Leaf Art Quotes

Preoccupied with a single leaf you won't see the tree.

you will never catch up. Walk around feeling like a leaf know you could tumble at any second. Then decide what to do with your time. --The Art of Disappearing

Guilt isn't in cat vocabulary. They never suffer remorse for eating too much, sleeping too long or hogging the warmest cushion in the house. They welcome every pleasurable moment as it unravels and savour it to the full until a butterfly or falling leaf diverts their attention. They don't waste energy counting the number of calories they've consumed or the hours they've frittered away sunbathing. Cats don't beat themselves up about not working hard enough. They don't get up and go, they sit down and stay. For them, lethargy is an art form. From their vantage points on top of fences and window ledges, they see the treadmills of human obligations for what they are - a meaningless waste of nap time.

What can I say that I have not said before? So I’ll say it again. The leaf has a song in it. Stone is the face of patience. Inside the river there is an unfinishable story and you are somewhere in it and it will never end until all ends. Take your busy heart to the art museum and the chamber of commerce but take it also to the forest. The song you heard singing in the leaf when you were a child is singing still. I am of years lived, so far, seventy-four, and the leaf is singing still. (from, “What Can I Say”)

Mountains should be climbed with as little effort as possible and without desire. The reality of your own nature should determine the speed. If you become restless, speed up. If you become winded, slow down. You climb the mountain in an equilibrium between restlessness and exhaustion. Then, when you’re no longer thinking ahead, each footstep isn’t just a means to an end but a unique event in itself. This leaf has jagged edges. This rock looks loose. From this place the snow is less visible, even though closer. These are things you should notice anyway. To live only for some future goal is shallow. It’s the sides of the mountain which sustain life, not the top. Here’s where things grow. But of course, without the top you can’t have any sides. It’s the top that defines the sides. So on we go—we have a long way—no hurry—just one step after the next—with a little Chautauqua for entertainment -- .Mental reflection is so much more interesting than TV it’s a shame more people don’t switch over to it. They probably think what they hear is unimportant but it never is.

Greenwich Village... the village of low rents and high arts.

In art, in history man fights his fears, he wants to live forever, he is afraid of death, he wants to work with other men, he wants to live forever. He is like a child afraid of death. The child is afraid of death, of darkness, of solitude. Such simple fears behind all the elaborate constructions. Such simple fears as hunger for light, warmth, love. Such simple fears behind the elaborate constructions of art. Examine them all gently and quietly through the eyes of a boy. There is always a human being lonely, a human being afraid, a human being lost, a human being confused. Concealing and disguising his dependence, his needs, ashamed to say: I am a simple human being in a too vast and complex world. Because of all we have discovered about a leaf...it is still a leaf. Can we relate to a leaf, on a tree, in a park, a simple leaf: green, glistening, sun-bathed or wet, or turning white because the storm is coming. Like the savage, let us look at the leaf wet or shining with sun, or white with fear of the storm, or silvery in the fog, or listless in too great heat, or falling in autumn, dying, reborn each year anew. Learn from the leaf: simplicity. In spite of all we know about the leaf: its nerve structure phyllome cellular papilla parenchyma stomata venation. Keep a human relation -- leaf, man, woman, child. In tenderness. No matter how immense the world, how elaborate, how contradictory, there is always man, woman, child, and the leaf. Humanity makes everything warm and simple. Humanity...

I have always swung back and forth between alienation and relatedness. As a child, I would run away from the beatings, from the obscene words, and always knew that if I could run far enough, then any leaf, any insect, any bird, any breeze could bring me to my true home. I knew I did not belong among people. Whatever they hated about me was a human thing; the nonhuman world has always loved me. I can't remember when it was otherwise. But I have been emotionally crippled by this. There is nothing romantic about being young and angry, or even about turning that anger into art. I go through the motions of living in society, but never feel a part of it. When my family threw me away, every human on earth did likewise.

Love sharpens the eye, the ear, the touch; it quickens the feet, it steadies the hand, it arms against the wet and the cold. What we love to do, that we do well. To know is not all; it is only half. To love is the other half

The thing about trees is that they know what to do. When a leaf loses its colour, it's not because its time is up and it's dying, it's because the tree is taking back into itself the nutrients the leaf's been holding in reserve for it, out there on the twig, and why leaves change colour in autumn is because the tree is preparing for winter, it's filling itself with its own stored health so it can withstand the season. Then, clever tree, it literally pushes the used leaf off with the growth that's coming behind it. But because that growth has to protect itself through winter too, the tree fills the little wound in its branch or twig where the leaf was with a protective corky stuff which seals it against cold and bacteria. Otherwise every leaf lost would be an open wound on a tree and a single tree would be covered in thousands of little wounds. Clever trees.

