Girl Portraits Quotes

When a girl uses six derogatory adjectives in her attempt to paint the portrait of the loved one, it means something. One may indicate a merely temporary tiff. Six is big stuff.

I see... the way you're always searching. How much you hate anything fake or phony. How you're older than your years, but still... playful, like a little girl. How you're always looking into people, or wondering what they see when they look back at you. Your eyes. It's all in the eyes.

I don’t think I pity her. She doesn’t strike me as a girl that suggests compassion. I think I envy her... I don’t know whether she is a gifted being, but she is a clever girl, with a strong will and a high temper. She has no idea of being bored...Very pretty indeed; but I don’t insist upon that. It’s her general air of being someone in particular that strikes me.

It's a fairly accurate portrait of me at eighteen, minus a few quirks like reckless driving and eating binges. It's accurate but it isn't profound.

The girl had a certain nobleness of imagination, which rendered her a good many services and played her a great many tricks. She spent half her time in thinking of beauty, bravery, magnanimity; she had a fixed determination to regard the world as a place of brightness, of free expansion, of irresistible action, she thought it would be detestable to be afraid or ashamed. She had an infinite hope that she would never do anything wrong. She had resented so strongly, after discovering them, her mere errors of feeling.

Now she knew why girls were not allowed to feel anger—there was a reckless hope in it, and power.

It didn't matter if i was the kind of girl who had sex, or the kind of girl who had her portrait on on a wall in the library, or the kind of girl who who got into the best college, or the kind of girl who didn't tell her parents everything, or the kind of girl who teachers loved. I just needed to be okay with all the kinds of girl I was.

A society where feminine beauty is defined not by the human self on genuine intellectual and sentimental grounds, but by a computer software on the grounds of economic interest, is more dead than alive. It is a society of human bodies, not human beings.

A girl stood before him in midstream, alone and still, gazing out to sea. She seemed like one whom magic had changed into the likeness of a strange and beautiful seabird. Her long slender bare legs were delicate as a crane's and pure save where an emerald trail of seaweed had fashioned itself as a sign upon the flesh. Her thighs, fuller and soft-hued as ivory, were bared almost to the hips, where the white fringes of her drawers were like feathering of soft white down. Her slate-blue skirts were kilted boldly about her waist and dovetailed behind her. Her bosom was as a bird's, soft and slight, slight and soft as the breast of some dark-plumaged dove. But her long fair hair was girlish: and girlish, and touched with the wonder of mortal beauty, her face.

Wearing an antique bridal gown, the beautiful queen of the vampires sits all alone in her dark, high house under the eyes of the portraits of her demented and atrocious ancestors, each one of whom, through her, projects a baleful posthumous existence; she counts out the Tarot cards, ceaselessly construing a constellation of possibilities as if the random fall of the cards on the red plush tablecloth before her could precipitate her from her chill, shuttered room into a country of perpetual summer and obliterate the perennial sadness of a girl who is both death and the maiden.

Nobody ever realized that Celia was shy. They thought she was haughty and conceited. Nobody realized how humble this pretty girl was feeling—how bitterly conscious of her social defects.

...I felt the wall between the world of secrets and the real world start to collapse. I felt the girls from the portrait becoming us and us becoming them...

And sometimes when she does remember, she calls me her little angel and she knows where she is and everything is all right for a second or a minute and then we cry; she for the life that she lost I for the woman I only know about through the stories of her children.

Okay.” Mavis nodded decisively. “Then you tear it down. You don’t take no for an answer. You nag and you pick and you stick until it pops out of him. Whatever it is. Girls are good at this, Dallas.” “I’m not good at being a girl.” “Sure you are. You’re your own kind of girl. Think of it as kicking his ass until he cracks.

I didn't leave right away. I stayed in the woods. I heard the faint voices of other people. I felt the cold against my skin. But mostly, I was aware of my own heavy breathing, my own thoughts, my own past, present, and future. I realized then, and would have to keep realizing in all the years to come: It didn't matter if I was the kind of girl who had sex, of the kind of girl who had her portrait on a wall in the library, or the kind of girl who got into the best college, or the kind of girl who didn't tell her parents everything, or the kind of girl who teachers loved. I just needed to be okay with all the kinds of girl I was.

It felt a little weird, helping Hazel make a portrait of Calypso—as if he were talking to a police artist: Yes, officer, that’s the girl who stole my heart! Sounded like a freaking country song.

What's as perfect as a girl stopped dead, midformation? Girl as blank slate. Girl as reflection of your desires, unmarried by her own. Girl as sacrifice to the idea of girl. Girl as a series of childhood photographs, all marked with the aura of girl who will die young, as if even the third grade portrait photographer should have seen it written on her face, that this was a girl who would only ever be a girl.

Chapter 1: Fan Number One Chapter 2: A Portrait of the Author as a Young Girl Chapter 3: Mystery Man Chapter 4: City Kid Chapter 5: The Plot Thickens Chapter 6: Reality Attack Chapter 7: Business Lesson Chapter 8: A Portrait of the Bulldog as a Young Girl Chapter 9: The Agent Chapter 10: The Chosen Grown-Up Chapter 11: Welcome to the Club Chapter 12: In or Out? Chapter 13: Open for Business Chapter 14: Judgment Day Chapter 15: A New Island Chapter 16: Poker, Anyone? Chapter 17: High Stakes, Aces Wild Chapter 18: The Long Arm of the Law Chapter 19: The Red Pencil Blues

I had to revise all my feelings once again. I pulled out the dregs of affection from the glass of misunderstanding to rebuild my faith. I had to reinvent the cause for love, as it were. It was something I had to draw inside me, a real portrait of her, not just the inspiration but the girl as a whole, with all her shortcomings to be able to love her again.

A man who is in the habit of smiling in the glass at his handsome face and stalwart figure, if you shew him their radiograph, will have, face to face with that rosary of bones, labelled as being the image of himself, the same suspicion of error as the visitor to an art gallery who, on coming to the portrait of a girl, reads in his catalogue: “Dromedary resting.

Alex,” Irene said, and it was a sigh. She was tired of coders who thought the world spun around Silicon Valley, tired of this girl who looked at her as though she knew everything there was to know already. “Can we work together this one time?

Take more selfies. Not because you need validation or likes or comments. but because you are here on this earth. Alive and holy and true. And yes, your beauty deserves to be seen and known, most especially by you. You are worthy of being the subject of your own art. It is okay to capture the process of your own becoming. To be your own kind and gentle and fierce witness. To learn the truth of your eyes and your skin and your bones. To choose to show what wants to be shown, to name what wishes to be named, to claim ownership of the story that is told about you by being the one to tell it. Dear girl. YOU are the greatest art you will ever create. The masterpiece. The magnum opus. You’re it. However you want to be. Look at yourself now, miracle that you are, look at yourself and soak in the wonder, until you no longer want to look away.

An interesting observation. I must admit I’m a little surprised, though. No girl’s ever complained about it before. You’re the first...” “I didn’t mean your muscle tone, Narcissus. I mean that... thing. I didn’t know you were in the habit of decorating your body with portraits of your victims. It totally reminds me of the cockroach you so theatrically banished from this life.

She moved in for a better look.It was a portrait of Bob Marley,a pretty good one,actually.No Woman, No Cry...that's right.No teenage girls either.All right,ten points if you'Re a poet,minus twenty-five if you're in a band and minus fifty if you're into the ganja.

