, but had stopped at the third floor, though there were two lower still, large enough to hold a town. But the figures of which I caught sight had made me run away. There are demons down there, quite black, standing in front of boilers, and they wield shovels and pitchforks and poke up fires and stir up flames and, if you come too near them, they frighten you by suddenly opening the red mouths of their furnaces … Well, while Cesar was quietly carrying me on his back, I saw those black demons in the distance, looking quite small, in front of the red fires of their furnaces: they came into sight, disappeared and came into sight again, as we went on our winding way. At last, they disappeared altogether. The shape was still holding me up and Cesar walked on, unled and sure-footed. I could not tell you, even approximately, how long this ride lasted; I only know that we seemed to turn and turn and often went down a spiral stair into the very heart of the earth. Even then, it may be that my head was turning, but I don’t think so: no, my mind was quite clear. At last, Cesar raised his nostrils, sniffed the air and quickened his pace a little. I felt a moistness in the air and Cesar stopped. The darkness had lifted. A sort of bluey light surrounded us. We were on the edge of a lake, whose leaden waters stretched into the distance, into the darkness; but the blue light lit up the bank and I saw a little boat fastened to an iron ring on the wharf!” - Chapter 12: Apollo’s Lyre

I was the bitch who sat behind a desk and ignored you when you walked into the gallery, a pouty knockout wearing indecipherably cool avant-garde outfits. I was told to play dumb if anyone asked a question. Evade, evade. Never hand over a price list. Natasha paid me just $22,000 a year. Without my inheritance, I would have been forced to find a job that paid more money. And I would probably have had to live in Brooklyn, with roommates. I was lucky to have my dead parents’ money, I knew, but that was also depressing. Natasha’s star artist was Ping Xi, a pubescent-looking twenty-three-year-old from Diamond Bar, California. She thought he was a good investment because he was Asian American and had been kicked out of CalArts for firing a gun in his studio. He would add a certain cachet. “I want the gallery to get more cerebral,” she explained.

WILLIAM H. JOHNSON —a letter home, circa 1933   Forgive this letter covered in paint. There are no rags around me. I cannot tell you where I am, but where I ain’t.     I am not where the color of my skin taints Everything. Remember the way folks looked at me When I walked through Florence covered in paint?     There, I was less than nothing. I took a train To Harlem; a ship to Denmark to be free. I can only tell you that here, I ain’t     Who I used to be. I am a Negro who has lain With a white woman in a foreign country. Momma, forgive this letter covered in paint.     I ain’t coming back. Here, no one complains When Holcha & I kiss in the street. Color doesn’t tells us what we are & what we ain’t     Never going to be. I have left my name On the walls of a dozen museums & galleries. I have covered my face in paint. I cannot tell you who I am, but who I ain’t.

But for those like us, our fate is to face the world as orphans, chasing through long years the shadows of vanished parents. There is nothing for it but to try and see through our missions to the end, as best we can, for until we do so, we will be permitted no calm. I do not wish to appear smug; but drifting through my days here in London, I believe I can indeed own up to a certain contentment. I enjoy my walks in the parks, I visit the galleries; and increasingly of late, I have come to take a foolish pride in sifting through old newspaper reports of my cases in the Reading Room at the British Museum. This city, in other words, has come to be my home, and I should not mind if I had to live out the rest of my days here. Nevertheless, there are those times when a sort of emptiness fills my hours, and I shall continue to give Jennifer's invitation serious thought.

When she came out onto the gallery her hair was on fire. But, you know, she’s Raphael. I doubt she even noticed. The people down below had to shout at her to put the fire out. She sat down with Pinny Wheeller and she got him to stop throwing flaming newspaper everywhere and she got him to come down. Pretty brave, don’t you think?’ ‘Braver than you think. She doesn’t like heights.’ ‘She doesn’t?’ ‘They make her uncomfortable.’ ‘That wouldn’t stop her,’ he says. ‘No.’ ‘Thank God, she didn’t have to do any of that with you. I mean she didn’t have to walk through fire or whatever. She just went to the seaside. That’s what I heard anyway – that she found you at the seaside.’ ‘Yes. I was at the side of the sea.’ ‘A lot of missing people turn up at seaside places,’ he muses. ‘It’s the sea, I suppose. It has a soothing effect.’ ‘It certainly did on me,’ I say. He smiles cheerfully at me. ‘Excellent,’ he says.