This is my real bed-rock objection to the eastern systems. They decry all manly virtue as dangerous and wicked, and they look upon Nature as evil. True enough, everything is evil relatively to Adonai; for all stain is impurity. A bee's swarm is evil — inside one's clothes. "Dirt is matter in the wrong place." It is dirt to connect sex with statuary, morals with art. Only Adonai, who is in a sense the True Meaning of everything, cannot defile any idea. This is a hard saying, though true, for nothing of course is dirtier than to try and use Adonai as a fig-leaf for one's shame. To seduce women under the pretense of religion is unutterable foulness; though both adultery and religion are themselves clean. To mix jam and mustard is a messy mistake.

Behind the heavens, life and death, a tone, Behind the heart, a butterfly dancing, In the end everything is simple, as simple as a leaf that one holds in one’s hand, as simple as the laughter of a child.

I don’t think I’m an exceptionally bad reader. I suspect that many people, maybe even most, are like me. We read and read and read, and we forget and forget and forget. So why do we bother? Michel de Montaigne expressed the dilemma of extensive reading in the sixteenth century: “I leaf through books, I do not study them,” he wrote. “What I retain of them is something I no longer recognize as anyone else’s. It is only the material from which my judgment has profited, and the thoughts and ideas with which it has become imbued; the author, the place, the words, and other circumstances, I immediately forget.” He goes on to explain how “to compensate a little for the treachery and weakness of my memory,” he adopted the habit of writing in the back of every book a short critical judgment, so as to have at least some general idea of what the tome was about and what he thought of it.  

If you ever go to any event ever, for any reason, they will give you a tote bag. Medical conference? Tote bag. Wedding? Tote bag. Syrian refugee arriving in Canada? Maple leaf tote bag. My orthodontist gave me a tote bag. And a t-shirt. Which I put in the tote bag.

Unlike my father, who blindly churned out one canvas after another, I had real ideas about the artistic life. Seated at my desk, my beret as tight as an acorn’s cap, I projected myself into the world represented in the art books I’d borrowed from the public library. Leafing past the paintings, I would admire the photographs of the artists seated in their garrets, dressed in tattered smocks and frowning in the direction of their beefy nude models. To spend your days in the company of naked men – that was the life for me. ‘Turn a bit to the left, Jean-Claude. I long to capture the playful quality of your buttocks.

When an autumn leaf meets a beautiful lake, art reaches beyond the unreachable places!

They had met at the table d'hôte of an Eighth Street "Delmonico's," and found their tastes in art, chicory salad and bishop sleeves so congenial that the joint studio resulted.

I see that this body—made of the four elements—is not really me, and I am not limited by this body. I am the whole of the river of life, of blood ancestors and spiritual ancestors, that has been continuously flowing for thousands of years and flows on for thousands of years into the future. I am one with my ancestors and my descendants. I am life manifesting in countless different forms. I am one with all people and all species, whether they are peaceful and joyful or suffering and afraid. At this very moment I am present everywhere in this world. I have been present in the past and will be there in the future. The disintegration of this body does not touch me, just as when the petals of the plum blossom fall it does not mean the end of the plum tree. I see that I am like a wave on the surface of the ocean. I see myself in all the other waves, and I see all the other waves in me. The manifestation or the disappearance of the wave does not lessen the presence of the ocean. My Dharma body and spiritual life are not subject to birth or death. I am able to see my presence before this body manifested and after this body disintegrates. I am able to see my presence outside this body, even in the present moment. Eighty or ninety years is not my life span. My life span, like that of a leaf or of a buddha, is immeasurable. I am able to go beyond the idea that I am a body separate from all other manifestations of life, in time and in space.

In every house there ought to be an art table on which, one by one, things are placed, so that everybody in that house might look at the things very carefully, and see them.' 'What would you put on a table like that?' 'A leaf. A coin. A button. A stone. A small piece of torn newspaper. An apple. An egg. A pebble. A flower. A dead insect. A shoe.' 'Everybody's seen those things.' 'Of course. But nobody looks at them, and that's what art is. To look at familiar things as if they had never before been seen... A necktie. A pocketknife... a walnut.

Expression is as necessary to me as leaf and blossoms are to the black branches of the trees that show themselves above the prison walls and are so restless in the wind. Between my art and the world there is now a wide gulf, but between art and myself there is none. I hope at least that there is none.

The only knowledge that is worthwhile, writes Northrop Frye. "is the knowledge that leafs to wisdom, for knowledge without wisdom is a body without life.

There he stood, suffering embarrassment for thinking that one may pluck a single leaf from the laurel tree of art without paying for it with his life.