The alley is a pitch for about twenty women leaning in doorways, chain-smoking. In their shiny open raincoats, short skirts, cheap boots, and high-heeled shoes they watch the street with hooded eyes, like spies in a B movie. Some are young and pretty, and some are older, and some of them are very old, with facial expressions ranging from sullen to wry. Most of the commerce is centred on the slightly older women, as if the majority of the clients prefer experience and worldliness. The younger, prettier girls seem to do the least business, apparent innocence being only a minority preference, much as it is for the aging crones in the alley who seem as if they’ve been standing there for a thousand years. In the dingy foyer of the hotel is an old poster from La Comédie Française, sadly peeling from the all behind the desk. Cyrano de Bergerac, it proclaims, a play by Edmond Rostand. I will stand for a few moments to take in its fading gaiety. It is a laughing portrait of a man with an enormous nose and a plumed hat. He is a tragic clown whose misfortune is his honour. He is a man entrusted with a secret; an eloquent and dazzling wit who, having successfully wooed a beautiful woman on behalf of a friend cannot reveal himself as the true author when his friend dies. He is a man who loves but is not loved, and the woman he loves but cannot reach is called Roxanne. That night I will go to my room and write a song about a girl. I will call her Roxanne. I will conjure her unpaid from the street below the hotel and cloak her in the romance and the sadness of Rostand’s play, and her creation will change my life.

She had been fair at drawing before the war. She’d drawn her mother dozens of times, as she sat reading or sewing. There had been so many things in those days that kept a person still, that required perfect concentration for hours on end. It had been easy to draw portraits.

What seems like a tale from a simpler time turns out to be the product of a difficult and sometimes troubled life. What appears to be a sweet, light story of four girls growing up is also very much about how hard it was (and is) to come of age in a culture that prizes a woman’s appearance over her substance. And what may seem an idealized portrait of an intact home and family is also the story of a family in danger of being torn apart.

The missing girl—there had been unceasing news reports, always flashing to that achingly ordinary school portrait of the vanished teen, you know the one, with the rainbow-swirl background, the girl's hair too straight, her smile too self-conscious, then a quick cut to the worried parents on the front lawn, microphones surrounding them, Mom silently tearful, Dad reading a statement with quivering lip—that girl, that missing girl had just walked past Edna Skylar.

IFPs. I call them Interdimensional Fairy Potholes.” He smiled faintly. “Funny girl, aren’t you?” We lapsed into another uncomfortable silence. I looked at him. He looked away. I shrugged and looked away, too. “I wasn’t—” I began. “I didn’t—” He began. “How charming,” V’lane cut us off. His voice arrived before he did. “The very portrait of human domestic bliss. She’s on the floor, you’re towering over her. Did he strike you, MacKayla? Say the word and I’ll kill him.

Her words, they came from a place desiring to please or appease, to appear normal or silly, which were usually considered the same in a girl. It was a malaise afflicting most women in Britain, this compulsion to say one thing while thinking another, to agree to things one disliked, to laugh about jokes that were dull

Because, says Emilia, there was a rumor about you. Someone swore that, when you were a little girl, he once saw you touch a tiger. And the tiger didn't harm you, it let you stroke it. It was always said that you had charmed the beast, like an enchantress. Impossible, of course, but— Not impossible, says Lucrezia, not at all.

MICHELLE, MA BELLE Paul McCartney had been awarded the Gershwin Prize for Popular Song in a ceremony in the East Room. For most of the evening, other artists performed his songs. But for the conclusion, McCartney went onstage to sing some classics. Then he sang “Michelle” to Michelle Obama. I didn’t realize how special the moment was until the next day, when I was talking to the President. What were the odds, he said to me, that an African-American girl from the South Side of Chicago would one day be sitting in the front row of the White House, as the First Lady of the United States, while a member of the Beatles sang her name? Wow, just wow, I thought. June 2, 2010

Everyone with a camera and a set of draperies runs a portrait studio. Miss

You called me a girl, but I am a portrait of the world on fire. You called me a girl, but I am a bruise that refuses to heal. You called me a girl, but I am a knife.

I think about those family portraits on Sonya’s walls. How I’ll never have that. Don’t you have to know what a family feels like to build one?

American girls are the best girls,” he said cheerfully to his young companion.

What else is there to sustain us if not our dreams, and what should we strive for if not for their realization?

He's a popular douchebag jock who likes girls. He's the red giant. I"m the yellow dwarf. The end. (SELF-PORTRAIT: Everyone Lives Happily Ever After Except for the Yellow Dwarf)

Men are insecure about beauty. They will want to hide it in you, and then, they will take their crippled minds to town and eye-fuck every girl they see.

I don't believe they're very nice to girls; they're not nice to them in the novels.

But for a nice girl you do attract the most unnatural people.

I never congratulate any girl on marrying; I think they ought to make it somehow not quite so awful a steel trap.

Me,” said Ron, who was still rather disheveled. “I didn’t realize that would happen. It’s not fair!” he added to Harry, as the girls headed off for the portrait hole, still giggling madly. “Hermione’s allowed in our dormitory, how come we’re not allowed — ?” “Well, it’s an old-fashioned rule,” said Hermione, who had just slid neatly onto a rug in front of them and was now getting to her feet, “but it says in Hogwarts: A History that the founders thought boys were less trustworthy than girls. Anyway, why were you trying to get in there?

My mother died at eighty-three, of cancer, in pain, her spleen enlarged so that her body was misshapen. Is that the person I see when I think of her? Sometimes. I wish it were not. It is a true image, yet it blurs, it clouds, a truer image. It is one memory among fifty years of memories of my mother. It is the last in time. Beneath it, behind it is a deeper, complex, ever-changing image, made from imagination, hearsay, photographs, memories. I see a little red-haired child in the mountains of Colorado, a sad-faced, delicate college girl, a kind, smiling young mother, a brilliantly intellectual woman, a peerless flirt, a serious artist, a splendid cook—I see her rocking, weeding, writing, laughing — I see the turquoise bracelets on her delicate, freckled arm — I see, for a moment, all that at once, I glimpse what no mirror can reflect, the spirit flashing out across the years, beautiful. That must be what the great artists see and paint. That must be why the tired, aged faces in Rembrandt’s portraits give us such delight: they show us beauty not skin-deep but life-deep.

Besides, someone has just told me that my little girl, who isn’t my little girl really, has gone off in a lorry with some workmen, and I’m rather worried ... so you must see my point!

Henry Miller, Genet, Sade, Bataille are really important writers for me and I love them, but I feel often they don’t love me, you know? I feel I always have to wrap my head around the way the girl is treated in the works, and the way the woman writer has been treated within their philosophies. I think of Kathy Acker’s Blood and Guts in High School, where Janey Smith is in an S&M relationship with Jean Genet, who she follows around the deserts of Algeria, and he’s horrible to her, and that’s what I think of when I think of my relationship to those writers. I think you have to read the text, obviously, despite that. You seem to be subverting Sade and Bataille’s ideas of the whore, and Henry Miller – all of his cunt portraits, all of his horrors that he writes about – you’re writing about it from an interiority and a subjectivity that we don’t typically get with the ‘whore’ or the ‘slut’ or the sexual girl.

I believe that photography could be used to inspire change. It could tell the truth, and force people to pay attention. I cannot pursue that now, Em, for people want portraits, and portraits alone, but I think that a portrait is a terribly false thing, for what shows in a portrait is little more than a mask made of all that the subject would like the viewer to believe he is.

Among the things she said: "Women seem to possess all the natural gifts essential to a good portraitist ... such as personality, patience and intuition. The sitter ought to be the predominating factor in a successful portrait. Men portraitist are apt to forget this; they are inclined to lose the sitter in a maze of technique luxuriating in the cleverness and beauty of their own medium.

How irritating. Penny was still reeling and breathlessly from their kiss, and he... wasn't, apparently. Surely a considerate man would at least pretend to be a bit unmoored. Then the door reopened, and he entered again. "Your Ladyship, I-" After a lengthy pause, she prompted him. "You...?" He frowned at the floor. "We." We. He said this as though it were a complete sentence, but even after several moments of contemplation, Penny could not make sense of it. With an annoyed shake of his head, he wrenched open the door for the third time, stormed through it, and slammed it behind him with such derisive force that the portraits rattled on the wall. Penny smiled to herself. With that, she could be satisfied.