An individualist town councillor will walk along the municipal pavement, lit by municipal gas and cleansed by municipal brooms with municipal water and - seeing by the municipal clock in the municipal market, that he is too early to meet his children coming from the municipal school, hard by the country lunatic asylum and the municipal hospital, will use the national telegraph system to tell them not to walk through the municipal park, but to come by the municipal tramway to meet him in the municipal reading-room, by the municipal museum, art-gallery, and library, where he intends ... to prepare his next speech in the municipal town hall in favor of the nationalization of canals and in increase of Government control of the railway system. "Socialism, Sir," he will say, "don't waste the time of a practical man by your fantastic absurdities. Self-help, Sir, individual self-help, that's what has made our city what it is.

Helen was bewildered to find herself surrounded by air as warm as the breath of summer. Slowly she walked into a large gallery, constructed of thousands of flashing, glittering glass panes in a network of wrought-iron ribs. It was a glasshouse, she realized in bewilderment. On a rooftop. The ethereal construction, as pretty as a wedding cake, had been built on a sturdy brickwork base, with iron pillars and girders welded to vertical struts and diagonal tiers. "This is for my orchids," she said faintly. Rhys came up behind her, his hands settling at her waist. He nuzzled gently at her ear. "I told you I'd find a place for them." A glass palace in the sky. It was magical, an inspired stroke of romantic imagination, and he had built it for her. Dazzled, she took in the view of London at sunset, a red glow westering across the leaden sky. The clouds were torn in places, gold light spilling through the fire-colored fleece.

Separated from everyone, in the fifteenth dungeon, was a small man with fiery brown eyes and wet towels wrapped around his head. For several days his legs had been black, and his gums were bleeding. Fifty-nine years old and exhausted beyond measure, he paced silently up and down, always the same five steps, back and forth. One, two, three, four, five, and turn . . . an interminable shuffle between the wall and door of his cell. He had no work, no books, nothing to write on. And so he walked. One, two, three, four, five, and turn . . . His dungeon was next door to La Fortaleza, the governor’s mansion in Old San Juan, less than two hundred feet away. The governor had been his friend and had even voted for him for the Puerto Rican legislature in 1932. This didn’t help much now. The governor had ordered his arrest. One, two, three, four, five, and turn . . . Life had turned him into a pendulum; it had all been mathematically worked out. This shuttle back and forth in his cell comprised his entire universe. He had no other choice. His transformation into a living corpse suited his captors perfectly. One, two, three, four, five, and turn . . . Fourteen hours of walking: to master this art of endless movement, he’d learned to keep his head down, hands behind his back, stepping neither too fast nor too slow, every stride the same length. He’d also learned to chew tobacco and smear the nicotined saliva on his face and neck to keep the mosquitoes away. One, two, three, four, five, and turn . . . The heat was so stifling, he needed to take off his clothes, but he couldn’t. He wrapped even more towels around his head and looked up as the guard’s shadow hit the wall. He felt like an animal in a pit, watched by the hunter who had just ensnared him. One, two, three, four, five, and turn . . . Far away, he could hear the ocean breaking on the rocks of San Juan’s harbor and the screams of demented inmates as they cried and howled in the quarantine gallery. A tropical rain splashed the iron roof nearly every day. The dungeons dripped with a stifling humidity that saturated everything, and mosquitoes invaded during every rainfall. Green mold crept along the cracks of his cell, and scarab beetles marched single file, along the mold lines, and into his bathroom bucket. The murderer started screaming. The lunatic in dungeon seven had flung his own feces over the ceiling rail. It landed in dungeon five and frightened the Puerto Rico Upland gecko. The murderer, of course, was threatening to kill the lunatic. One, two, three, four, five, and turn . . . The man started walking again. It was his only world. The grass had grown thick over the grave of his youth. He was no longer a human being, no longer a man. Prison had entered him, and he had become the prison. He fought this feeling every day. One, two, three, four, five, and turn . . . He was a lawyer, journalist, chemical engineer, and president of the Nationalist Party. He was the first Puerto Rican to graduate from Harvard College and Harvard Law School and spoke six languages. He had served as a first lieutenant in World War I and led a company of two hundred men. He had served as president of the Cosmopolitan Club at Harvard and helped Éamon de Valera draft the constitution of the Free State of Ireland.5 One, two, three, four, five, and turn . . . He would spend twenty-five years in prison—many of them in this dungeon, in the belly of La Princesa. He walked back and forth for decades, with wet towels wrapped around his head. The guards all laughed, declared him insane, and called him El Rey de las Toallas. The King of the Towels. His name was Pedro Albizu Campos.