Thou still unravish’d bride of quietness, Thou foster-child of silence and slow time, Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme: What leaf-fring’d legend haunts about thy shape Of deities or mortals, or of both, In Tempe or the dales of Arcady? What men or gods are these? What maidens loth? What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy? Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on; Not to the sensual ear, but, more endear’d, Pipe to the spirit ditties of no tone: Fair youth, beneath the trees, thou canst not leave Thy song, nor ever can those trees be bare; Bold Lover, never, never canst thou kiss, Though winning near the goal yet, do not grieve; She cannot fade, though thou hast not thy bliss, For ever wilt thou love, and she be fair! Ah, happy, happy boughs! that cannot shed Your leaves, nor ever bid the Spring adieu; And, happy melodist, unwearied, For ever piping songs for ever new; More happy love! more happy, happy love! For ever warm and still to be enjoy’d, For ever panting, and for ever young; All breathing human passion far above, That leaves a heart high-sorrowful and cloy’d, A burning forehead, and a parching tongue. Who are these coming to the sacrifice? To what green altar, O mysterious priest, Lead’st thou that heifer lowing at the skies, And all her silken flanks with garlands drest? What little town by river or sea shore, Or mountain-built with peaceful citadel, Is emptied of this folk, this pious morn? And, little town, thy streets for evermore Will silent be; and not a soul to tell Why thou art desolate, can e’er return. O Attic shape! Fair attitude! with brede Of marble men and maidens overwrought, With forest branches and the trodden weed; Thou, silent form, dost tease us out of thought As doth eternity: Cold Pastoral! When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say’st, “Beauty is truth, truth beauty,—that is all Ye know on earth, and all ye need to know.

I hope they’ll pay attention not so much to the mechanical things, like a sudden change of pace in a talk or a sudden change in volume of their voice. I hope they’ll pay attention, instead, to the fundamental source of that pacing and volume, which is the connection with the other person. That connection makes us respond like a leaf in the breeze to whatever is happening in the faces of those in front of us.

Enmerson's interest is in the workshop phase, the birthing stage of art, not the museum moment, the embalming phase. Poetry mimics Creation and is therefore sacred. More precisely, just as God may indeed be a verb (as Mary Daly insists), poetry is the act of creating. The process of poetry also mimics the process of nature. 'This expression or naming is not art, but a second nature, grown out of the first, as a leaf out of a tree. What we call nature is a certain self-regulated motion or change.' Another aspect of nature is genius, which, as Emerson observes, 'is the activity which repairs the decays of things.

The art of tea-leaf reading—or tasseomancy—is an ancient one. The practice spread from the Orient to Europe with the trade and consumption of tea. Of course, it borrows much from other ancient forms of divination.

Mountains should be climbed with as little effort as possible and without desire. The reality of your own nature should determine the speed. If you become restless, speed up. If you become winded, slow down. You climb the mountain in an equilibrium between restlessness and exhaustion. Then, when you’re no longer thinking ahead, each footstep isn’t just a means to an end but a unique event in itself. This leaf has jagged edges. This rock looks loose. From this place the snow is less visible, even though closer. These are things you should notice anyway. To live only for some future goal is shallow. It’s the sides of the mountain which sustain life, not the top. Here’s where things grow.

Enchantment produces a Secondary World, into which both designer and spectator can enter, to the satisfaction of their senses while they are inside; but in its purity it is artistic in desire and purpose. Magic produces, or pretends to produce, an alteration in the Primary World. It does not matter by whom it is said to be practised, fay or mortal, it remains distinct from the other two; it is not an art but a technique; its desire is power in this world, domination of things and wills.

We read and read and read, and we forget and forget and forget. So why do we bother? Michel de Montaigne expressed the dilemma of extensive reading in the sixteenth century: “I leaf through books, I do not study them,” he wrote. “What I retain of them is something I no longer recognize as anyone else’s. It is only the material from which my judgment has profited, and the thoughts and ideas with which it has become imbued; the author, the place, the words, and other circumstances, I immediately forget.

After living with his art in my own chamber, I saw there was more than mere mimicry, and that art was a world unto itself, with its own symbols and language. A leaf seen in a certain light might be gray or violet as well as purple, and a latticework of twigs might easily turn red as the sky paled above the city.

patches of light opening up and closing again, the places where leaf over leaf produces a rich saturation of colour, or where the sunshine creates translucency. Like the layered frills of a petticoat or the delicate fanned ceiling of Christ Church Cathedral, so much of what we make in art is an attempt to recreate the simple beauty of a tree.

For an artist, screams of adoration and praise is the reward for spilling your guts on the stage

Art is the Flower. Life is the Green Leaf.

But whether or not the Phrygian Faun was silent, I cannot be.  Expression is as necessary to me as leaf and blossoms are to the black branches of the trees that show themselves above the prison walls and are so restless in the wind.  Between my art and the world there is now a wide gulf, but between art and myself there is none.  I hope at least that there is none.

The people had been taught to despise themselves because they were left with barren land and dry rivers. But they were wrong. It was the white people who had nothing; it was the white people who were suffering as thieves do, never able to forget that their pride was wrapped in something stolen, something that had never been, and could never be, theirs. The destroyers had tricked the white people as completely as they had fooled the Indians, and now only a few people understood how the filthy deception worked; only a few people knew that the lie was destroying the white people faster than it was destroying Indian people. But the effects were hidden, evident only in the sterility of their art, which continued to feed off the vitality of other cultures, and in the dissolution of their consciousness into dead objects: the plastic and neon, the concrete and steel. Hollow and lifeless as a witchery clay figure. And what little still remained to white people was shriveled like a seed hoarded too long, shrunken past its time, and split open now, to expose a fragile, pale leaf stem, perfectly formed and dead.