In Sunspear hung a portrait of the Princess Daenerys who had come to Dorne to marry one of Arianne's forebears. In her younger days Arianne had spent hours gazing at it, back when she was just a pudgy flat-chested girl on the cusp of maidenhood who prayed every night for the gods to make her pretty. A hundred years ago, Daenerys Targaryen came to Dorne to make a peace. Now another comes to make a war, and my brother will be her king and consort. King Quentyn. Why did that sound so silly?

—Did you hear what I said? asked Stephen, bending towards her. I told you I had no money. I tell you again now. —Well, sure, you will some day, sir, please God, the girl answered after an instant. —Possibly, said Stephen, but I don’t think it likely.

A sloping, earthy passage inside the barrel travels upwards a little way until a cosy, round, low-ceilinged room is revealed, reminiscent of a badger’s set. The room is decorated in the cheerful, bee-like colours of yellow and black, emphasised by the use of highly polished, honey-coloured wood for the tables and the round doors that lead to the boys’ and girls’ dormitories (furnished with comfortable wooden bedsteads, all covered in patchwork quilts). A colourful profusion of plants and flowers seem to relish the atmosphere of the Hufflepuff common room: various cacti stand on wooden circular shelves (curved to fit the walls), many of them waving and dancing at passers-by, while copper-bottomed plant holders dangling amid the ceiling cause tendrils of ferns and ivies to brush your hair as you pass under them. A portrait over the wooden mantelpiece (carved all over with decorative dancing badgers) shows Helga Hufflepuff, one of the four founders of Hogwarts School, toasting her students with a tiny, two-handled golden cup.

The poor girl liked to be thought clever, but she hated to be thought bookish; she used to read in secret and, though her memory was excellent, to abstain from showy reference. She had a great desire for knowledge, but she really preferred almost any source of information to printed page; she had an immense curiosity about life and was constantly staring and wondering. She carried herself with a great fund of life, and her deepest enjoyment was to feel the continuity between the movements of her own soul and agitations of the world.

And now Snape stood again in the headmaster’s study as Phineas Nigellus came hurrying into his portrait. “Headmaster! They are camping in the Forest of Dean! The Mudblood--” “Do not use that word!” “--the Granger girl, then, mentioned the place as she opened her bag and I heard her!” “Good. Very good!” cried the portrait of Dumbledore behind the headmaster’s chair. “Now, Severus, the sword! Do not forget that it must be taken under conditions of need and valor--and he must not know that you give it! If Voldemort should read Harry’s mind and see you acting for him--” “I know,” said Snape curtly. He approached the portrait of Dumbledore and pulled at its side. It swung forward, revealing a hidden cavity behind it from which he took the sword of Gryffindor. “And you still aren’t going to tell me why it’s so important to give Potter the sword?” said Snape as he swung a traveling cloak over his robes. “No, I don’t think so,” said Dumbledore’s portrait. “He will know what to do with it. And Severus, be very careful, they may not take kindly to your appearance after George Weasley’s mishap--” Snape turned at the door. “Don’t worry, Dumbledore,” he said coolly. “I have a plan…” And Snape left the room. Harry rose up out of the Pensieve, and moments later he lay on the carpeted floor in exactly the same room: Snape might just have closed the door.

But then she looks again at the blurred version of herself in the big window and suddenly she sees that the half-finished portrait is that of a queenly woman, not a gauche girl, and she knows that finally, after all these years, it is time to hold her life up to the light.

A character like that," he said to himself—"a real little passionate force to see at play is the finest thing in nature. It's finer than the finest work of art—than a Greek bas-relief, than a great Titian, than a Gothic cathedral. It's very pleasant to be so well treated where one had least looked for it. I had never been more blue, more bored, than for a week before she came; I had never expected less that anything pleasant would happen. Suddenly I receive a Titian, by the post, to hang on my wall—a Greek bas-relief to stick over my chimney-piece. The key of a beautiful edifice is thrust into my hand, and I'm told to walk in and admire. My poor boy, you've been sadly ungrateful, and now you had better keep very quiet and never grumble again." The sentiment of these reflexions was very just; but it was not exactly true that Ralph Touchett had had a key put into his hand. His cousin was a very brilliant girl, who would take, as he said, a good deal of knowing; but she needed the knowing, and his attitude with regard to her, though it was contemplative and critical, was not judicial. He surveyed the edifice from the outside and admired it greatly; he looked in at the windows and received an impression of proportions equally fair. But he felt that he saw it only by glimpses and that he had not yet stood under the roof. The door was fastened, and though he had keys in his pocket he had a conviction that none of them would fit. She was intelligent and generous; it was a fine free nature; but what was she going to do with herself? This question was irregular, for with most women one had no occasion to ask it. Most women did with themselves nothing at all; they waited, in attitudes more or less gracefully passive, for a man to come that way and furnish them with a destiny. Isabel's originality was that she gave one an impression of having intentions of her own. "Whenever she executes them," said Ralph, "may I be there to see!

There is nothing to be found in human eyes, and that is their terrifying and dolorous enigma, their abominable and delusive charm. There is nothing but that which we put there ourselves. That is why honest gazes are only to be found in portraits. The faded and weary eyes of martyrs, expressions tortured by ecstasy, imploring and suffering eyes, some resigned, others desperate... the gazes of saints, mendicants and princesses in exile, with pardoning smiles... the gazes of the possessed, the chosen and the hysterical... and sometimes of little girls, the eyes of Ophelia and Canidia, the eyes of virgins and witches... as you live in the museums, what eternal life, dolorous and intense, shines out of you! Like precious stones enshrined between the painted eyelids of masterpieces, you disturb us across time and across space, receivers of the dream which created you! You have souls, but they are those of the artists who wished you into being, and I am delivered to despair and mortification because I have drunk the draught of poison congealed in the irises of your eyes. The eyes of portraits ought to be plucked out.

I waited six hundred and fifty years to hatch. Waited until your eighteenth summer, when I heard our elders talk about the weakling daughter of their general, the girl forecasted to become the head of the scribes, and I knew. You would have the mind of a scribe and the heart of a rider. You would be mine.

Die young, stay pretty. Blondie, right? We think of it as a modern phenomenon, the whole youth thing, but really, consider all those great portraits, some of them centuries old. Those goddesses of Botticelli and Rubens, Goya's Maja, Madame X. Consider Manet's Olympia, which shocked at the time, he having painted his mistress with the same voluptuous adulation generally reserved for the aristocratic good girls who posed for depictions of goddesses. Hardly anyone knows anymore, and no one cares, that Olympia was Manet's whore; although there's every reason to imagine that, in life, she was foolish and vulgar and not entirely hygienic (Paris in the 1860s being what it was). She's immortal now, she's a great historic beauty, having been scrubbed clean by the attention of a great artist. And okay, we can't help but notice that Manet did not choose to paint her twenty years later, when time had started doing its work. The world has always worshipped nascence. Goddamn the world.

In place of a firing squad, I stare down the barrels of endless interrogation. Why did she not run away? Why did she not use the opportunities she had for escape? Why did she stay if, indeed, the conditions were as bad as she claims? How much of this wasn't really consensual? Let me tell you a story. Not mine, this time around. It is the story of a girl we call after the place of her birth, lacking the integrity to even utter her name. The Suranelli Girl. Forty-two men rape this girl, over a period of forty days. She is sixteen years old. The police do not investigate her case. The high court questions her character. The highest court in the land asks the inevitable. Why did she not run away? Why did she not have the opportunities she had for escape? Why did she say, if need, the conditions were as bad as she claims? How much of this wasn't really consensual? Sometimes the shame is not the beatings, not the rape. The shaming is in being asked to stand for judgement.

Alarmingly, though, on top of the bookcase there is also a family portrait of Bea with two just-as-striking blond-and-blue-eyed sisters and a pair of handsome proud Nordic parents, whose stares make me aware of the vast age difference between Bea and me, and I am profoundly ashamed to be here buying drugs in this girl's apartment. What I'd really like to do, I think, is lie down on this couch and take a nap.