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.

freeze, so she opted for pants with a thick, nubbly sweater that added substance to her frame. As always, her necklace was in place, and she donned a lovely bright cashmere scarf to keep her neck warm. When she stepped back to appraise herself in the mirror, she felt she looked almost as good as she had before chemotherapy started. Collecting her purse, she took a couple more pills—the pain wasn’t as bad as yesterday, but no reason to risk it—and called an Uber. Pulling up to the gallery a few minutes after closing time, she saw Mark through the window, discussing one of her photographs with a couple in their fifties. Mark offered the slightest of waves when Maggie stepped inside and hurried to her office. On her desk was a small stack of mail; she was quickly sorting through it when Mark suddenly tapped on her open door. “Hey, sorry. I thought they’d make a decision before you arrived, but they had a lot of questions.” “And?” “They bought two of your prints.” Amazing, she thought. Early in the life of the gallery, weeks could go by without the sale of even a single print of hers. And while the sales did increase with the growth of her career, the real renown came with her Cancer Videos. Fame did indeed change everything, even if the fame was for a reason she wouldn’t wish upon anyone. Mark walked into the office before suddenly pulling up short. “Wow,” he said. “You look fantastic.” “I’m trying.” “How do you feel?” “I’ve been more tired than usual, so I’ve been sleeping a lot.” “Are you sure you’re still up for this?” She could see the worry in his expression. “It’s Luanne’s gift, so I have to go. And besides, it’ll help me get into the Christmas spirit.

didn’t plan this,” Jack said. “But since it’s you and me—tell me about Brie.” “Tell you what, Jack?” “When she was leaving… It looked like there was something….” “Spit it out.” “You and Brie?” “What?” Jack took a breath, not happily. “Are you with my sister?” Mike had a swallow of his whiskey. “I’m taking a day off tomorrow—taking her down the Pacific Coast Highway through Mendocino to look for whales, see the galleries, maybe have a little lunch.” “Why?” “She said she’d like to do that while she’s here.” “All right, but you know what I’m getting at—” “I think you’d better tell me, so I don’t misunderstand.” “I’d like to know what your intentions are toward my sister.” “You really think you have the right to do that? To ask that question?” Mike asked him. “Just tell me what was going on between the two of you while I was gone.” “Jack, you’d better loosen your grip a little. Brie’s a grown woman. From where I stand, we’re good friends. If you want to know how she sees it, I think she’s the one you have to ask. But I don’t recommend it—she might be offended. Despite everything, she tends to think of herself as a grown-up.” “It’s no secret to you—she’s had a real bad year.” “It’s no secret,” Mike agreed. “You’re making this really tough, man…” “No, I think you are. You spent some time with her tonight. Did it look to you like anything is wrong? Like she’s upset or anything? Because I think everything is fine and you worry too much.” “I worry, yeah. I worry that maybe she’ll look to you for some comfort. For something to help her get through. And that you’ll take advantage of that.” “And…?” Mike prompted, lifting his glass but not drinking. “And maybe work a little of your Latin magic on her and walk away.” Jack drank his whiskey. “I don’t want you to do that to her.” Mike put down his glass on the bar without emptying it. “I would never hurt Brie. And it has nothing to do with whose sister she is. Good night, Jack.

On trial were two men, one in a plaid shirt, and the other with a long, ZZ Top-style beard. They looked intimated by the crowd that had turned out, even though Plaid Shirt stood six foot four. He was the main perpetrator, charged with animal cruelty. He had brought his young son along during the bear killing for which he was on trial. The main reason the state managed to bring charges is that the hunters had made a videotape of their gruesome acts. The state trooper who confiscated the video couldn’t even testify at the time of the trial, he was so emotionally overcome. Then they showed the video in court, and I understood why. ZZ Top and Plaid Shirt cornered the bear cub. In order to preserve the integrity of the pelt, they attempted to kill the cub by stabbing it in the eyes. It was absolutely gut-wrenching to watch. The bear struggled for its life, but Plaid Shirt kept thrusting his knife, moving back as the animal twisted frantically away, then moving forward to stab again. The bear cub screamed, and it sounded eerily as though the bear was actually crying “Mama,” over and over. Plaid Shirt and ZZ Top sat unfazed in court. The bear screamed, “Mama, mama, mama.” From my place in the gallery, I watched as a towering man in a police uniform burst into tears and walked out of the courtroom. At the end of the video, Plaid Shirt brought his nine-year-old son over to stand triumphantly next to the dead bear cub. “Clearly, you deserve jail,” the judge told Plaid Shirt as he stood for sentencing. “Unfortunately, the jails are filled with people even more heinous than you: rapists, murderers, and armed robbers. So I am going to sentence you to three thousand hours of community service.” I approached the judge after the trial, furious that this man might end up collecting a bit of rubbish along the highway as his penance. “I want him,” I said, referring to Plaid Shirt. I said that I ran a wildlife rehabilitation facility and could use a volunteer. The first day Plaid Shirt showed up, he actually looked scared of me. He cleaned cages, fed animals, and worked hard. He liked the bobcat I was taking care of, “Bobby.” He said it was the biggest one he had ever seen. It would make a prize trophy. I asked him every question I could think of: where he hunted, how he hunted, why he hunted. Whether he had any kind of shirt other than plaid. I felt as though I was in the presence of true evil. For months he helped. He had some skills, like carpentry, and he could lift heavy things. He fulfilled his community service. In the end, I couldn’t tell if I had made any difference or not. I was only slightly encouraged by his parting words. “You know,” Plaid Shirt said, “I never knew cougars purred.