Go on from here, Ada, please. (She). Billions of boys. Take one fairly decent decade. A billion of Bills, good, gifted, tender and passionate, not only spiritually but physically well-meaning Billions, have bared the jillions of their no less tender and brilliant Jills during that decade, at stations and under conditions that have to be controlled and specified by the worker, lest the entire report be choked up by the weeds of statistics and waist-high generalizations. No point would there be, if we left out, for example, the little matter of prodigious individual awareness and young genius, which makes, in some cases, of this or that particular gasp an unprecedented and unrepeatable event in the continuum of life or at least a thematic anthemia of such events in a work of art, or a denouncer’s article. The details that shine through or shade through: the local leaf through the hyaline skin, the green sun in the brown humid eye, tout ceci, vsyo eto, in tit and toto, must be taken into account, now prepare to take over (no, Ada, go on, ya zaslushalsya: I’m all enchantment and ears), if we wish to convey the fact, the fact, the fact—that among those billions of brilliant couples in one cross section of what you will allow me to call spacetime (for the convenience of reasoning), one couple is a unique super-imperial couple, sverhimperator-skaya cheta, in consequence of which (to be inquired into, to be painted, to be denounced, to be put to music, or to the question and death, if the decade has a scorpion tail after all), the particularities of their love-making influence in a special unique way two long lives and a few readers, those pensive reeds, and their pens and mental paintbrushes. Natural history indeed! Unnatural history—because that precision of senses and sense must seem unpleasantly peculiar to peasants, and because the detail is all: The song of a Tuscan Firecrest or a Sitka Kinglet in a cemetery cypress; a minty whiff of Summer Savory or Yerba Buena on a coastal slope; the dancing flitter of a Holly Blue or an Echo Azure—combined with other birds, flowers and butterflies: that has to be heard, smelled and seen through the transparency of death and ardent beauty. And the most difficult: beauty itself as perceived through the there and then. The males of the firefly (now it’s really your turn, Van).

Artichokes Until you had been the last ones sitting in the cafe on the corner and she has kissed the dark rum from the rim of your glass and schooled you in the art of eating artichokes until then, you are not yet a woman. Until you put soft leaf to lip touch tongue to flesh, bite the lobe, swallow the juice she says will purify you until you open it up, sigh at the color, see it’s very middle and learn what fingers are best at until you reach further still into that thick, hot heart life has not yet started. Before you had been promised. Before she is a liar. Before you are dismantled, fixed and broke again you are not yet a lover. Remember on the right night and under the right light any idea can seem like a good one and love love is mostly ill-advised but always brave. The most important thing to do is not to worry. The lines on your face will never stop the sun from coming up. Your tears cannot affect the weather. There are wars going on. The one in your body is the only one you can be sure of losing or winning, then losing again. You drink more water than rum these days, don’t you? But you drink to her memory, don’t you? And you only take artichokes in salad. Never whole. Not in a cafe on a dusky street at midnight. Not with her. Never with her, or anyone like her.

Rarely, rarely comest thou, Spirit of Delight! Wherefore hast thou left me now Many a day and night? Many a weary night and day 'Tis since thou art fled away. How shall ever one like me Win thee back again? With the joyous and the free Thou wilt scoff at pain. Spirit false! thou hast forgot All but those who need thee not. As a lizard with the shade Of a trembling leaf, Thou with sorrow art dismayed; Even the sighs of grief Reproach thee, that thou art not near, And reproach thou wilt not hear. Let me set my mournful ditty To a merry measure;-- Thou wilt never come for pity, Thou wilt come for pleasure; Pity then will cut away Those cruel wings, and thou wilt stay. I love all that thou lovest, Spirit of Delight! The fresh Earth in new leaves dressed, And the starry night; Autumn evening, and the morn When the golden mists are born. I love snow and all the forms Of the radiant frost; I love waves, and winds, and storms, Everything almost Which is Nature's, and may be Untainted by man's misery. I love tranquil solitude, And such society As is quiet, wise, and good; Between thee and me What difference? but thou dost possess The things I seek, not love them less. I love Love--though he has wings, And like light can flee, But above all other things, Spirit, I love thee-- Thou art love and life! O come! Make once more my heart thy home!

When Marsyas was 'torn from the scabbard of his limbs' - DELLA VAGINA DELLA MEMBRE SUE, to use one of Dante's most terrible Tacitean phrases - he had no more song, the Greek said. Apollo had been victor. The lyre had vanquished the reed. But perhaps the Greeks were mistaken. I hear in much modern Art the cry of Marsyas. It is bitter in Baudelaire, sweet and plaintive in Lamartine, mystic in Verlaine. It is in the deferred resolutions of Chopin's music. It is in the discontent that haunts Burne- Jones's women. Even Matthew Arnold, whose song of Callicles tells of 'the triumph of the sweet persuasive lyre,' and the 'famous final victory,' in such a clear note of lyrical beauty, has not a little of it; in the troubled undertone of doubt and distress that haunts his verses, neither Goethe nor Wordsworth could help him, though he followed each in turn, and when he seeks to mourn for THYRSIS or to sing of the SCHOLAR GIPSY, it is the reed that he has to take for the rendering of his strain. But whether or not the Phrygian Faun was silent, I cannot be. Expression is as necessary to me as leaf and blossoms are to the black branches of the trees that show themselves above the prison walls and are so restless in the wind. Between my art and the world there is now a wide gulf, but between art and myself there is none. I hope at least that there is none.

