Green And Yellow Combination Quotes

When sunlight, which contains red, yellow, green, and blue light, shines on a mud puddle with oil on it, the areas that strongly reflect each of those colors overlap and produce all kinds of combinations which our eyes see as different colors...This phenomenon of colors produced by the partial reflection of white light by two surfaces is called iridescence, and can be found in many places...the more you see how strangely Nature behaves, the harder it is to make a model that explains how even the simplest phenomena actually work.

First, I see her catch the scent. It's a combination of many things; the Christmas tree in the corner; the musty aroma of old house; orange and clove; ground coffee; hot milk; patchouli; cinnamon- and chocolate, of course; intoxicating, rich as Croesus, dark as death. She looks around, sees wall hangings, pictures, bells, ornaments, a dollhouse in the window, rugs on the floor- all in chrome yellow and fuchsia-pink and scarlet and gold and green and white. It's like an opium den in here, she almost says, then wonders at herself for being so fanciful. In fact she has never seen an opium den- unless it was in the pages of the Arabian Nights- but there's something about the place, she thinks. Something almost- magical.

Before his and Pushkin's advent Russian literature was purblind. What form it perceived was an outline directed by reason: it did not see color for itself but merely used the hackneyed combinations of blind noun and dog-like adjective that Europe had inherited from the ancients. The sky was blue, the dawn red, the foliage green, the eyes of beauty black, the clouds grey, and so on. It was Gogol (and after him Lermontov and Tolstoy) who first saw yellow and violet at all. That the sky could be pale green at sunrise, or the snow a rich blue on a cloudless day, would have sounded like heretical nonsense to your so-called "classical" writer, accustomed as he was to the rigid conventional color-schemes of the Eighteenth Century French school of literature. Thus the development of the art of description throughout the centuries may be profitably treated in terms of vision, the faceted eye becoming a unified and prodigiously complex organ and the dead dim "accepted colors" (in the sense of "idées reçues") yielding gradually their subtle shades and allowing new wonders of application. I doubt whether any writer, and certainly not in Russia, had ever noticed before, to give the most striking instance, the moving pattern of light and shade on the ground under trees or the tricks of color played by sunlight with leaves.

Our bodies aren't adapted to absorb big loads of nutrients all at once (many supplements surpass RDA values by 200 percent or more), but tiny quantities of them in combinations--exactly as they occur in plants. Eating a wide variety of different plant chemicals is a very good idea, according to research from the American Society for Nutritional Sciences. You don't have to be a chemist, but color vision helps. By eating plant foods in all different colors you'll get carotenoids to protect body tissues from cancer (yellow, orange, and red veggies); phytosterols to block cholesterol absorption and inhibit tumor growth (green and yellow plants and seeds); and phenols for age-defying antioxidants (blue and purple fruits). [from an entry by Barbara Kingsolver's daughter Camille]

Sometimes, instructing children in the old days, he had been asked by some black lozenge-eyed Indian child, What is God like? and he would answer facilely with references to the father and the mother, or perhaps more ambitiously he would include brother and sister and try to give some idea of all loves and relationships combined in an immense and yet personal passion....But at the centre of his own faith there always stood the convincing mystery—that we were made in God's image. God was the parent, but He was also the policeman, the criminal, the priest, the maniac, and the judge. Something resembling God dangled from the gibbet or went into odd attitudes before bullets in a prison yard or contorted itself like a camel in the attitude of sex. He would sit in the confessional and hear the complicated dirty ingenuities which God's image had thought out, and God's image shook now, up and down on the mule's back, with the yellow teeth sticking out over the lower lip, and god's image did its despairing act of rebellion with Maria in the hut among the rats. He said, Do you feel better now? Not so cold, eh? Or so hot? and pressed his hand with a kind of driven tenderness upon the shoulders of God's image. Such a lot of beauty. Saints talk about the beauty of suffering. Well, we are not saints, you and I. Suffering to us is just ugly. Stench and crowding and pain. That is beautiful in that corner—to them. It needs a lot of learning to see things with a saint's eye: a saint gets a subtle taste for beauty and can look down on poor ignorant palates like theirs. But we can't afford to.