Declan had been told a long time ago that he had to know what he wanted, or he'd never get it. Not by his father, because his father would never have delivered such pragmatic advice in such a pragmatic way. No, even if Niall Lynch believed in the sentiment, he would have wrapped it up in a long story filled with metaphor and magic and nonsense riddles. Only years after the storytelling would Declan be sitting somewhere and realize that all along Niall had been trying to teach him to balance his checkbook, or whatever the tale had really been about. Niall could never just say the thing. No, this piece of advice--You have to know what you want, or you'll never get it--was given to Declan by a senator from Nevada he'd met during a DC field trip back in eighth grade. The other children had been bored by the pale stone restraint of the city and the sameness of the law and government offices they toured. Declan, however, had been fascinated. He'd asked the senator what advice he had for those looking to get into politics. "Come from money," the senator had said first, and then when all the eighth graders and their teachers had stared without laughing, he added, "You have to know what you want, or you'll never get it. Make goals." Declan made goals. The goal was DC. The goal was politics. The goal was structure, and more structure, and yet more structure. He took AP classes on political science and policy. When he traveled with his father to black markets, he wrote papers. When he took calls from gangsters and shady antique auction houses, he arranged drop-offs near DC and wrangled meetings with HR people. Aglionby Academy made calls and pulled strings; he got names, numbers, internships. All was going according to plan. His father's will conveniently left him a townhouse adjacent to DC. Declan pressed on. He kept his brothers alive; he graduated; he moved to DC. He made the goal, he went towards the goal. When he took his first lunch meeting with his new boss, he found himself filled with the same anticipation he'd had as an eighth grader. This was the place, he thought, where things happened. Just across the road was the Mexican embassy. Behind him was the IMF. GW Law School was a block away. The White House, the USPS, the Red Cross, all within a stone's throw. This was before he understood there was no making it for him. He came from money, yeah, but the wrong kind of money. Niall Lynch's clout was not relevant in this daylight world; he only had status in the night. And one could not rise above that while remaining invisible to protect one's dangerous brother. On that first day of work, Declan walked into the Renwick Gallery and stood inside an installation that had taken over the second floor around the grand staircase. Tens of thousands of black threads had been installed at points all along the ceiling, tangling around the Villareal LED sculpture that normally lit the room, snarling the railing over the stairs, blocking out the light from the tall arches that bordered the walls, turning the walkways into dark, confusing rabbit tunnels. Museumgoers had to pick their way through with caution lest they be snared and bring the entire world down with them. He had, bizarrely, felt tears burning the corners of his eyes. Before that, he hadn't understood that his goals and what he wanted might not be the same thing. This was where he'd found art.

once a willful child who, like many willful children, felt most secure at home, has grown into an extravagantly social and nonconforming adult, one who creates camaraderie out of bus timetables, refuses to trouble herself when people look askance at her—and, in a buoyant refutation of the notion that mental retardation equals sluggishness, zips about jauntily to her own inner beat. My sister (my sister! I boast to myself) maneuvers through the world with the confidence of a museum curator walking approvingly through her galleries, and, far from bemoaning her otherness, she exults in it.

Ubud Famous in books and movies, the artistic heart of Bali exudes a compelling spiritual appeal. The streets are lined with galleries where artists, both humble and great, create. Beautiful performances showcasing the island's rich culture grace a dozen stages nightly. Museums honour the works of those inspired here over the years, while people walk the rice fields to find the perfect spot to sit in lotus position and ponder life's endless possibilities. Ubud is a state of mind and a beautiful state of being.

have swiftly married Anne to the first lucrative offer. And yet Anne had so many visible attributes that Ferris often wondered why his wife put so much energy into the marriage of their other daughter. It often seemed as though Marcella could not acknowledge their youngest except to push her aside. His wife’s treatment of Anne hurt him deeply. “I will walk with you to your bower, petite,” Ferris said, holding out his hand to her. Marcella grasped her to retrieve her jewelry. “Mind your manners, Anne, or you will be punished.” “Yes, madam,” she said. Ferris frowned at his wife. Anne walked down the dark gallery with her father. The hour was still early and few people were astir. When they had traveled some distance from Marcella’s

If Only We Could Be Together If only Linus and I could walk downtown on Thursday nights when musicians play on the street corners and art galleries serve crackers and cheese. If only we could dance on the sidewalk, look up at the sequined sky, and wish upon the same shooting star. If only Linus could teach me chords on his guitar, reach around to adjust my fingers and help me strum. If only we could sing about autumn mist and sealing wax, hear out voices mingle, and stir the air as one, And by being with Linus I;d figure it out. I'd learn what love it. If only Linus would kiss me, touch the skin under my shirt, press his fingers to my ribs, and feel my beating heart. Then I'd know. I know I'd know. I'd know I was in love.