But the effects were hidden, evident only in the sterility of their art, which continued to feed off the vitality of other cultures, and in the dissolution of their consciousness into dead objects: the plastic and neon, the concrete and steel. Hollow and lifeless as a witchery clay figure. And what little still remained to white people was shriveled like a seed hoarded too long, shrunken past its time, and split open now, to expose a fragile, pale leaf stem, perfectly formed and dead.

It is Never Too Late to Mend." Since it can never be too late To change your life, or else renew it, Let the unpleasant process wait Until you are compelled to do it. The State provides (and gratis too) Establishments for such as you. Remember this, and pluck up heart, That, be you publican or parson, Your ev'ry art must have a start, From petty larceny to arson; And even in the burglar's trade, The cracksman is not born, but made. So, if in your career of crime, You fail to carry out some "coup", Then try again a second time, And yet again, until you do; And don't despair, or fear the worst, Because you get found out at first. Perhaps the battle will not go, On all occasions, to the strongest; You may be fairly certain tho' That He Laughs Last who laughs the Longest. So keep a good reserve of laughter, Which may be found of use hereafter. Believe me that, howe'er well meant, A Good Resolve is always brief; Don't let your precious hours be spent In turning over a new leaf. Such leaves, like Nature's, soon decay, And then are only in the way. The Road to—-well, a certain spot, (A Road of very fair dimensions), Has, so the proverb tells us, got A parquet-floor of Good Intentions. Take care, in your desire to please, You do not add a brick to these. For there may come a moment when You shall be mended willy-nilly, With many more misguided men, Whose skill is undermined with skilly. Till then procrastinate, my friend; "It Never is Too Late to Mend!

You only feel it because you haven’t really let go of yourself. It is all so simple. You can learn from an ordinary bamboo leaf what ought to happen. It bends lower and lower under the weight of snow. Suddenly the snow slips to the ground without the leaf having stirred. Stay like that at the point of highest tension until the shot falls from you. So, indeed, it is: when the tension is fulfilled, the shot must fall, it must fall from the archer like snow from a bamboo leaf, before he even thinks it.

All around the recognized word and the comprehended sentence, the other graphisms take flight, carrying with them the visible plenitude of shape and leaving only the linear, successive unfurling of meaning -- not one drop of rain falling after another, much less a feather or a torn-of leaf.

Take what you have of what remains, take the colors of what is still left, for this is the flame that will set your soul ablaze before that moment comes when the leaf trembles shuddering in its last joy, the robin cries knowing it is the last song. Sing, Sing, O Sojourner, no season is meant to stay. The deeps are filled with a bitter sweet nostalgia... the cinnamon, nutmeg, cider roast smell, the earth sparkling, feasting on the colors, the grounds merry making as the leaves softly play, for this is the life's sacred performance art, as the earth is playing the grand finale before it slips in the winter's white silence....

He remembered that in the art books he had leafed through at Leader's, many paintings depicted death. A severed head on a platter. A battle, and the ground strewn with bodies. Swords and spears and fire; and nails being pounded into the tender flesh of a man's hands. Painters had preserved such pain through beauty.

Ode to the West Wind I O wild West Wind, thou breath of Autumn’s being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintry bed The winged seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow Her clarion o’er the dreaming earth, and fill (Driving sweet buds like flocks to feed in air) With living hues and odours plain and hill: Wild Spirit, which art moving everywhere; Destroyer and preserver; hear, oh hear! II Thou on whose stream, mid the steep sky’s commotion, Loose clouds like earth’s decaying leaves are shed, Shook from the tangled boughs of Heaven and Ocean, Angels of rain and lightning: there are spread On the blue surface of thine aëry surge, Like the bright hair uplifted from the head Of some fierce Maenad, even from the dim verge Of the horizon to the zenith’s height, The locks of the approaching storm. Thou dirge Of the dying year, to which this closing night Will be the dome of a vast sepulchre, Vaulted with all thy congregated might Of vapours, from whose solid atmosphere Black rain, and fire, and hail will burst: oh hear! III Thou who didst waken from his summer dreams The blue Mediterranean, where he lay, Lull’d by the coil of his crystàlline streams, Beside a pumice isle in Baiae’s bay, And saw in sleep old palaces and towers Quivering within the wave’s intenser day, All overgrown with azure moss and flowers So sweet, the sense faints picturing them! Thou For whose path the Atlantic’s level powers Cleave themselves into chasms, while far below The sea-blooms and the oozy woods which wear The sapless foliage of the ocean, know Thy voice, and suddenly grow gray with fear, And tremble and despoil themselves: oh hear! IV If I were a dead leaf thou mightest bear; If I were a swift cloud to fly with thee; A wave to pant beneath thy power, and share The impulse of thy strength, only less free Than thou, O uncontrollable! If even I were as in my boyhood, and could be The comrade of thy wanderings over Heaven, As then, when to outstrip thy skiey speed Scarce seem’d a vision; I would ne’er have striven As thus with thee in prayer in my sore need. Oh, lift me as a wave, a leaf, a cloud! I fall upon the thorns of life! I bleed! A heavy weight of hours has chain’d and bow’d One too like thee: tameless, and swift, and proud. V Make me thy lyre, even as the forest is: What if my leaves are falling like its own! The tumult of thy mighty harmonies Will take from both a deep, autumnal tone, Sweet though in sadness. Be thou, Spirit fierce, My spirit! Be thou me, impetuous one! Drive my dead thoughts over the universe Like wither’d leaves to quicken a new birth! And, by the incantation of this verse, Scatter, as from an unextinguish’d hearth Ashes and sparks, my words among mankind! Be through my lips to unawaken’d earth The trumpet of a prophecy! O Wind, If Winter comes, can Spring be far behind?