The door opened and Muriel came into the room. She looked round her a moment, smiling; and, instead of the powdered little actress she had expected, Mummie saw a tall slim girl, with light brown hair and no paint on her face, dressed simply in good clothes, a girl with wide-apart eyes who looked right amongst the furniture from New Grove House and Kicky’s drawings on the wall, and the books and the rugs. As Mummie went to greet her, Muriel ran forward and took her hands and kissed her, and said, ‘I am so glad to be here with you all’; then looked a little troubled, and lowered her voice, glancing towards the door, and said, ‘I’m in such a way about Gerald, he is starting one of his horrid colds.’ Mummie looked at the girls and smiled, Trixie nodded her head, and Sylvia and May leant back with a sigh of relief. The ewee lamb was safe in the fold at last.

At first glance, it looked like the portrait of her family that hung in the Great Hall. But this painting had four people in it: the king, the queen, Elsa, and another little girl. The child was a few years younger than Elsa, and she was the spitting image of the king. She had wide-set blue eyes, bright red hair set in pigtails, and a sprinkle of freckles dotting her nose. She wore a pale green dress, and she was clutching Elsa's arm as if she might never let go.

Each of our actions, our words, our attitudes is cut off from the ‘world,’ from the people who have not directly perceived it, by a medium the permeability of which is of infinite variation and remains unknown to ourselves; having learned by experience that some important utterance which we eagerly hoped would be disseminated … has found itself, often simply on account of our anxiety, immediately hidden under a bushel, how immeasurably less do we suppose that some tiny word, which we ourselves have forgotten, or else a word never uttered by us but formed on its course by the imperfect refraction of a different word, can be transported without ever halting for any obstacle to infinite distances … and succeed in diverting at our expense the banquet of the gods. What we actually recall of our conduct remains unknown to our nearest neighbor; what we have forgotten that we ever said, or indeed what we never did say, flies to provoke hilarity even in another planet, and the image that other people form of our actions and behavior is no more like that which we form of them ourselves, than is like an original drawing a spoiled copy in which, at one point, for a black line, we find an empty gap, and for a blank space an unaccountable contour. It may be, all the same, that what has not been transcribed is some non-existent feature, which we behold, merely in our purblind self-esteem, and that what seems to us added is indeed a part of ourselves, but so essential a part as to have escaped our notice. So that this strange print which seems to us to have so little resemblance to ourselves bears sometimes the same stamp of truth, scarcely flattering, indeed, but profound and useful, as a photograph taken by X-rays. Not that that is any reason why we should recognize ourselves in it. A man who is in the habit of smiling in the glass at his handsome face and stalwart figure, if you show him their radiograph, will have, face to face with that rosary of bones, labeled as being the image of himself, the same suspicion of error as the visitor to an art gallery who, on coming to the portrait of a girl, reads in his catalogue: “Dromedary resting.” Later on, this discrepancy between our portraits, according as it was our own hand that drew them or another, I was to register in the case of others than myself, living placidly in the midst of a collection of photographs which they themselves had taken while round about them grinned frightful faces, invisible to them as a rule, but plunging them in stupor if an accident were to reveal them with the warning: “This is you.

It’s not easy to find old-school journalism in true crime … yet with Lethal Intent, author Sue Russell proves how integrity, tenacity, brutal truth and honest reporting become essential components to what is a riveting—if not terrifying—narrative of America’s most hated ‘monster,’ Aileen Carol Wuornos. It’s not easy humanizing serial killers, but through an objective lens, clear and defined, Russell paints a graphic portrait of Wuornos’ evil intentions and rough life—a true page-turner, breathless, intense—but also important.

Ireland has in it a quality which caused it (in the most ascetic age of Christianity) to be called the “Land of Saints”; and which still might give it a claim to be called the Land of Virgins. An Irish Catholic priest once said to me, “There is in our people a fear of the passions which is older even than Christianity.” Everyone who has read Shaw’s play upon Ireland will remember the thing in the horror of the Irish girl at being kissed in the public streets. But anyone who knows Shaw’s work will recognize it in Shaw himself. There exists by accident an early and beardless portrait of him which really suggests in the severity and purity of its lines some of the early ascetic pictures of the beardless Christ. However he may shout profanities or seek to shatter the shrines, there is always something about him which suggests that in a sweeter and more solid civilisation he would have been a great saint. He would have been a saint of a sternly ascetic, perhaps of a sternly negative type. But he has this strange note of the saint in him: that he is literally unworldly.

The absence of portraits of Margaret Beaufort as an attractive young woman to counterbalance the images of her in old age have helped give credit to the sinister reputation she has gained. But the face that stands out from her story is not that of the widow with the hooded eyes, praying amidst the riches of a royal chapel and seen in her portraits, but a young girl, riding in the biting wet of a Welsh winter, to Pembroke Castle where she must deliver her child. Now it was for her grandchildren and great-grandchildren to continue the Tudor story.

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.

ohnny Heart loved Francesca Valentine the way no one had ever loved anyone, and his love for her was so deep, that it consumed him. There's nothing left in that attic now, but a statue of them entwined with each other—that's all that's left to say that they were together once. But if you were to pull open the secret door in the attic, the door that no one knew about, you would find Johnny's hidden gallery—paintings and sketchings—all of Francesca Valentine. He loved her so much, he spent nearly every waking moment drawing or painting her. It was an obsession and he just couldn't quit. Johnny never wanted to be away from her. He never showed these painting or portraits to Francesca, in fear they weren't good enough. He kept trying to capture her just right. She'd never really know how beautiful she was to him. But if you were to look at the portraits you could see the love he had for this one girl, how deeply he romanticized her. And you'll know—because you'll be able to feel it—how hard it was for him to let her go. It was an impossibility. One that Frankie agreed with, too. She couldn't let go either. But holding on so tightly to each other, and feeling what they could never have, never keep, it destroyed them both, and she became one with her monster. It's Frankie and Johnny. For always.   And never.

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

A museum employee walked through interrupting the conversation; he nodded to the couple before disappearing again. Nora hooks her arm with his leading him to a new painting. Stopping before a portrait of a young girl, she identifies this as the one she restored for the Art Academy. Oss glanced around ensuring their privacy then squeezed her elbow. She looked up at him from beneath feathered lashes and the outside world ceased to exist. Brushing his lips to hers, the fresh scent of her fragrance filled his mind. Raids, mobsters and crooked cops receded to distance recesses in his mind. Soft lips caressed his, his mind exploded in color. Two lonely people were falling in love; only the girl in the portrait bore witness to this extraordinary event. ~ The love story of Oss and Nora

They eyed with mounting alarm the red flags and banners and portraits of Lenin, Stalin and Largo Caballero on huge placards, and listened to the chanting of the demonstrators, demanding the formation of a proletarian government and a people’s army. But it was not just these obvious political symbols that frightened them. The workers in the street had a new confidence or, in their view, insolence. Beggars had started to ask for alms, not for the love of God, but in the name of revolutionary solidarity. Girls walked freely and started to ridicule convention. On 4 May José Antonio delivered a diatribe from prison against the Popular Front. He claimed that it was directed by Moscow, fomented prostitution and undermined the family. ‘Have you not heard the cry of Spanish girls today: “Children, yes! Husbands, no!”?

Girls and young women are also starving because the women’s movement changed educational institutions and the workplace enough to make them admit women, but not yet enough to change the maleness of power itself. Women in “coeducational” schools and colleges are still isolated from one another, and admitted as men manqué. Women’s studies are kept on the margins of the curriculum, and fewer than 5 percent of professors are women; the worldview taught young women is male. The pressure on them is to conform themselves to the masculine atmosphere. Separated from their mothers, young women on campus have few older role models who are not male; how can they learn how to love their bodies? The main images of women given them to admire and emulate are not of impressive, wise older women, but of girls their own age or younger, who are not respected for their minds. Physically, these universities are ordered for men or unwomaned women. They are overhung with oil portraits of men; engraved with the rolling names of men; designed, like the Yale Club in New York, which for twenty years after women were admitted had no women’s changing room, for men. They are not lit for women who want to escape rape; at Yale, campus police maps showing the most dangerous street corners for rape were allegedly kept from the student body so as not to alarm parents. The colleges are only marginally concerned with the things that happen to women’s bodies that do not happen to the bodies of the men. Women students sense this institutional wish that the problems of their female bodies would just fade away; responding, the bodies themselves fade away.