Chapter 15 Grace One morning, after an uneventful sojourn at the bath house. The ward received a rare visit from the Physician Superintendent. He walked into the day room accompanied by the charge nurse just as me and Art were preparing the patients for lunch. “Do you say Grace before meals?” inquired the Superintendent of the charge. “Yes Sir.” The charge was well aware of the hospital rules and snapped almost to attention in reply. His response was true. Our charge, being a stickler for the rule book of the institution, always insisted on saying grace. The order was; “Stand behind your chairs.” Usually bellowed by the deputy although Art and I occasionally got the chance. The seventy odd patients milling round in the dining gallery would stand behind their chairs in absolute silence. Years of institutional living had taught them that meals would only be served after a period of absolute silence, followed by grace. The charge, not leaving his chair, would open his office door and poking his head out would call. “For whayouare aboutorecieve maythelor mayoutruly thankful.” To which the patients would dutifully chorus “Amen” and sit down to eat. On this day the “Big Chief” was present and Art and I could tell things were going to be different. “Stand behind your chairs.” Was said. Nothing happened.—Louder, “Stand behind your chairs.” Nothing.—Art bellowed “Stand behind your chairs.” The effect was electric and the mass moved into its lunchtime position of silence standing behind their chairs in the dining room. The charge had slipped into his long white nursing coat. He was going to assist with lunch. He moved away from the side of the Physician Superintendent and stood in the centre of the dining room. There he adopted a posture which he adjudged spiritually appropriate. Hands clasped in front of him, eyes lowered, he bowed his head. Not wishing to get on the wrong side of our boss. Art and I stood one either side of him and followed suit. Absolute silence reigned. Before the charge could proceed any further with this charade the ward kitchen door opened to reveal Benny and Jimmy. They were two long standing ward worker patients who’s job it was to prepare the plates on the servery ready for the meal. Patients assisting with serving meals was against the “rules” and Benny realising that the Superintendent was present blurted out. “For Christ’s sake shut that bloody door.” Seventy nine patients solemnly responded with “Amen.” and promptly sat down in eager anticipation of their dinner. “I see.” said the Physician Superintendent and walked poker faced from the dining room with the red faced charge trailing in his wake. We never said Grace again after that.

For it did seem to be the case, she reflected, that the owners of art galleries were very frequently men who were unable to use ordinary language with any precision and who walked about in a horrible blizzard of peculiar superlatives and meaningless coinages from which they tried to shelter themselves by a wild flailing of their hands.

Varencienne knew she herself has the potential to be a passionate creature, but there was no one in Caradore to ignite her feelings. The closest she came to it was when she thought of Khaster Leckery. Even now, she liked to walk in the long gallery in Norgance, savoring the moment when she could pause before the portrait. Khaster inhabited her fantasies, but even if he wasn’t dead, he might as well be. The situation was entirely to Varencienne’s liking. Ghosts could be whatever she waited them to be, whereas real men were problematic. They had to control and demand.

...you must be constant in the use of means and lay hold on every opportunity of enjoying the gospel. This our Lord commends in Mary, calling her attendance on the word preached a choosing the "good part" (Luke 10:42). There, you will taste the crystal streams and view the golden minds of sound doctrine and wells of salvation. This is the place of spiritual wonders where the dead are raised, the lepers cleansed, the eyes of the blind opened, and the devils ejected. Gospel ordinances are the golden galleries where the King of Glory walks, the bed where immortal souls are begotten unto God, and in which the broken hearts do travail till Christ is formed in them [Gal. 4:19]. Through these golden pipes, the water of life is poured out on thirsty, panting souls for the cheering of their spirits. Here is the doctrine preached and words where by you must be saved (Acts 10). Here, Christ's mother found Him, it being the place where the Bridegroom and the bride meet and solace themselves together.