Come inside with me,” he urged, increasing the pressure on her elbow, “and I’ll begin making it up to you.” Elizabeth let herself be drawn forward a few steps and hesitated. “This is a mistake. Everyone will see us and think we’ve started it all over again-“ “No, they won’t,” he promised. “There’s a rumor spreading like fire in there that I tried to get you in my clutches two years ago, but without a title to tempt you I didn’t have a chance. Since acquiring a title is a holy crusade for most of them, they’ll admire your sense. Now that I have a title, I’m expected to use it to try to succeed where I failed before-as a way of bolstering my wounded male pride.” Reaching up to brush a wisp of hair from her soft cheek, he said, “I’m sorry. It was the best I could do with what I had to work with-we were seen together in compromising circumstances. Since they’d never believe nothing happened, I could only make them think I was in pursuit and you were evading.” She flinched from his touch but didn’t shove his hand away. “You don’t understand. What’s happening to me in there is no less than I deserve. I knew what the rules were, and I broke them when I stayed with you at the cottage. You didn’t force me to stay. I broke the rules, and-“ “Elizabeth,” he interrupted in a voice edge with harsh remorse, “if you won’t do anything else for me, at least stop exonerating me for that weekend. I can’t bear it. I exerted more force on you than you understand.” Longing to kiss her, Ian had to be satisfied instead with trying to convince her his plan would work, because he now needed her help to ensure its success. In a teasing voice he said, “I think you’re underrating my gift for strategy and subtlety. Come and dance with me, and I’ll prove to you how easily most of the male minds in there have been manipulated.” Despite his confidence, moments after they entered the ballroom Ian noticed the increasing coldness of the looks being directed at them, and he knew a moment of real alarm-until he glanced at Elizabeth as he took her in his arms for a waltz and realized the cause of it. “Elizabeth,” he said in a low, urgent voice, gazing down at her bent head, “stop looking meek! Put your nose in the air and cut me dead or flirt with me, but do not on any account look humble, because these people will interpret it as guilt!” Elizabeth, who had been staring at his shoulder, as she'd done with her other dancing partners, tipped her head back and looked at him in confusion. "What?" Ian's heart turned over when the chandeliers overhead revealed the wounded look in her glorious green eyes. Realizing logic and lectures weren't going to help her give the performance he badly needed her to give, he tried the tack that had, in Scotland, made her stop crying and begin to laugh: He tried to tease her. Casting about for a subject, he said quickly, "Belhaven is certainly in fine looks tonight-pink satin pantaloons. I asked him for the name of his tailor so that I could order a pair for myself." Elizabeth looked at him as if he'd taken leave of his senses; then his warning about looking meek hit home, and she began to understand what he wanted her to do. That added to the comic image of Ian's tall, masculine frame in those absurd pink pantaloons enabled her to manage a weak smile. "I have greatly admired those pantaloons myself," she said. "Will you also order a yellow satin coat to complement the look?" He smiled. "I thought-puce." "An unusual combination," she averred softly, "but one that I am sure will make you the envy of all who behold you.

As the room filled with tart, pleasant fumes Esther had never smelled before, her head became light with joy. These paints and and brushes and canvases were the tools real artists used. In the short hour left, inspired by Van Gogh, she chose a corner of the room as her subject and began to paint in tiny, furious brush strokes. To her amazement, yellow and blue combined into a vibrant green, red and blue turned a pulsating purple, and yellow and red mixed into a glowing orange. But beyond the colors, some new magic took over. Esther's eyes, clear as if the cumin had never blinded her, captured shapes and shadows and threw them on the canvas without effort, without thought. The urge to paint was a fountain that coursed through her, her fingers only a conduit to something so big it was hard to imagine her little heart contained it. Surely, this was the work of God. He must be guiding her hand.

FETTUCCINI “PORCINI” (Australian Fettuccini) Trudi’s 1st Note: We just returned from a trip to Australia. This is my version of a recipe we experienced in Sydney. It’s easy to make and a wonderful flavor. For the Pasta: Prepare a package of your favorite brand fettuccini pasta as instructed on the package. Use the size that serves 4. When the pasta is cooked, drain it, give it a stir to keep it from sticking together, cover it loosely with foil and set it aside on a cold burner to wait for its yummy sauce. For the Sauce: ¼ pound bacon (regular sliced, not thick) ½ pound (8 ounces) fresh mushrooms sliced, or chopped ½ cup chopped onions (regular yellow onions or green onions—if you use green onions, you can use up to 2 inches of the stem) 4-inch square of fresh salmon filet 15-ounce (approximate—if it’s a bit more, that’s okay) jar of prepared Alfredo sauce Pan fry the bacon until it’s crispy and lift it out of the fat with a slotted spoon to drain it on paper towels. Use the remaining bacon fat in the pan to fry the mushrooms until they are very well done. Add the onions to the pan and continue to fry until the onions are translucent and fully cooked. Cut the raw salmon into cubes and add it to the pan. Fry it until the salmon is fully cooked. Add the drained bacon pieces to the pan and add the Alfredo sauce. Stir everything together until it’s well-combined and heated through. Arrange the pasta you’ve cooked on 4 plates. Ladle the delicious mixture in the frying pan over the pasta and serve to rave reviews! Trudi’s 2nd Note: The porcini is in quotes because I’m sure the restaurant used them, but regular mushrooms work just as well and are easier on the budget. Fresh salmon works great but since it sort of falls apart in the cooking anyway, you probably could use canned or packaged salmon and get the same results. If you prefer, you could also use packaged Alfredo sauce mix and prepare it yourself.