There are no angels yet here comes an angel one shut-off the dark side of the moon turning to me and saying: I am the plumed serpent the beast with fangs of fire and a gentle heart But he doesn’t say that His message drenches his body he’d want to kill me for using words to name him I sit in the bare apartment reading words stream past me poetry twentieth-century rivers disturbed surfaces reflecting clouds reflecting wrinkled neon but clogged and mostly nothing alive left in their depths The angel is barely speaking to me Once in a horn of light he stood or someone like him salutations in gold-leaf ribboning from his lips Today again the hair streams to his shoulders the eyes reflect something like a lost country or so I think but the ribbon has reeled itself up He isn’t giving or taking any shit We glance miserably across the room at each other It’s true there are moments closer and closer together when words stick in my throat ‘the art of love’ ‘the art of words’ I get your message Gabriel just will you stay looking straight at me awhile longer

The hill is like an old woman, all her human obligations met, who sits at work day after day, in a kind of rapt leisure, at an intricate embroidery. She has time for all things. Because she does not expect ever to be finished, she is endlessly patient with details. She perfects flower and leaf, feather and song, adorning the briefest life in great beauty as though it were meant to last forever.

Every building of the gothic period differs in some important respect from every other; and many include features which, if they occur in other buildings, would not be considered gothic at all: so that all we have to reason upon is merely, if we be allowed to express it, a greater r less degree of 'Gothicness' in each building we examine. And it is this 'Gothicness'' - the character which, according as it is found more or less in a building, makes it more or less Gothic, - of which I want to define the nature; and I feel the same kind of difficulty in doing so which would be encountered by anyone who undertook to explain, for instance, the nature of Redness, without any actual red thing to point to, but only orange and purple things. Suppose they had only a piece of heather ad a dead oak-leaf to do it with. They might say, the colour which is mixed with the yellow in the oak-leaf , and with the blue in the heather, would be red.

You need only embrace the best-known secret of all: no mystery is closed to an open mind. What came of that mystical wedding, of the world we know and the world we do not know, by that rose of the spirit, committed thus in so great a hope, so great a faith? The Druid is not here to tell. Faith after Faith has withered like a leaf. But still we stand by ancestral altars, still offer the Rose of Desire to the veiled Mystery, still commit this our symbol to the fathomless, the everlasting, the unanswered Deep. —WILLIAM SHARP, from Where the Forest Murmurs

Doth the universe lie within the compass of yonder town, which only a little time ago was but a leaf-strewn desert, as lonely as this around us? Whither leads yonder forest-track? Backward to the settlement, thou sayest! Yes; but, onward, too! Deeper it goes, and deeper into the wilderness, less plainly to be seen at every step; until some few miles hence the yellow leaves will show no vestige of the white man's tread. There thou art free! So brief a journey would bring thee from a world where thou hast been most wretched, to one where thou mayest still be happy!