This is a city with its legs spread open toward the sea. Take a look at the port when you walk down toward the old neighborhoods in Sidi El Houari, over on the Calère des Espagnols side. It’s like an old whore, nostalgic and chatty. Sometimes I go down to the lush garden on the Promenade de Létang to have a solitary drink and rub shoulders with delinquents. Yes, down there, where you see that strange, dense vegetation, ficuses, conifers, aloes, not to mention palms and other deeply rooted trees, growing up toward the sky as well as down under the earth. Below there’s a vast labyrinth of Spanish and Turkish galleries, which I’ve been able to visit, even though they’re usually closed. I saw an astonishing spectacle down there: the roots of centuries-old trees, seen from the inside, so to speak, gigantic, twisting things, like giant, naked, suspended flowers. Go and visit that garden. I love the place, but sometimes when I’m there I detect the scent of a woman’s sex, a giant, worn-out one. Which goes a little way toward confirming my obscene vision: This city faces the sea with its legs apart, its thighs spread, from the bay to the high ground where that luxurious, fragrant garden is. It was conceived — or should I say inseminated, ha, ha! — by a general, General Létang, in 1847. You absolutely must go and see it — then you’ll understand why people here are dying to have famous ancestors. To escape from the evidence.

By the time she walked with a heavy step up the grand staircase, the first streaks of light teased at the glass panels of the door at the end of the gallery.

When he was alone, he consoled himself with the dream of the infinite rooms. He dreamed that he was getting out of bed, opening the door and going into an identical room with the same bed with a wrought-iron head, the same wicker chair, and the same small picture on the back wall. From that room he would go into another that was just the same, the door of which would open into another that was just the same, the door of which would open into another one just the same, and then into another exactly alike, and so on to infinity. He liked to go from room to room, as in a gallery of parallel mirrors, until another would touch him on the shoulder. Then he would go back from room to room, walking in reverse, going back over his trail, and he would find the room of reality. But one night, two weeks after they took him to his bed, another touched his shoulder in an intermediate room and he stayed there forever, thinking that it was the real room.

To a person uninstructed in natural history, his country or seaside stroll is a walk through a gallery filled with wonderful works of art, nine-tenths of which have their faces turned to the wall. —THOMAS HUXLEY

It wasn’t something that would last, we both knew that, but it was a small, quick delight, and sometimes in this world, there was nothing wrong with that. I stumbled back across campus. There were students still out. I tried to stay in the shadows, but Barry, the student who visits my office weekly, spotted me and cried out, “Taking the walk of shame, Teach?” Caught. I gave him a good-hearted wave and continued serpentine-style to my humble abode. A sudden head rush hit me as I entered. I stayed still, waiting for my legs to come back to me. When the dizziness receded, I headed into the kitchen and grabbed a glass of ice water. I drank it in big gulps and poured another. I would be hurting tomorrow, no question about it. Exhaustion weighed down my bones. I stepped into my bedroom and flicked on the light. There, sitting on the edge of my bed, was the man with the maroon baseball cap. I jumped back, startled. The man gave me a friendly wave. “Hey, Jake. Sheesh, look at you. Have you been out carousing?” For a second, no more, I just stood there. The man smiled at me as though this were the most natural encounter in the history of the world. He even touched the front of his cap at me, as though he were a professional golfer acknowledging the gallery. “Who the hell are you?” I asked. “That’s not really relevant, Jake.” “Like hell it isn’t. Who are you?” The man sighed, let down, it seemed, by my seemingly irrational insistence on knowing his identity. “Let’s just say I’m a friend.” “You were in the café. In Vermont.” “Guilty.” “And

Brit, this is Perry Landis,” Doug says, pointing to the Colin look-alike. “The artist.” “Omigod, your work is amazing!” Brittany says, gushing at him. She said “omigod” as if she really is an airhead. Is she kidding me? The guy looks over her shoulder at his painting. “What do you think of this one?” he asks her. Brittany clears her throat. “I think it shows great insight to the relationship between man, animal, and Earth.” Oh, please. What bullshit. Perry puts his arm around her and I’m tempted to pick a fight in the middle of the gallery. “I can tell you’re very deep.” Deep, my ass. He wants to get into her pants…pants he’s never going near if I have anything to say about it. “Alex, what do you think?” Brittany asks, turning to me. “Well…” I rub my chin as I stare at the painting. “I think the entire collection is worth a buck fifty, two tops.” Sierra’s eyes go wide and her hand covers her mouth in shock. Doug is coughing up his drink. And Brittany? I look at my “let’s see what happens” girlfriend. “Alex, you owe Perry an apology,” Brittany says. Yeah, right after he apologizes for asking me about wasabi. Not a chance in hell. “I’m outta here,” I say, then turn my back on all of them and walk out the gallery door. Me voy.