By the time Jefferson prepared to return to Virginia [from Paris], the lovely girl was 16. Here was a young woman who never could have emasculated him, never could have threatened him, never could have left him. She could not demand marriage from him, and make him break his promise to his late wife. A man could not marry his slave. Legally, she was required to do his bidding as long as she lived. Sally, for Jefferson, was the perfect solution. And what about Sally? How did she feel about him? We know frustratingly little about her as a person. Her thoughts and feelings, her hopes and disappointments. And As an enslaved woman, she leaves us no portraits, no letters, no diaries... We have no idea when the affair began. Did he set out immediately to seduce the 14-year-old? ... Our only source of information is her son...

All of this happened around the time I’d fallen in love with one of the VanHoebeek daughters, or rather with her portrait, which I called Julia. Julia had narrow shoulders and yellow hair held back by a green ribbon. Her portrait hung in a bedroom on the third floor of the Dutch House above a bed no one ever slept in. With the exception of Sandy, who ran the vacuum and wiped things down with a dust rag on Thursdays, no one but me set foot up there. I believed that Julia and I were true lovers thwarted by the misalignment of our births. I worked myself into such a state over the injustice of it all that I once made the error of calling my sister at Barnard to ask if she had ever wondered about the girl whose painting hung in the third-floor bedroom, the girl with the gray-green eyes who was one of the VanHoebeek daughters

He's often wished that he could capture the full essence of each woman's laugh on canvas, but he settles instead, on watching how, when a woman chuckles, her head moves slightly to the left or right so that the light grazes it at a new angle and creates a new pattern of highlight and shadow. It's this subtle shifting that he finds astounding - how everything and nothing can be written on a face through its lines, through the way skin around the eyes crinkle or how the shifting of a mouth belies joy or sarcasm or simple placation. He wonders what Vermeer might have said to that girl with the pearl earring, what words could have stirred in her that wanton expression, because even amateurs understand that faces allow an entry point and that negative space is the key to any good painting: what isn't included is sometimes more important than what is.

Women also wore extremely tight corsets that covered much of the body, and shoes with very high heels, usually made of wood. When they were outdoors, they balanced their shoes on pattens—leather or iron or wooden clogs mounted on rings of iron. The pattens kept the thin-soled shoes out of the mud, but they made a stroll down the street as challenging as stilt-walking. When women went outside in daylight, they also wore masks to protect their complexion, as well as gloves to keep their hands smooth. (It’s hard to imagine how someone encumbered with a body-length corset and huge hoop skirt would be able to get involved in any activity conducive to nail breakage, let alone chapping.) Well-born little girls wore the same clothes as their mothers. Their stiffness in colonial portraits may reflect the fact that they had already been bound up in corsets. The

A form of entertainment that has recently become very popular, particularly in the smaller towns, is the Coca-Cola party. Usually the ladies assemble between eleven and twelve in the morning at the home of the hostess. Trays of tall iced glasses filled with Coca-Cola are passed, followed by platters of crackers and small iced cakes. The dining table is decorated like any tea-table with flowers, fruit or mints, except that there are little buckets of ice so that guests may replenish their glasses as the ice melts. Other bottled drinks are usually provided for those who do not like Coca-Cola, but these are few in Georgia. This simple, inexpensive form of entertainment is particularly popular with the young matrons and young girls, who use it to honor a visitor or a bride. Occasionally the parties are held in the afternoon, but usually the afternoon is time for the more elaborate tea.

The girl enters the room wearing work boots, torn jeans, and a gray long-sleeved T-shirt bearing the word PRINCETON. She is waif-thin, with a long neck, prominent cheekbones, and narrow eyes spread apart in a way that suggests eastern Europe. Her hair is in one of those styles I’ve never understood, the right side of her head shaved in a military buzz cut with  longer hair hanging over it, down to her bony shoulders. A cross between a Calvin Klein model and a Eurotrash punk rocker. She scans the room, but not the way most people who enter the Oval Office do. First-time visitors soak it all in, eagerly devour all the portraits and knickknacks, marvel at the presidential seal, the Resolute desk. Not her. What I see in her eyes, behind the impenetrable wall of her face, is pure loathing. Hatred of me, this office, everything it stands for. But she’s tense, too, on alert—wondering if someone will jump her, handcuff her, throw a hood over her head.

I was a lonely nightwalker and a steady stander-at-corners. I liked to walk through the wet town after midnight, when the streets were deserted and the window lights out, alone and alive on the glistening tramlines in dead and empty High Street under the moon, gigantically sad in the damp streets by ghostly Ebenezer Chapel. And I never felt more a part of the remote and overpressing world, or more full of love and arrogance and pity and humility, not for myself alone, but for the living earth I suffered on and for the unfeeling systems in the upper air, Mars and Venus and Brazell and Skully, men in China and St Thomas, scorning girls and ready girls, soldiers and bullies and policemen and sharp, suspicious buyers of secondhand books, bad, ragged women who’d pretend against the museum wall for a cup of tea, and perfect, unapproachable women out of the fashion magazines, seven feet high, sailing slowly in their flat, glazed creations through steel and glass and velvet.

George Washington was in love with one girl after another during his youth, but for some reason he was unsuccessful in all these early courtships. He was probably shy and awkward in the presence of Tidewater belles. He was never to become a fluent conversationalist, had not been educated in England and, comparatively speaking, was a poor young man. In fact he was not a particularly good "catch"--and the Virginia girls let him realize it. This made him so miserable that he wrote at least two unhappy love poems in a perfect welter of bad grammar and emotional tumult. These poems make him seem far from the statuesque and wooden figure of the Stuart portraits or of the Weems' fables. In fact, they reveal a most human and even pitiable young man. . . . [A]mong the other girls he courted, there must have been several who in later years wondered why they had been so cool and calculating in refusing the hand of the young man who was soon to become Virginia's greatest hero.

January 1787 On the day we arrived at Condorcet’s residence, I admired a portrait in the hall, my fingers itching to reproduce it in a sketch. “Who is this darling little girl? A relation of yours?” Unexpectedly, the question made my new husband cringe. “In a way.” His reaction made my stomach knot. Was this a bastard daughter? Given our arrangement, it wasn’t my right to know, but my voice was sharp. “In what way?” He glanced at me warily. “My mother was a good woman. A loving mother . . . but she kept me in dresses almost until the age of eight. Years after other boys were breeched and began to attend school. That portrait is not a girl. It’s me. You can, perhaps, easily imagine the cruel laughter and mockery of other boys that I endured.” Sensing a lingering pain, I took the liberty of reaching for his hand. “We should be rid of this portrait if it humiliates you.” “No, it educates me,” he said, squeezing my fingers. “That’s a good thing. The experience taught me the

What did you think of Rebecca on tv? I don’t think it had dated too badly, but some things hit me – and it was silly, the way they made Rebecca hit her head on a block, instead of being shot by Maxim. And they muffed the fancy-dress ball, and the wreck: it was all too hurried, one did not know what was happening. In the book she had to go through the whole Ball without speaking to Maxim, who was on a hard chair beside her, and then it was in early dawn the wreck came. I suppose you thought to yourself, now Peg would have been much better than Olivier, and it would have worked out rather well, imagining Peg thinking of his first wife, and being plunged in deep thoughts ...! Of course it was old-fashioned in 1938 when it was written – I remember critics saying it was a queer throwback to the 19th-century Gothic novel. But I shall never know quite why it seized upon everyone’s imagination, not just teenagers and shop girls, like people try to say now, but every age, and both sexes.