Red: Maintaining health, bodily strength, physical energy, sex, passion, courage, protection, and defensive magic. This is the color of the element of fire. Throughout the world, red is associated with life and death, for this is the color of blood spilled in both childbirth and injury. Pink: Love, friendship, compassion, relaxation. Pink candles can be burned during rituals designed to improve self-love. They’re ideal for weddings and for all forms of emotional union. Orange: Attraction, energy. Burn to attract specific influences or objects. Yellow: Intellect, confidence, divination, communication, eloquence, travel, movement. Yellow is the color of the element of air. Burn yellow candles during rituals designed to heighten your visualization abilities. Before studying for any purpose, program a yellow candle to stimulate your conscious mind. Light the candle and let it burn while you study. Green: Money, prosperity, employment, fertility, healing, growth. Green is the color of the element of earth. It’s also the color of the fertility of the earth, for it echoes the tint of chlorophyll. Burn when looking for a job or seeking a needed raise. Blue: Healing, peace, psychism, patience, happiness. Blue is the color of the element of water. This is also the realm of the ocean and of all water, of sleep, and of twilight. If you have trouble sleeping, charge a small blue candle with a visualization of yourself sleeping through the night. Burn for a few moments before you get into bed, then extinguish its flame. Blue candles can also be charged and burned to awaken the psychic mind. Purple: Power, healing severe diseases, spirituality, meditation, religion. Purple candles can be burned to enhance all spiritual activities, to increase your magical power, and as a part of intense healing rituals in combination with blue candles. White: Protection, purification, all purposes. White contains all colors. It’s linked with the moon. White candles are specifically burned during purification and protection rituals. If you’re to keep but one candle on hand for magical purposes, choose a white one. Before use, charge it with personal power and it’ll work for all positive purposes. Black: Banishing negativity, absorbing negativity. Black is the absence of color. In magic, it’s also representative of outer space. Despite what you may have heard, black candles are burned for positive purposes, such as casting out baneful energies or to absorb illnesses and nasty habits. Brown: Burned for spells involving animals, usually in combination with other colors. A brown candle and a red candle for animal protection, brown and blue for healing, and so on.

Oh, my," said Nerissa, when she could speak. Juliet, smiling, murmured, "Would you just look at her." "I don't think we can help but look at her," murmured an urbane voice, and gasping, all three women turned to see Lucien standing in the doorway, arms crossed and his black eyes gleaming in the candlelight. He lifted his hand.  "Turn around, my dear," he said, giving a negligent little wave.  Her eyes huge, Amy slowly did as he asked, staring down at herself in awe and disbelief.  The gown, an open-robed saque of watered silk, shimmered with every movement, a vibrant purplish-blue in this light, a vivid emerald-green in that.  Its robed bodice open to show a stomacher of bright yellow satin worked with turquoise and green embroidery, it had tight sleeves ending in treble flounces just behind the elbow, which, combined with the chemise's triple tiers of lace, made Amy feel as though she had wings.  She smoothed her palms over the flounced and scalloped petticoats of royal blue silk, and then, with impulsive delight, threw back her head on a little laugh, extended her arms and spun on her toe, making gauzy sleeves, shining hair, and yards upon yards of shimmering fabric float in the air around her. Hannah, who did not think such behavior was quite appropriate, especially in front of a duke, frowned, but Lucien was trying hard to contain his amusement.  He couldn't remember the last time he'd made anyone so happy, and it touched something deep inside him that he'd long thought dead.  He exchanged a look of furtive triumph with Nerissa. "Oh!  Is it really me?" Amy breathed, reverently touching her sleeve and then raising wide, suddenly misty eyes to her small audience. "It is really you," Juliet said, smiling. "Only someone with your coloring could wear such bold shades and make them work for instead of against you," said Nerissa, coming forward to tie a black ribbon around Amy's neck.  "Lud, if I tried to wear those colors, I daresay they would overwhelm me!" "Speaking of overwhelmed . . ."  Amy turned to face the man who still lounged negligently in the doorway, his fingers trying, quite unsuccessfully, to rub away the little smile that tugged at his mouth.  "Your Grace, I don't know how to thank you," she whispered, dabbing away one tear, then another.  "No one has ever done anything like this for me before and I . . . I feel like a princess." "My dear girl.  Don't you know?"  His smile deepened and she saw what was almost a cunning gleam come into his enigmatic black eyes.  "You are a princess.  Now dry those tears and if you must thank me, do so by enjoying yourself tonight." "I will, Your Grace." "Yes," he said, on a note of finality.  "You will." And