Dear Diary, THERE WAS STILL ANOTHER DAY of the conference, so we stayed in DC. While Dad attended panels and lectures, George, Bess, and I finally took in the sights. It was hard to keep up with George at the National Air and Space Museum. She raced from one exhibit to the next. Bess led us more calmly through the National Portrait Gallery, giving us time to appreciate the paintings. When it was my turn, I picked visiting the Supreme Court. With all our talk about justice the night before, I wanted to see the highest court in the land—the place where nine people get to decide exactly what the law means. Walking up the marble steps gave me goose bumps. I’d heard the building referred to as the Temple of Justice before, and now I understand why. But then I remembered Walker was still behind bars for a crime he didn’t commit, and the goose bumps faded.

studio, and a bar and restaurant. The staff is professional and friendly, and like the hotel in the book, the real hotel is located on the edge of town within easy walking distance of not only shopping, restaurants, museums, and galleries but also Children’s Beach, Jetties Beach, and Brant Point Light. Website: Thenantuckethotel.com; Instagram: @thenantucket. The only accommodation that is directly on the beach is the Cliffside Beach Club, which was the inspiration for my first novel, The Beach Club.

The crowd hushes as Kate walks through the art gallery, she eclipses everyone in the room. I’m used to people staring at my brothers and I, but Kate…. she’s an enigma. She doesn’t have any idea just how talented she is. But they do, and so do I. I’m just the lucky prick that she happened to fall in love with.

The story really is short. Nine pages, about a boy who was born with a pair of wings. All his life, people tell him that this means he should try to fly. He’s afraid to. When he finally does, jumps off a two-story roof, he falls. He breaks his legs and wings. He never gets them reset. As he recovers, the bone heals in its misshapen form. Finally, people stop telling him that he must’ve been born to fly. Finally, he’s happy. When Alex comes back out, I’m crying. He asks me what’s wrong. I say, “I don’t know. It just speaks to me.” He thinks I’m making a joke and chuckles along, but for once, I wasn’t referencing the gallery girl who tried to sell us a twenty-one-thousand-dollar bear sculpture. I was thinking about what Julian used to say about art. How it either makes you feel something or it doesn’t. When I read his story, I started crying for a reason I can’t totally explain, not even to Alex. When I was a kid, I used to have these panic attacks thinking about how I could never be anyone else. I couldn’t be my mom or my dad, and for my whole life, I’d have to walk around inside a body that kept me from ever truly knowing anyone else. It made me feel lonely, desolate, almost hopeless. When I told my parents about this, I expected them to know the feeling I was talking about, but they didn’t. “That doesn’t mean there’s anything wrong with feeling that way, though, sweetie!” Mom insisted. “Who else do you think about being?” my dad said with his particular blunt fascination. The fear lessened, but the feeling never went away. Every once in a while, I’d roll it back out, poke at it. Wonder how I could ever stop feeling lonely when no one could ever know me all the way. When I could never peer into someone else’s brain and see it all. And now I’m crying because reading this story makes me feel for the first time that I’m not in my body. Like there’s some bubble that stretches around me and Alex and makes it so we’re just two different colored globs in a lava lamp, mixing freely, dancing around each other, unhindered. I’m crying because I’m relieved. Because I will never again feel as alone as I did during those long nights as a kid. As long as I have him, I will never be alone again.

The Keeper's hair was twisted into a bun and she wore glasses and flat shoes. When she walked through the galleries she stepped quickly, swinging a bunch of keys. Sometimes lost visitors intercepted her, asking where the tapestries or the patchwork quilts were, or for the way out. She was helpful, earnestly agreeing that the museum was a maze. The Keeper taught us how to be public servants. We copied her mannerisms, were prompt, reliable, respectful. Our in-trays held erudite journals and we welcome complicated enquiries. We expressed tentative interest in obscure aspects of the collection. Once, early on, I said I liked the eighteenth century. It's a good century, she said kindly. The Keeper believed in tacit experiencing and we learnt without realizing it. She asked me to unpick a lace collar that had been stitched into a faded backboard. I used a scalpel to slice through the threads, and when the lace was released, a shadow collar had been imprinted onto the blue velvet like a daguerreotype. This was a lesson in light damage. That Christmas, we had a staff lunch. I was surprised when she ordered chips, had somehow thought that Keepers did not need such comestibles, that the ether of objects was sustenance enough. I imagined being like her one day, swinging the keys of knowledge. But back then, I was just a shadow curator.

Rāgas are soliloquies and meditations, passionate melodies that draw circles and triangles in a mental space, a geometry of sounds that can turn a room into a fountain, a spring, a pool. What I learned from music—besides the pleasure of walking through those galleries of echoes and gardens of transparent trees, where sounds think and thoughts dance—was something that I also found in Indian poetry and thought: the tension between wholeness and emptiness, the continual coming and going between the two.