J. R. R. Tolkien’s famous essay, “On Fairy-Stories,” in Tree and Leaf (New York: HarperCollins, 2001), pp. 1–82. The consolation . . . the joy of the happy ending . . . the sudden joyous ‘turn’ . . . this joy which . . . stories can produce supremely well, is not essentially ‘escapist’ nor ‘fugitive.’ . . . It is a sudden and miraculous grace: never to be counted on to recur. It does not deny the existence of dyscatastrophe, of sorrow and failure. Indeed, the possibility of these is necessary to the joy of deliverance. Rather, it denies (in the face of much evidence, if you will) universal final defeat, and thus is evangelium, giving a fleeting glimpse of Joy, Joy beyond the walls of the world, poignant as grief. It is the mark of a good story, of the higher or more complete kind, that however wild its events, however fantastic or terrible the adventures, it can give . . . when the ‘turn’ comes, a catch of the breath, a beat and lifting of the heart, near to (or indeed accompanied by) tears, as keen as that given by any form of literary art, and having a peculiar quality. In . . . the ‘turn’ . . . we get a piercing glimpse of joy, and heart’s desire, that for a moment passes outside the frame, rends indeed the very web of story, and lets a gleam come through.” Tolkien, “On Fairy-Stories,” pp. 68–69. Later Tolkien argues that the ultimate story—the gospel—is the essence of all other stories with the joy-giving happy ending. “This ‘joy’ . . . merits more consideration. The peculiar quality of the ‘joy’ in a successful Fantasy can . . . be explained as a sudden glimpse of an underlying . . . Reality. . . . The Gospels contain . . . a story of a larger kind which embraces all the essence of fairy-stories. They contain . . . the greatest and most complete conceivable eucatastrophe. But this story has entered history and the primary world. . . . The Birth of Christ is the eucatastrophe of Man’s history. The Resurrection is the eucatastrophe of the story of the Incarnation. This story ends in joy. . . . There is no tale ever told that men would rather find was true, and none which so many skeptical men have accepted as true on its own merits. For the Art of it has the supremely convincing tone of Primary Art, that is, of Creation. To reject it leads either to sadness or to wrath. . . . [T]his story is supreme; and it is true. Art has been verified. God is Lord, of angels, and of men—and of elves. Legend and History have met and fused.” Tolkien, “On Fairy-Stories,” pp. 71–73.

One could not imagine a process more open to the elephantine logic of the Bible-smasher than this: that the sun should be created after the sunlight. The conception that lies at the back of the phrase is indeed profoundly antagonistic to much of the modern point of view. To many modern people it would sound like saying that foliage existed before the first leaf ; it would sound like saying that childhood existed before a baby was born. The idea is, as I have said, alien to most modern thought, and like many other ideas which are alien to most modern thought, it is a very subtle and a very sound idea. Whatever be the meaning of the passage in the actual primeval poem, there is a very real metaphysical meaning in the idea that light existed before the sun and stars. It is not barbaric; it is rather Platonic. The idea existed before any of the machinery which made manifest the idea. Justice existed when there was no need of judges, and mercy existed before any man was oppressed. The whole difference between construction and creation is exactly this: that a thing constructed can only be loved after it is constructed; but a thing created is loved before it exists, as the mother can love the unborn child. In creative art the essence of a book exists before the book or before even the details or main features of the book; the author enjoys it and lives in it with a kind of prophetic rapture. He wishes to write a comic story before he has thought of a single comic incident. He desires to write a sad story before he has thought of  anything sad. He knows the atmosphere before he knows anything. There is a low priggish maxim sometimes uttered by men so frivolous as to take humour seriously a maxim that a man should not laugh at his own jokes. But the great artist not only laughs at his own jokes; he laughs at his own jokes before he has made them.

He perceived too in these still hours how little he had understood her hitherto. He had been blinded, — obsessed. He had been seeing her and himself and the whole world far too much as a display of the eternal dualism of sex, the incessant pursuit. Now with his sexual imaginings newly humbled and hopeless, with a realization of her own tremendous minimization of that fundamental of romance, he began to see all that there was in her personality and their possible relations outside that. He saw how gravely and deeply serious was her fine philanthropy, how honest and simple and impersonal her desire for knowledge and understandings. There is the brain of her at least, he thought, far out of Sir Isaac's reach. She wasn't abased by her surrenders, their simplicity exalted her, showed her innocent and himself a flushed and congested soul. He perceived now with the astonishment of a man newly awakened just how the great obsession of sex had dominated him — for how many years? Since his early undergraduate days. Had he anything to put beside her own fine detachment? Had he ever since his manhood touched philosophy, touched a social question, thought of anything human, thought of art, or literature or belief, without a glancing reference of the whole question to the uses of this eternal hunt? During that time had he ever talked to a girl or woman with an unembarrassed sincerity? He stripped his pretences bare; the answer was no. His very refinements had been no more than indicative fig-leaves. His conservatism and morality had been a mere dalliance with interests that too brutal a simplicity might have exhausted prematurely. And indeed hadn't the whole period of literature that had produced him been, in its straining purity and refinement, as it were one glowing, one illuminated fig-leaf, a vast conspiracy to keep certain matters always in mind by conspicuously covering them away? But this wonderful woman — it seemed — she hadn't them in mind! She shamed him if only by her trustful unsuspiciousness of the ancient selfish game of Him and Her that he had been so ardently playing.... He idealized and worshipped this clean blindness. He abased himself before it.