Where’s Marcus, Destroyer of Lives, going to meet us?” Christina says. She wears Amity yellow instead of red, and it glows against her skin. I laugh. “Behind Abnegation headquarters.” We walk down the sidewalk in the dark. All the others should be eating dinner now--I made sure of that--but in case we run into someone, we wear black jackets to conceal most of our Amity clothing. I hop over a crack in the cement out of habit. “Where are you two going?” Peter’s voice says. I look over my shoulder. He’s standing on the sidewalk behind us. I wonder how long he’s been there. “Why aren’t you with your attack group, eating dinner?” I say. “I don’t have one.” He taps the arm I shot. “I’m injured.” “Yeah right, you are!” says Christina. “Well, I don’t want to go to battle with a bunch of factionless,” he says, his green eyes glinting. “So I’m going to stay here.” “Like a coward,” says Christina, her lip curled in disgust. “Let everyone else clean up the mess for you.” “Yep!” he says with a kind of malicious cheer. He claps his hands. “Have fun dying.” He crosses the street, whistling, and walks in the other direction. “Well, we distracted him,” she says. “He didn’t ask where we were going again.” “Yeah. Good.” I clear my throat. “So, this plan. It’s kind of stupid, right?” “It’s not…stupid.” “Oh, come on. Trusting Marcus is stupid. Trying to get past the Dauntless at the fence is stupid. Going against the Dauntless and factionless is stupid. All three combined is…a different kind of stupid formerly unheard of by humankind.” “Unfortunately it’s also the best plan we have,” she points out. “If we want everyone to know the truth.” I trusted Christina to take up this mission when I thought I would die, so it seemed stupid not to trust her now. I was worried she wouldn’t want to come with me, but I forgot where Christina came from: Candor, where the pursuit of truth is more important than anything else. She may be Dauntless now, but if there’s one thing I’ve learned through all this, it’s that we never leave our old factions behind.

All atomic nuclei are composed of two types of particles: protons and their electrically neutral partners, neutrons. If a nucleus has too many of one type or the other, then the rules of quantum mechanics dictate that the balance has to be redressed and those excess particles will change into the other form: protons will become neutrons, or neutrons protons, via a process called beta-decay. This is precisely what happens when two protons come together: a composite of two protons cannot exist and one of them will beta-decay into a neutron. The remaining proton and the newly transformed neutron can then bind together to form an object called a deuteron (the nucleus of an atom of the heavy hydrogen isotopefn3 called deuterium), after which further nuclear reactions enable the building of the more complex nuclei of other elements heavier than hydrogen, from helium (with two protons and either one or two neutrons) through to carbon, nitrogen, oxygen, and so on. The key point is that the deuteron owes its existence to its ability to exist in two states simultaneously, by virtue of quantum superposition. This is because the proton and neutron can stick together in two different ways that are distinguished by how they spin. We will see later how this concept of ‘quantum spin’ is actually very different from the familiar spin of a big object, such as a tennis ball; but for now we will go with our classical intuition of a spinning particle and imagine both the proton and the neutron spinning together within the deuteron in a carefully choreographed combination of a slow, intimate waltz and a faster jive. It was discovered back in the late 1930s that within the deuteron these two particles are not dancing together in either one or the other of these two states, but in both states at the same time – they are in a blur of waltz and jive simultaneously – and it is this that enables them to bind together.fn4 An obvious response to this statement is: ‘How do we know?’ Surely, atomic nuclei are far too small to be seen, so might it not be more reasonable to assume that there is something missing in our understanding of nuclear forces? The answer is no, for it has been confirmed in many laboratories over and over again that if the proton and neutron were performing the equivalent of either a quantum waltz or a quantum jive, then the nuclear ‘glue’ between them would not be quite strong enough to bind them together; it is only when these two states are superimposed on top of each other – the two realities existing at the same time – that the binding force is strong enough. Think of the two superposed realities as a little like mixing two coloured paints, blue and yellow, to make a combined resultant colour, green. Although you know the green is made up of the two primary constituent colours, it is neither one nor the other. And different ratios of blue and yellow will make different shades of green. Likewise, the deuteron binds when the proton and neutron are mostly locked in a waltz, with just a tiny amount of jive thrown in. So

In passing from societies with simple classifications to those with complicated classifications, the combinations of basic color terms as a rule grow in the following hierarchical fashion: Languages with only two basic color terms use them to distinguish black and white. Languages with only three terms have words for black, white, and red. Languages with only four terms have words for black, white, red, and either green or yellow. Languages with only five terms have words for black, white, red, green, and yellow. Languages with only six terms have words for black, white, red, green, yellow, and blue. Languages with only seven terms have words for black, white, red, green, yellow, blue, and brown. No such precedence occurs among the remaining four basic colors, purple, pink, orange, and gray, when these have been added on top of the first seven.

Whether you choose to make it in blue and white, pink and white, yellow and green, or a brighter color combination, you’ll love working this pattern.