So,I'm curious." Alex dragged me from my pleasant contemplation of cowardice and back in the bathroom. He was leaning against the wall, arms crossed, his feet almost touching mine. "What is it you like so much about this guy? I looked up his stuff. It's good, but nothing out of the ordinary." What a difference a week and a shock to the ideals makes. I felt my defense of Edward sticking a little in my troat. "I like his portraits. He really saw people.It was his great strength, that intensity." Alex tilted his chin toward the picture. "Not to seem crude, but she could be any girl with a nice ass." When I glared at him, he uncrossed his arms quickly and held up his hands in surrender. "Hey,all I mean is that if I were all about really seeing someone, that's not the angle I would choose." He was probably right. No matter how I looked at it, he was probably right. "You're probably right," I told him. He bowed. The small space suddenly got a lot smaller. "Stick with me, Grasshopper. I will never lead you wrong.

On the bus, I pull out my book. It's the best book I've ever read, even if I'm only halfway through. It's called Jane Eyre by Charlotte Brontë, with two dots over the e. Jane Eyre lives in England in Queen Victoria's time. She's an orphan who's taken in by a horrid rich aunt who locks her in a haunted room to punish her for lying, even though she didn't lie. Then Jane is sent to a charity school, where all she gets to eat is burnt porridge and brown stew for many years. But she grows up to be clever, slender, and wise anyway. Then she finds work as a governess in a huge manor called Thornfield, because in England houses have names. At Thornfield, the stew is less brown and the people less simple. That's as far as I've gotten... Diving back into Jane Eyre... Because she grew up to be clever, slender and wise, no one calls Jane Eyre a liar, a thief or an ugly duckling again. She tutors a young girl, Adèle, who loves her, even though all she has to her name are three plain dresses. Adèle thinks Jane Eyre's smart and always tells her so. Even Mr. Rochester agrees. He's the master of the house, slightly older and mysterious with his feverish eyebrows. He's always asking Jane to come and talk to him in the evenings, by the fire. Because she grew up to be clever, slender, and wise, Jane Eyre isn't even all that taken aback to find out she isn't a monster after all... Jane Eyre soon realizes that she's in love with Mr. Rochester, the master of Thornfield. To stop loving him so much, she first forces herself to draw a self-portrait, then a portrait of Miss Ingram, a haughty young woman with loads of money who has set her sights on marrying Mr. Rochester. Miss Ingram's portrait is soft and pink and silky. Jane draws herself: no beauty, no money, no relatives, no future. She show no mercy. All in brown. Then, on purpose, she spends all night studying both portraits to burn the images into her brain for all time. Everyone needs a strategy, even Jane Eyre... Mr. Rochester loves Jane Eyre and asks her to marry him. Strange and serious, brown dress and all, he loves her. How wonderful, how impossible. Any boy who'd love a sailboat-patterned, swimsuited sausage who tames rabid foxes would be wonderful. And impossible. Just like in Jane Eyre, the story would end badly. Just like in Jane Eyre, she'd learn the boy already has a wife as crazy as a kite, shut up in the manor tower, and that even if he loves the swimsuited sausage, he can't marry her. Then the sausage would have to leave the manor in shame and travel to the ends of the earth, her heart in a thousand pieces... Oh right, I forgot. Jane Eyre returns to Thornfield one day and discovers the crazy-as-a-kite wife set the manor on fire and did Mr. Rochester some serious harm before dying herself. When Jane shows up at the manor, she discovers Mr. Rochester in the dark, surrounded by the ruins of his castle. He is maimed, blind, unkempt. And she still loves him. He can't believe it. Neither can I. Something like that would never happen in real life. Would it? ... You'll see, the story ends well.

Who is that in the glass? She sees herself for the first time. She doesn't require soft light, not at her age, not with her looks, so the effect of three candles is excessively ravishing. Her hair sparks at every brush stroke. The candlelight carves a grotto in the gloom around her. The mirror is a sacred pool, in it she sees the future: her lips swollen with kissing, eyes caressing, come with me to my home beneath the sea and I will love you. She unbuttons her nightgown. My beautiful throat. Bares a white shoulder, ohh. Parts the fabric to reveal her breasts, sailor take warning. Her image floating just beneath the twilight surface, tempting herself overboard. She hovers her hand above a nipple that gathers and pleats to a point seeking heat. Kisses her palm with one eye on the mirror. Again, this time with her tongue. Experiments with the creation of cleavage. Arranges her hair: Gibson girl, milkmaid, madwoman, dryad. And leaves it there, spilling over her shoulders. It's a self-portrait and the artist is in love.

In an unforgettable scene from All Quiet on the Western Front, a young German soldier examines the body of a Frenchman he has just killed: No doubt his wife still thinks of him; she does not know what happened. He looks as if he would have often written to her—she will still be getting mail from him—Tomorrow, in a week’s time—perhaps even a stray letter a month hence. She will read it, and in it he will be speaking to her.... I speak to him and say to him: “. . . Forgive me, comrade.... Why do they never tell us that you are poor devils like us, that your mothers are just as anxious as ours, and that we have the same fear of death, and the same dying and the same agony?” . . . “I will write to your wife,” I say hastily to the dead man. . . . “I will tell her everything I have told you, she shall not suffer, I will help her, and your parents too, and your child—” Irresolutely I take the wallet in my hand. It slips out of my hand and falls open.... There are portraits of a woman and a little girl, small amateur photographs taken against an ivy-clad wall. Along with them are letters.132 Another

Normally, Bentner would have beamed approvingly at the pretty portrait the girls made, but this morning, as he put out butter and jam, he had grim news to impart and a confession to make. As he swept the cover off the scones he gave his news and made his confession. “We had a guest last night,” he told Elizabeth. “I slammed the door on him.” “Who was it?” “A Mr. Ian Thornton.” Elizabeth stifled a horrified chuckle at the image that called to mind, but before she could comment Bentner said fiercely, “I regretted my actions afterward! I should have invited him inside, offered him refreshment, and slipped some of that purgative powder into his drink. He’d have had a bellyache that lasted a month!” “Bentner,” Alex sputtered, “you are a treasure!” “Do not encourage him in these fantasies,” Elizabeth warned wryly. “Bentner is so addicted to mystery novels that he occasionally forgets that what one does in a novel cannot always be done in real life. He actually did a similar thing to my uncle last year.” “Yes, and he didn’t return for six months,” Bentner told Alex proudly. “And when he does come,” Elizabeth reminded him with a frown to sound severe, “he refuses to eat or drink anything.” “Which is why he never stays long,” Bentner countered, undaunted. As was his habit whenever his mistress’s future was being discussed, as it was now, Bentner hung about to make suggestions as they occurred to him. Since Elizabeth had always seemed to appreciate his advice and assistance, he found nothing odd about a butler sitting down at the table and contributing to the conversation when the only guest was someone he’d known since she was a girl. “It’s that odious Belhaven we have to rid you of first,” Alexandra said, returning to their earlier conversation. “He hung about last night, glowering at anyone who might have approached you.” She shuddered. “And the way he ogles you. It’s revolting. It’s worse than that; he’s almost frightening.” Bentner heard that, and his elderly eyes grew thoughtful as he recalled something he’d read about in one of his novels. “As a solution it is a trifle extreme,” he said, “but as a last resort it could work.” Two pairs of eyes turned to him with interest, and he continued, “I read it in The Nefarious Gentleman. We would have Aaron abduct this Belhaven in our carriage and bring him straightaway to the docks, where we’ll sell him to the press gangs.” Shaking her head in amused affection, Elizabeth said, “I daresay he wouldn’t just meekly go along with Aaron.” “And I don’t think,” Alex added, her smiling gaze meeting Elizabeth’s, “a press gang would take him. They’re not that desperate.” “There’s always black magic,” Bentner continued. “In Deathly Endeavors there was a perpetrator of ancient rites who cast an evil spell. We would require some rats’ tails, as I recall, and tongues of-“ “No,” Elizabeth said with finality. “-lizards,” Bentner finished determinedly. “Absolutely not,” his mistress returned. “And fresh toad old, but procuring that might be tricky. The novel didn’t say how to tell fresh from-“ “Bentner!” Elizabeth exclaimed, laughing. “You’ll cast us all into a swoon if you don’t desist at once.” When Bentner had padded away to seek privacy for further contemplation of solutions, Elizabeth looked at Alex. “Rats’ tails and lizards’ tongues,” she said, chuckling. “No wonder Bentner insists on having a lighted candle in his room all night.” “He must be afraid to close his eyes after reading such things,” Alex agreed.