If you can’t run by my side,” he said, his voice smoky with the emotion, “then I’ll walk by yours.

Then it occurred to me that I could walk outside and contrive to take a spill, or squeeze out the window on the rear staircase on HmH and fall several meters to the steep embankment below, being sure to land on the bad ankle and hurt it, so I’d not have to play. That I could carefully plan out a fall from the courts’ observation transom or the spectators’ gallery of whatever club C.T. and the Moms sent us to to help raise funds, and fall so carefully badly I’d take out all the ankle’s ligaments and never play again. Never have to, never get to. I could be the faultless victim of a freak accident and be knocked from the game while still on the ascendant. Becoming the object of compassionate sorrow rather than disappointed sorrow. 

I couldn’t stay with this fantastic line of thought long enough to parse out whose disappointment I was willing to cripple myself to avoid (or forgo).

And then I would go home to Velaris, where I would finally walk through the artists' quarter, and enter those shops and galleries and learn what they knew, and maybe one day, I would open my own shop. Not to sell my works but to teach others. Maybe to teach the others who were like me: broken in places and trying to fight it— trying to learn who they were around the dark and pain. And I would go home at the end of every day exhausted but content—fulfilled. Happy,

Bryce walked calmly to the hidden supply closet. Pulled out a red plastic container. And dumped the entire gallon of gasoline on the Governor’s dismembered corpse. “Holy fuck,” Ruhn whispered, over and over. “Holy fuck.” The rest of the room didn’t so much as breathe too loudly. Even Sandriel had no words as Bryce grabbed a pack of matches from a drawer in her desk. She struck one, and tossed it onto the Governor’s body. Flames erupted. The fireproofing enchantments on the art around her shimmered. There would be no chance of salvation. Of healing. Not for Micah. Not after what he had done to Danika Fendyr. To the Pack of Devils. And Lehabah. Bryce stared at the fire, her face still splattered with the Archangel’s blood. And finally, she lifted her eyes. Right to the camera. To the world watching. Vengeance incarnate. Wrath’s bruised heart. She would bow for no one. Hunt’s lightning sang at the sight of that brutal, beautiful face. Time sped up, the flames devouring Micah’s body, crisping his wings to cinders. They spat him out as ashes. Sirens wailed outside the gallery as the Auxiliary pulled up at last. Bryce slammed the front door shut as the first of the Fae units and wolf packs appeared. No one, not even Sandriel, spoke a word as Bryce took out the vacuum from the supply closet. And erased the last trace of Micah from the world.

I told her how I’d taken to going on long midday walks to savor the fall weather; wandering in and out of the familiar tourist traps on Yarrow Street, getting lunch at Golden’s or the new sandwich place with the incredible falafel wraps. Dipping into the funky coffee shop Talia had taken me to, exploring the new galleries, jewelry stores, and boutiques that had sprung up in my absence. I’d even picnicked by myself next to Lady’s Lake, in sunshine so pure it felt medicinal, and taken a book and a hot chocolate to the town cemetery like I’d once loved to do, whiling away an entire afternoon. Slowly falling back under Thistle Grove’s spell without even putting up a fight.

I have been to Mont Saint-Michel, which I had not seen before. What a sight, when one arrives as I did, at Avranches toward the end of the day! The town stands on a hill, and I was taken into the public garden at the extremity of the town. I uttered a cry of astonishment. An extraordinarily large bay lay extended before me, as far as my eyes could reach, between two hills which were lost to sight in the mist; and in the middle of this immense yellow bay, under a clear, golden sky, a peculiar hill rose up, sombre and pointed in the midst of the sand. The sun had just disappeared, and under the still flaming sky the outline of that fantastic rock stood out, which bears on its summit a fantastic monument. At daybreak I went to it. The tide was low as it had been the night before, and I saw that wonderful abbey rise up before me as I approached it. After several hours’ walking, I reached the enormous mass of rocks which supports the little town, dominated by the great church. Having climbed the steep and narrow street, I entered the most wonderful Gothic building that has ever been built to God on earth, as large as a town, full of low rooms which seem buried beneath vaulted roofs, and lofty galleries supported by delicate columns. I entered this gigantic granite jewel which is as light as a bit of lace, covered with towers, with slender belfries to which spiral staircases ascend, and which raise their strange heads that bristle with chimeras, with devils, with fantastic animals, with monstrous flowers, and which are joined together by finely carved arches, to the blue sky by day, and to the black sky by night. When I had reached the summit, I said to the monk who accompanied me: “Father, how happy you must be here!” And he replied: “It is very windy, Monsieur;