Seurat took to heart the color theorists' notion of a scientific approach to painting. He believed that a painter could use color to create harmony and emotion in art in the same way that a musician uses counterpoint and variation to create harmony in music. He theorized that the scientific application of color was like any other natural law, and he was driven to prove this conjecture. He thought that the knowledge of perception and optical laws could be used to create a new language of art based on its own set of heuristics and he set out to show this language using lines, color intensity and color schema. Seurat called this language Chromoluminarism.[27] In a letter to the writer Maurice Beaubourg in 1890 he wrote: "Art is Harmony. Harmony is the analogy of the contrary and of similar elements of tone, of colour and of line. In tone, lighter against darker. In colour, the complementary, red-green, orange-blue, yellow-violet. In line, those that form a right-angle. The frame is in a harmony that opposes those of the tones, colours and lines of the picture, these aspects are considered according to their dominance and under the influence of light, in gay, calm or sad combinations".[29][30] Seurat's theories can be summarized as follows: The emotion of gaiety can be achieved by the domination of luminous hues, by the predominance of warm colors, and by the use of lines directed upward. Calm is achieved through an equivalence/balance of the use of the light and the dark, by the balance of warm and cold colors, and by lines that are horizontal. Sadness is achieved by using dark and cold colors and by lines pointing downward

Gurgeh glanced at the man on stage. The lights were bright, sunlight spectraed. The slightly plump, pale-skinned male had several enormous, multicolored bruises—like huge prints—on his body. Those on his back and chest were largest, and showed Azadian faces. The mixture of blacks, blues, purples, greens, yellows and reds combined to form portraits of uncanny accuracy and subtlety, which the flexings of the man’s muscles seemed to make live, exactly as though those faces took on new expressions with each moment. Gurgeh looked, and felt his breath draw in.

I’d never heard of a feijoa before I arrived in New Zealand. They’re a small green fruit that looks like a cross between an avocado and a lime on the outside, but inside boasts a fragrant yellow flesh with a texture much like a ripe pear’s. The flavor is an acquired taste—sweet and perfumed, a combination of a dozen other things—but to me, they are just simply, sublimely feijoa.

About 12 medium-to-large leeks (approximately 3 pounds), green parts trimmed off, white part split, thoroughly rinsed, and sliced thinly into rounds (or 2 pounds of onions or scallions—try a mixture of sweet onions such as Vidalia, Walla Walla, or Texas Sweet with some big, strongly flavored yellow Spanish varieties). 2 cups mascarpone 1 teaspoon just-grated nutmeg 1 teaspoon just-cracked pepper 1½ teaspoons fine sea salt ½ cup grappa or vodka ⅔ cup grated Parmesan cheese 1 tablespoon unsalted butter Place the prepped leeks into a large mixing bowl; in a smaller bowl combine all the remaining ingredients except the Parmesan and the butter, and mix well. Scrape the mascarpone mixture into the bowl with the leeks and, using two forks, evenly coat the leeks with the mixture. Spoon the leeks into a buttered oval oven dish 12 to 14 inches long, spreading the mixture evenly, or into six individual buttered oval dishes. Scatter the Parmesan over all, and bake at 400 degrees for 30 minutes or until a deep golden crust forms; 10 minutes less for smaller gratins. Yield: 6 Servings Tagliatelle con Salsa di Noci Arrostite Fresh

A rainbow’s spectacle reveals that sunlight is composed of several colors. Of these, red and blue are captured by chlorophyll, whereas carotene and xanthophylls intercept only the blue-green part of the visible spectrum. At In autumn-colored leaves, chlorophyll molecules break down, unmasking the yellow carotene and xanthophylls. Some leaves, such as those of liquidambar (left), turn red when anthocyanin pigments add the final touch to the tree’s colorful spectacle. The inherited color patterns of leaf variegation result from the various pigments occurring separately or in combinations in mesophyll cells. Shown here are striped inch plant wavelengths represented by these colors, the energy of light is transferred, via the pigments, into the synthesis of foods. Artificial illumination is only effective if it provides the blue and red wavelengths absorbed by chloroplast pigments. Ideally, incandescent bulbs, which radiate abundant red, should be supplemented with selected fluorescent tubes radiating blue wavelengths. To achieve photosynthetic yields comparable to those in natural conditions, several lights are needed to provide high intensities, but care must be taken to control the build-up of heat.

Indian music divides the octave into 22 srutis or demi-semitones. These microtonal intervals permit fine shades of musical expression unattainable by the Western chromatic scale of 12 semitones. Each one of the seven basic notes of the octave is associated in Hindu mythology with a color, and the natural cry of a bird or beast-Do with green, and the peacock; Re with red, and the skylark; Mi with golden, and the goat; Fa with yellowish white, and the heron; Sol with black, and the nightingale; La with yellow, and the horse; Si with a combination of all colors, and the elephant.