She sent a serving girl out to fetch some food. A beef pie, bread and butter and plenty of the sweet stuff that she loved. She devoured a treacle pudding, closing her eyes to savor every sticky crumb. Sugar. How she had craved the stuff. Though her belly was full, still she helped herself from a paper bag of sugarplums, globes of candied fruits that made her cheeks bulge. Was this happiness, she wondered? She was full of food again, and as sleepy as a suckled child. She pictured a well-stocked larder, and the chance to make all the delights in Mother Eve's Secrets. She would help herself to the best, of course, for she who stirs the pot never starves. A comfortable future lay before her, all for the taking. Mrs. Quin bustled back into the room and began to dress her face. Gone were the worst of the bran-specks and flaking red sores. Instead, she had the prettiness of a portrait on an enameled tin; a smudgy confection of pink and cream. "A rosy blush," Mrs. Quin said benignly, "is the fashion nowadays." While Mrs. Quin deposited her half a crown in a locked trunk, Mary slipped a bottle of Pear's Almond Bloom and a tin of White Imperial Powder into her skirts.

Are his letters to Diana downstairs?" She sighed. "What is it about girls and letters? My husband left me messages in soap on the bathroom mirror. Utterly impermanent.Really wonderful-" She broke off and scowled. I would have thought she looked a little embarrassed, but I didn't think embarrassment was in her repertoire. "Anyway. Most of the correspondence between the Willings is in private collections. He had their letters with him in Paris when he died. In a noble but ultimately misguided act, his attorney sent them to his neice. Who put them all in a ghastly book that she illustrated. Her son sold them to finance the publication of six even more ghastly books of poetry. I trust there is a circle of hell for terrible poets who desecrate art." "I've seen the poetry books in the library," I told her. "The ones with Edward's paintings on the covers. I couldn't bring myself to read them." "Smart girl. I suppose worse things have been done, but not many.Of course, there was that god-awful children's television show that made one of his landscapes move.They put kangaroos in it. Kangaroos. In eastern Pennsylvania." "I've seen that,too," I admitted. I'd hated it. "Hated it.Not quite as much as the still life where Tastykakes replaced one orange with a cupcake, or the portrait of Diana dressed in a Playtex sports bra, but close." "Oh,God. I try to forget about the bra." Dr. Rothaus shuddered. "Well, I suppose they do far worse to the really famous painters.Poor van Gogh. All those hearing-aid ads." "Yeah." We shared a moment of quiet respect for van Gogh's ear.

What is that?” “Oh, it's… well, something personal to Lady Holly, and… sir, she wouldn't like it if ye—” Maude spluttered with dismayed protests as Zachary reached over and plucked the frame case from the pile. “A miniature?” he asked, deftly shaking the object from its leather casing. “Yes, sir, but… you shouldn't, really… oh, dear.” Maude's pudgy cheeks reddened, and she sighed in patent discomfort as he stared at the little portrait. “George,” Zachary said quietly. He had never seen a likeness of the man, had never wanted to before. It was only to be expected that Holly should carry a portrait of her late husband, for Rose's benefit as well as her own. However, Zachary had never asked to view a likeness of George Taylor, and Holly had certainly never volunteered to show him. Perhaps Zachary had expected that he would feel a pang of animosity at the sight of Taylor's face, but as he stared at the miniature, he was conscious only of a surprising feeling of pity. He had always thought of George as a contemporary, but this face was impossibly young, adorned with sideburns that amounted to a bit of peach fuzz on either side of his cheeks. Zachary was startled by the realization that Taylor couldn't have been more than twenty-four when he died, almost a full ten years younger than Zachary was now. Holly had been wooed and loved by this handsome boy, with his golden blond hair and untroubled blue eyes, and a smile that hinted of mischief. George had died before he'd barely tasted of life, widowing a girl who had been even more innocent than he. Try as he might, Zachary couldn't blame George Taylor for trying to protect Holly, arrange things for her, ensure that his infant daughter was taken care of. No doubt George would have been anguished at the thought of his wife being seduced and made miserable by the Zachary Bronsons of the world.

If they hadn't found me, I'd be dead now. Harry stuck his wand up its nose and Ron knocked it out with its own club. They didn't have time to come and fetch anyone. It was about to finish me off when they arrived." Harry and Ron tried to look as though this story wasn't news to them. "Well- in that case..." said Professor McGonagall, staring at the three of them, "Miss Granger, you foolish girl, how could you think of tackling a mountain troll on your own?" Hermione hung her head. Harry was speechless. Hermione was the last person to do anything against the rules, and here she was, pretending she had, to get them out of trouble. It was as if Snape had started handing out sweets. "Miss Granger, five points will be taken from Gryffindor for this," said Professor McGonagall. "I'm very disappointed in you. If you're not hurt at all, you'd better get off to Gryffindor tower. Students are finishing the feast in their houses." Hermione left. Professor McGonagall turned to Harry and Ron. "Well, I still say you were lucky, but not many first years could have taken on a full-grown mountain troll. You each win Gryffindor five points. Professor Dumbledore will be informed of this. You may go." They hurried out of the chamber and didn't speak at all until they had climbed two floors up. It was a relief to be away from the smell of the troll, quite apart from anything else. "We should have gotten more than ten points," Ron grumbled. "Five, you mean, once she's taken off Hermione's." "Good of her to get us out of trouble like that," Ron admitted. "Mind you, we did save her." "She might not have needed saving if we hadn't locked the thing in with her," Harry reminded him. They had reached the portrait of the Fat Lady. "Pig snout," they said and entered. The common room was packed and noisy. Everyone was eating the food that had been sent up. Hermione, however, stood alone by the door, waiting for them. There was a very embarrassed pause. Then, none of them looking at each other, they all said "Thanks," and hurried off to get plates. But from that moment on, Hermione Granger became their friend. There are some things you can't share without ending up liking each other, and knocking out a twelve-foot mountain troll is one of them.

Astonishment: these women’s military professions—medical assistant, sniper, machine gunner, commander of an antiaircraft gun, sapper—and now they are accountants, lab technicians, museum guides, teachers…Discrepancy of the roles—here and there. Their memories are as if not about themselves, but some other girls. Now they are surprised at themselves. Before my eyes history “humanizes” itself, becomes like ordinary life. Acquires a different lighting. I’ve happened upon extraordinary storytellers. There are pages in their lives that can rival the best pages of the classics. The person sees herself so clearly from above—from heaven, and from below—from the ground. Before her is the whole path—up and down—from angel to beast. Remembering is not a passionate or dispassionate retelling of a reality that is no more, but a new birth of the past, when time goes in reverse. Above all it is creativity. As they narrate, people create, they “write” their life. Sometimes they also “write up” or “rewrite.” Here you have to be vigilant. On your guard. At the same time pain melts and destroys any falsehood. The temperature is too high! Simple people—nurses, cooks, laundresses—behave more sincerely, I became convinced of that…They, how shall I put it exactly, draw the words out of themselves and not from newspapers and books they have read—not from others. But only from their own sufferings and experiences. The feelings and language of educated people, strange as it may be, are often more subject to the working of time. Its general encrypting. They are infected by secondary knowledge. By myths. Often I have to go for a long time, by various roundabout ways, in order to hear a story of a “woman’s,” not a “man’s” war: not about how we retreated, how we advanced, at which sector of the front…It takes not one meeting, but many sessions. Like a persistent portrait painter. I sit for a long time, sometimes a whole day, in an unknown house or apartment. We drink tea, try on the recently bought blouses, discuss hairstyles and recipes. Look at photos of the grandchildren together. And then…After a certain time, you never know when or why, suddenly comes this long-awaited moment, when the person departs from the canon—plaster and reinforced concrete, like our monuments—and goes on to herself. Into herself. Begins to remember not the war but her youth. A piece of her life…I must seize that moment. Not miss it! But often, after a long day, filled with words, facts, tears, only one phrase remains in my memory (but what a phrase!): “I was so young when I left for the front, I even grew during the war.” I keep it in my notebook, although I have dozens of yards of tape in my tape recorder. Four or five cassettes… What helps me? That we are used to living together. Communally. We are communal people. With us everything is in common—both happiness and tears. We know how to suffer and how to tell about our suffering. Suffering justifies our hard and ungainly life.