Red: Most yang, warm, and stimulating. Produces heat. Stimulates vital energy and circulation of the blood. Stimulates sensory nervous systems and energizes the five basic senses. Stimulates the healing of wounds without pus. Used in treatment of chronic infections. Too much red leads to anger and hyperactivity. Orange: Gentle yang, tonifies. Stimulates appetite, relieves cramps and spasms, increases blood pressure, induces vomiting, relieves gas, builds bones. When used with blue, regulates the endocrine system. Stimulates joy, optimism, and enthusiasm. Yellow: Yang, and the brightest of all colors. Strengthens motor nervous system and metabolism, and aids conditions of the glandular, lymphatic, and digestive systems. Stimulates intellectual functions; boosts cheerfulness and confidence. Green: Neutral yin. Slightly cooling. Treats conditions of the lungs, eyes, diabetes, musculoskeletal and inflammatory joint problems, and ulcers. Is antibacterial and aids in detoxification. Calms, soothes, and balances. Blue: Yin or cool. Relaxes body and mind, reduces fever, congestion, itching, irritation, and pain. Treats high blood pressure, burns, inflammations with pus and diseases involving heat. Contracts tissues and muscles. Calms and tranquilizes when used on the pituitary and pineal acupoints. Helpful for insomnia, phobias, and endocrine imbalances. Not indicated for depression as it is a melancholy color. Violet: Most yin color. Aids the spleen, reduces irritability, and balances the right brain. When combined with yellow, increases lymph production, controls hunger, and balances the nervous system. Acts on the unconscious.35 Complementary Colors The complementary color pairs are: red-green, orange-blue, and yellow-violet. Together, these colors balance yin and yang. For example, red might stimulate the blood and improve circulation while green calms conditions creating stress. Blue might assuage pain while orange lifts fear or depression causing tension. Yellow will strengthen the nervous system while violet calms it with a meditative state.

The resplendent majolica cupola, a combination of yellow, green, and blue, atop the Chiesa di Santa Maria Assunta, beckoned to my senses, as did the azure expanse of the Positano bay.

Bok Choy Seitan Pho (Vietnamese Noodle Soup) After sampling pho at a Vietnamese noodle shop in Los Angeles, I was on a mission to create a simple plant-based version of this aromatic, festive noodle dish in my own kitchen. My recipe features seitan, a wonderful plant-based protein found in many natural food stores. My whole family loves the interactive style in which this soup is served. In fact, you can plan a dinner party around this traditional meal. Simply dish up the noodles and bubbling broth into large soup bowls, set out a variety of vegetable toppings, and let your guests serve it up their way. MAKES 4 SERVINGS BROTH 4 cups reduced-sodium vegetable broth ½ medium yellow onion, chopped ½ cup sliced shiitake mushrooms 1 medium carrot, sliced 4 garlic cloves, minced 8 thin slices peeled fresh ginger root 1 tablespoon reduced-sodium soy sauce 1 tablespoon rice wine vinegar 1 tablespoon agave syrup ¼ teaspoon ground black pepper 2 cinnamon sticks 2 star anise pods ½ teaspoon whole coriander 6 sprigs of fresh basil 6 sprigs of fresh cilantro NOODLES One 8-ounce package flat rice noodles TOPPINGS One 8-ounce package seitan (wheat gluten) strips, thinly sliced 2 small bunches of fresh bok choy, sliced thinly 1 cup fresh bean sprouts ½ cup coarsely chopped cilantro ½ cup coarsely chopped basil 1 small lime, cut into wedges 1 small jalapeño pepper, seeded and diced 4 green onions, sliced TO PREPARE THE BROTH: 1. Combine all the broth ingredients in a large pot, cover, and bring to a low boil. Reduce the heat and simmer for 30 minutes. Strain the broth, discarding the vegetables and seasonings. Return the strained broth to the pot, cover, and keep warm (broth should be bubbling right before serving time). While broth is cooking, prepare noodles and toppings. TO PREPARE THE NOODLES: 1. Bring a medium pot of water to a boil. Add the rice noodles, cover, and cook until just tender, about 5 minutes, or according to package directions. Drain the noodles immediately and rinse with cold water. Return the drained noodles to the pot and cover. TO PREPARE THE TOPPINGS: 1. Arrange the toppings on a large platter. 2. To serve the soup, divide the noodles among four very large soup bowls. Either garnish the noodles with desired toppings or let your guests do their own. Ladle boiling broth over the noodles and toppings, and serve immediately. Allow hot broth to wilt vegetables and cool slightly before eating it. PER SERVING (ABOUT 2 OUNCES NOODLES, 2 OUNCES SEITAN, 1 CUP VEGETABLE TOPPINGS, AND 1 CUP BROTH): Calories: 310 • Carbohydrates: 55 g • Fiber: 4 g • Protein: 17 g • Total fat: 2 g • Saturated fat: 0 g • Sodium: 427 mg • Star nutrients: Vitamin A (39% DV), vitamin C (23% DV), iron (11% DV), selenium (13% DV)

Since the human brain processes light categorically into redness, greeness, blueness, and yellowness, this means that we are only able to see other colors as limited combinations among these four (we can't see red-greens or blue-yellows)