From an essay on early reading by Robert Pinsky: My favorite reading for many years was the "Alice" books. The sentences had the same somber, drugged conviction as Sir John Tenniel's illustrations, an inexplicable, shadowy dignity that reminded me of the portraits and symbols engraved on paper money. The books were not made of words and sentences but of that smoky assurance, the insistent solidity of folded, textured, Victorian interiors elaborately barricaded against the doubt and ennui of a dreadfully God-forsaken vision. The drama of resisting some corrosive, enervating loss, some menacing boredom, made itself clear in the matter-of-fact reality of the story. Behind the drawings I felt not merely a tissue of words and sentences but an unquestioned, definite reality. I read the books over and over. Inevitably, at some point, I began trying to see how it was done, to unravel the making--to read the words as words, to peek behind the reality. The loss entailed by such knowledge is immense. Is the romance of "being a writer"--a romance perhaps even created to compensate for this catastrophic loss--worth the price? The process can be epitomized by the episode that goes with one of my favorite illustrations. Alice has entered a dark wood--"much darker than the last wood": [S]he reached the wood: It looked very cool and shady. "Well, at any rate it's a great comfort," she said as she stepped under the trees, "after being so hot, to get into the--into the--into what?" she went on, rather surprised at not being able to think of the word. "I mean to get under the--under the--under this, you know!" putting her hand on the trunk of the tree. "What does it call itself, I wonder? I do believe it's got no name--why to be sure it hasn't!" This is the wood where things have no names, which Alice has been warned about. As she tries to remember her own name ("I know it begins with L!"), a Fawn comes wandering by. In its soft, sweet voice, the Fawn asks Alice, "What do you call yourself?" Alice returns the question, the creature replies, "I'll tell you, if you'll come a little further on . . . . I can't remember here". The Tenniel picture that I still find affecting illustrates the first part of the next sentence: So they walked on together through the wood, Alice with her arms clasped lovingly round the soft neck of the Fawn, till they came out into another open field, and here the Fawn gave a sudden bound into the air, and shook itself free from Alice's arm. "I'm a Fawn!" it cried out in a voice of delight. "And dear me! you're a human child!" A sudden look of alarm came into its beautiful brown eyes, and in another moment it had darted away at full speed. In the illustration, the little girl and the animal walk together with a slightly awkward intimacy, Alice's right arm circled over the Fawn's neck and back so that the fingers of her two hands meet in front of her waist, barely close enough to mesh a little, a space between the thumbs. They both look forward, and the affecting clumsiness of the pose suggests that they are tripping one another. The great-eyed Fawn's legs are breathtakingly thin. Alice's expression is calm, a little melancholy or spaced-out. What an allegory of the fall into language. To imagine a child crossing over from the jubilant, passive experience of such a passage in its physical reality, over into the phrase-by-phrase, conscious analysis of how it is done--all that movement and reversal and feeling and texture in a handful of sentences--is somewhat like imagining a parallel masking of life itself, as if I were to discover, on reflection, that this room where I am writing, the keyboard, the jar of pens, the lamp, the rain outside, were all made out of words. From "Some Notes on Reading," in The Most Wonderful Books (Milkweed Editions)

Looking at Loh’s photographs, it is obvious that there is nothing simpler and richer than a face when stripped of all effects and affects, poses and postures, stances and pretences. The Singaporeans featured here are almost expressionless, as if the photographer wanted to leave us clueless about them. What do their faces tell us? Why are they so familiar? Why do we feel we know this auntie that we don’t know? And this guy with the nondescript look? And this girl with no distinguishing mark? Have we met before?

Emmanuel, leafed through a book of photographs, color printouts, bound in black plastic and covered with a thin transparent sheet: There was green grass and a white-paneled house and a little blond girl smiling. There was a large van and an even larger play set. There was a countertop completely covered with food. “This is a very nice place,” Emmanuel said in a quiet voice. “I would like to go to this place.” For Emmanuel, the snapshots of suburban America presented an impossible dream, a portrait of manicured abundance as distant and as glorious as a preacher’s description of heaven.

You have noticed the Monet again,” she said approvingly. “Zachariasz overpaid horribly for that painting, but he was determined to have it.” Dr. Buchanan swiveled in his chair to look at the painting. “Hey, she looks like you, Mollie.” Mollie looked closer at the picture. It showed a young woman with a cascade of black curls spilling down her back, but that was the only resemblance Mollie could see. The woman stood in a green meadow dappled with sunlight, holding something protectively in her hand. Mollie leaned forward to get a better look. “She is holding a watch,” Mrs. Kazmarek said. “A gold watch.” “Oh” was the only thing Mollie could think to say. Dr. Buchanan turned his attention back to his bowl of Polish stew, but Mrs. Kazmarek watched Mollie with the strangest look of expectation on her face. The woman didn’t really think the picture looked like her, did she? There were so many things about Zack she didn’t know. In the past, he had been just an intimidating man in a starched collar with a list of rules she must follow. Now he was a man who had raced through a fire to save her. Who brought his pet bird home every weekend. And, for some reason, had horribly overpaid for a portrait of a girl holding a watch.

…That God will open up to us a door for the word, so that we may speak forth the mystery of Christ.… —Colossians 4:3 (NAS) Because of a staffing snag, our church’s teen class on Sundays had dwindled to practically no one. I offered to step in as teacher. So began a string of Sunday morning “sit-ins.” Many times I waited alone. But there was the day a boy dropped by with two cousins in tow. The sisters’ troubled home situation in another state had them temporarily residing with their aunt. We discussed the story of the Bible’s “cutter”— a wild man living among the tombs who cut himself with stones—and how Jesus healed him. The girls absorbed every word of this account of things gone wrong made right. They needed such hope. Another morning there was one girl. We each created a “word portrait” of ourselves and then explored the Bible’s portrait of Jesus. For an hour we talked animatedly about ourselves and Jesus. Where we were like Him (in joy and caring and love for nature and children) and where we had work to do (in areas of trust and self-control). She liked that Jesus was outside the mainstream of His day. She, too, felt different from others and was encouraged in her authenticity. The weeks of showing up every Sunday “just in case” had a reason. God wanted to open doors in these young lives…and made me a doorkeeper. Father, what I do for You matters…even if it's to be a doorkeeper, waiting “just in case.” —Carol Knapp Digging Deeper: Ps 84:10; Mt 19:14; Jas 3:18

An art college tip is probably the repository for some of the ugliest objects on earth because they aren't only ugly objects, they're ugly objects that are trying to be art.

I bite my lip as I begin reading: She needs some sun! Her eyes are hard to see—they’re too dark; her nose is thin; no cheek bones!; I think her lips are uneven; her chin is really square, and my favorite: is that a mole or a zit? Awesome. Twenty pages of these cryptic remarks sure do make a girl feel good about herself. The last page changes my sour mood completely. On it there is a sketch of my face—no, sketch is the wrong word. It’s too common a word. This is more than a sketch. This is a portrait of my face. The image of the girl staring back at me is so stunning, that I actually gasp. The handwriting on the bottom of the page, which is small and elegant, holds only two words: You’re perfect.