Scientists have offered the illustration of a rapidly moving wheel, top, or cylinder, to show the effects of increasing rates of vibration. The illustration supposes a wheel, top, or revolving cylinder, running at a low rate of speed — we will call this revolving thing "the object" in following out the illustration. Let us suppose the object moving slowly. It may be seen readily, but no sound of its movement reaches the ear. The speed is gradually increased. In a few moments its movement becomes so rapid that a deep growl or low note may be heard. Then as the rate is increased the note rises one in the musical scale. Then, the motion being still further increased, the next highest note is distinguished. Then, one after another, all the notes of the musical scale appear, rising higher and higher as the motion is increased. Finally when the motions have reached a certain rate the final note perceptible to human ears is reached and the shrill, piercing shriek dies away, and silence follows. No sound is heard from the revolving object, the rate of motion being so high that the human ear cannot register the vibrations. Then comes the perception of rising degrees of Heat. Then after quite a time the eye catches a glimpse of the object becoming a dull dark reddish color. As the rate increases, the red becomes brighter. Then as the speed is increased, the red melts into an orange. Then the orange melts into a yellow. Then follow, successively, the shades of green, blue, indigo, and finally violet, as the rate of speed increases. Then the violet shades away, and all color disappears, the human eye not being able to register them. But there are invisible rays emanating from the revolving object, the rays that are used in photographing, and other subtle rays of light. Then begin to manifest the peculiar rays known as the "X Rays," etc., as the constitution of the object changes. Electricity and Magnetism are emitted when tile appropriate rate of vibration is attained. When the object reaches a certain rate of vibration its molecules disintegrate, and resolve themselves into the original elements or atoms. Then the atoms, following the Principle of Vibration, are separated into the countless corpuscles of which they are composed. And finally, even the corpuscles disappear and the object may be said to be composed of The Ethereal Substance. Science does not dare to follow the illustration further, but the Hermetists teach that if the vibrations be continually increased the object would mount up the successive states of manifestation and would in turn manifest the various mental stages, and then on Spiritward, until it would finally re-enter THE ALL, which is Absolute Spirit. The "object," however, would have ceased to be an "object" long before the stage of Ethereal Substance was reached, but otherwise the illustration is correct inasmuch as it shows the effect of constantly increased rates and modes of vibration. It must be remembered, in the above illustration, that at the stages at which the "object" throws off vibrations of light, heat, etc., it is not actually "resolved" into those forms of energy (which are much higher in the scale), but simply that it reaches a degree of vibration in which those forms of energy are liberated, in a degree, from the confining influences of its molecules, atoms and corpuscles, as the case may be. These forms of energy, although much higher in the scale than matter, are imprisoned and confined in the material combinations, by reason of the energies manifesting through, and using material forms, but thus becoming entangled and confined in their creations of material forms, which, to an extent, is true of all creations, the creating force becoming involved in its creation.

Sautéed Dorado with Creole Tomato Sauce “First, catch a 3-foot dorado,” my step-by-step notes for this recipe begin. That part over, the preparation is simple—all that fabulously fresh fish requires. With white-fleshed, delicate fish such as dorado, I prefer to garnish it with the sauce, rather than cook it in the sauce, as Daphne did with her tuna in Bequia. For the sauce 4 tablespoons olive oil 2 cloves garlic, chopped 2 medium onions, sliced thinly 3 sweet bell peppers (a combination of red, green, and/or yellow), thinly sliced and slices cut in half 1⁄2 teaspoon hot pepper, seeded and finely chopped Salt and freshly ground black pepper 2 green onions, thinly sliced on the diagonal 1 tablespoon chopped fresh thyme or 1 teaspoon dried thyme 2 tablespoons cilantro, chopped 3–4 tomatoes, chopped 1⁄2 cup white wine (approx.) For the fish 2 limes 21⁄2–3 pounds dorado or other fish fillets 1 cup flour Salt and freshly ground black pepper 2 tablespoons butter 2 tablespoons olive oil 2 cloves garlic, thickly sliced 1. To make the sauce: In a large, heavy pan with a lid, heat the olive oil. Add the garlic and onions and cook gently over medium heat, stirring frequently, until the onions are meltingly soft and translucent (but not brown), about 10 minutes. 2. Add the sweet and hot peppers, and cook about 10 minutes more, stirring occasionally. Season with salt and pepper and add green onions, thyme, cilantro, and tomatoes. Cover and cook until the sauce has thickened a bit, about 10 minutes. 3. Add the white wine and simmer a bit longer for the flavors to blend. Taste and adjust seasoning, adding a bit more wine, stock, or water if the sauce seems too thick. Keep warm over low heat. 4. Meanwhile, squeeze the limes over the fish, and rub with the pith. Season the flour with salt and pepper and dredge the fillets in the mixture. 5. In a large skillet, heat the butter and oil. Add the sliced garlic cloves and allow them to sauté for about 5 minutes over low heat. 6. Remove the garlic and raise the heat to medium. Sauté the dorado fillets, about 4 minutes per side (if thick), turning only once. Fish is done when it just flakes. Serve with rice and the warm tomato sauce. Serves 6

I just . . . I just wanted to make sure you were . . . okay.” He shoved away from the door as he took a long stride toward her, letting the door slam behind him. “I should be asking you the same thing,” he said, cringing, his voice filled with concern. Violet knew how she looked. The bruise on her cheek had turned a strange combination of green, yellow, and purple. The swelling had gone down, but not enough for anyone else to notice. “I’m fine.” She hedged and then tried to shrug it off. “If you like bar-fight chic.” His face darkened. “I wasn’t really talking about what’s on the outside.” “You mean, like, it’s what’s on the inside that counts?” Rafe grimaced, the ghost of a smile finding his lips. “Well, when you put it that way, it sounds sort of . . .” “Sweet?” “I was gonna say lame. But, yeah, that works too.” “Yeah? Well, you look . . .” She was going to say better, but she practically stumbled over the word. He looked anything but better. If she looked beat-up, he looked downright thrashed. Even behind the bandages, Violet could see scrapes and mottled skin. “Terrible. You look terrible.” She moved closer to him on the landing as he unlocked the closed door. “But better than the last time I saw you, I guess.” Rafe tried to laugh, but winced and grabbed his ribs. “Damn, V, I wouldn’t plan on a career in nursing if I were you; your bedside manner stinks.” His eyes clouded over when he saw her stroking the black onyx hanging from around her neck. “Krystal?” he asked. “For protection,” Violet clarified. “Um, yeah, I got one too. Mine’s for healing.” He tugged at the silver chain around his neck. He held up an irregular-looking stone that had been tucked beneath his shirt. It was cloudy—opaque—and Violet wondered at the mystical qualities Krystal believed it possessed. “I meant it’s from Krystal. Right?” “Oh, yeah . . . right.” She nodded, realizing she’d misunderstood his question.

Ginger Glazed Salmon   1 salmon fillet 1 small yellow onion, chopped 2 tablespoons honey 4 tablespoons grass-fed butter 1 teaspoon minced garlic 1 teaspoon minced ginger 1 teaspoon dill Juice of 2 small limes Salt and pepper, to taste   Instructions: Massage the salmon fillet with half of the butter, season it with salt, pepper, and dill. Place it on a bed of chopped onions and cook in the oven until just pink and tender in the center.   In a separate sauce pan combine the honey, juice of 2 limes, minced ginger, and minced garlic together with the butter to make a warm glaze. Pour this glaze over the salmon and place back in the switched off oven for 3-5 minutes. Remove and serve with a simple green salad.

For the sauce 4 tablespoons olive oil 2 cloves garlic, chopped 2 medium onions, sliced thinly 3 sweet bell peppers (a combination of red, green, and/or yellow), thinly sliced and slices cut in half 1⁄2 teaspoon hot pepper, seeded and finely chopped Salt and freshly ground black pepper 2 green onions, thinly sliced on the diagonal 1 tablespoon chopped fresh thyme or 1 teaspoon dried thyme 2 tablespoons cilantro, chopped 3–4 tomatoes, chopped 1⁄2 cup white wine (approx.) For the fish 2 limes 2 1⁄2–3 pounds dorado or other fish fillets 1 cup flour Salt and freshly ground black pepper 2 tablespoons butter 2 tablespoons olive oil 2 cloves garlic, thickly sliced 1. To make the sauce: In a large, heavy pan with a lid, heat the olive oil. Add the garlic and onions and cook gently over medium heat, stirring frequently, until the onions are meltingly soft and translucent (but not brown), about 10 minutes. 2. Add the sweet and hot peppers, and cook about 10 minutes more, stirring occasionally. Season with salt and pepper and add green onions, thyme, cilantro, and tomatoes. Cover and cook until the sauce has thickened a bit, about 10 minutes. 3. Add the white wine and simmer a bit longer for the flavors to blend. Taste and adjust seasoning, adding a bit more wine, stock, or water if the sauce seems too thick. Keep warm over low heat. 4. Meanwhile, squeeze the limes over the fish, and rub with the pith. Season the flour with salt and pepper and dredge the fillets in the mixture. 5. In a large skillet, heat the butter and oil. Add the sliced garlic cloves and allow them to sauté for about 5 minutes over low heat. 6. Remove the garlic and raise the heat to medium. Sauté the dorado fillets, about 4 minutes per side (if thick), turning only once. Fish is done when it just flakes. Serve with rice and the warm tomato sauce. Serves 6

Yesterday, she had pulled out of the freezer a few special juices from the Looms that she had frozen last fall and set them in the cooler to thaw. When she had pressed them last October, they hadn't produced as much juice as the apples from younger trees, but even the raw juices by themselves were interesting and complex, layers of apple and honey and something earthier. At the time, she'd decided to save them for inspiration to strike. As she had lain in bed, though, waiting for the first rays of light, a color blossomed. A rosy pink, with a hint of coral, bold and opaque. It didn't have any sharp edges. She knew instantly it required juice from one of the Looms. She measured and blended, noting each of the juices she used and in what combination. Two parts Rambo, one part Winesap, a half part Britegold. She sipped it, but the color was too red, almost searing. She needed something to mute it. She walked into the large freezer where she had stored some of the frozen juices and even a few bushels of frozen apples she was experimenting with. She ran her fingers over the giant apple ice cubes in flattened Ziploc bags, closing her eyes and letting the colors emerge- green, periwinkle, sunshine yellow, and a sunset orange.