Hitherto I have used the words imperfect and perfect merely to distinguish between work grossly unskilful, and work executed with average precision and science; and I have been pleading that any degree of unskilfulness should be admitted, so only that the labourer’s mind had room for expression. But, accurately speaking, no good work whatever can be perfect, and the demand for perfection is always a sign of a misunderstanding of the ends of art. This for two reasons, both based on everlasting laws. The first, that no great man ever stops working till he has reached his point of failure: that is to say, his mind is always far in advance of his powers of execution, and the latter will now and then give way in trying to follow it;... And therefore, if we are to have great men working at all, or less men doing their best, the work will be imperfect, however beautiful. Of human work none but what is bad can be perfect, in its own bad way. The second reason is, that imperfection is in some sort essential to all that we know of life. It is the sign of life in a mortal body, that is to say, of a state of progress and change. Nothing that lives is, or can be, rigidly perfect; part of it is decaying, part nascent. The foxglove blossom—a third part bud, a third part past, a third part in full bloom—is a type of the life of this world. And in all things that live there are certain irregularities and deficiencies which are not only signs of life, but sources of beauty. No human face is exactly the same in its lines on each side, no leaf perfect in its lobes, no branch in its symmetry. All admit irregularity as they imply change; and to banish imperfection is to destroy expression, to check exertion, to paralyze vitality. All things are literally better, lovelier, and more beloved for the imperfections which have been divinely appointed, that the law of human life may be Effort, and the law of human judgment, Mercy. Accept this then for a universal law, that neither architecture nor any other noble work of man can be good unless it be imperfect; and let us be prepared for the otherwise strange fact, which we shall discern clearly as we approach the period of the Renaissance, that the first cause of the fall of the arts of Europe was a relentless requirement of perfection, incapable alike either of being silenced by veneration for greatness, or softened into forgiveness of simplicity.

Hitherto I have used the words imperfect and perfect merely to distinguish between work grossly unskilful, and work executed with average precision and science; and I have been pleading that any degree of unskilfulness should be admitted, so only that the labourer’s mind had room for expression. But, accurately speaking, no good work whatever can be perfect, and the demand for perfection is always a sign of a misunderstanding of the ends of art. This for two reasons, both based on everlasting laws. The first, that no great man ever stops working till he has reached his point of failure: that is to say, his mind is always far in advance of his powers of execution, and the latter will now and then give way in trying to follow it;... And therefore, if we are to have great men working at all, or less men doing their best, the work will be imperfect, however beautiful. Of human work none but what is bad can be perfect, in its own bad way. The second reason is, that imperfection is in some sort essential to all that we know of life. It is the sign of life in a mortal body, that is to say, of a state of progress and change. Nothing that lives is, or can be, rigidly perfect; part of it is decaying, part nascent. The foxglove blossom—a third part bud, a third part past, a third part in full bloom—is a type of the life of this world. And in all things that live there are certain irregularities and deficiencies which are not only signs of life, but sources of beauty. No human face is exactly the same in its lines on each side, no leaf perfect in its lobes, no branch in its symmetry. All admit irregularity as they imply change; and to banish imperfection is to destroy expression, to check exertion, to paralyze vitality. All things are literally better, lovelier, and more beloved for the imperfections which have been divinely appointed, that the law of human life may be Effort, and the law of human judgment, Mercy. Accept this then for a universal law, that neither architecture nor any other noble work of man can be good unless it be imperfect; and let us be prepared for the otherwise strange fact, which we shall discern clearly as we approach the period of the Renaissance, that the first cause of the fall of the arts of Europe was a relentless requirement of perfection, incapable alike either of being silenced by veneration for greatness, or softened into forgiveness of simplicity.

All men are in some degree impressed by the face of the world; some men even to delight. This love of beauty is Taste. Others have the same love in such excess, that, not content with admiring, they seek to embody it in new forms. The creation of beauty is Art. The production of a work of art throws a light upon the mystery of humanity. A work of art is an abstract or epitome of the world. It is the result or expression of nature, in miniature. For, although the works of nature are innumerable and all different, the result or the expression of them all is similar and single. Nature is a sea of forms radically alike and even unique. A leaf, a sun-beam, a landscape, the ocean, make an analogous impression on the mind. What is common to them all,—that perfectness and harmony, is beauty. The standard of beauty is the entire circuit of natural forms,—the totality of nature; which the Italians expressed by defining beauty "il piu nell' uno." Nothing is quite beautiful alone: nothing but is beautiful in the whole. A single object is only so far beautiful as it suggests this universal grace. The poet, the painter, the sculptor, the musician, the architect, seek each to concentrate this radiance of the world on one point, and each in his several work to satisfy the love of beauty which stimulates him to produce. Thus is Art, a nature passed through the alembic of man. Thus in art, does nature work through the will of a man filled with the beauty of her first works.

But…but that’s tragic! To go through life without color? Unable to appreciate art, or beauty?” He laughed. “Now, sweet-hold your brush before you paint me a martyr’s halo. It’s not as though I’m blind. I have a great appreciation for art, as I believe we’ve discussed. And as for beauty…I don’t need to know whether your eyes are blue or green or lavender to know that they’re uncommonly lovely.” “No one has lavender eyes.” “Don’t they?” His gaze caught hers and refused to let go. Leaning forward, he continued, “Did that tutor of yours ever tell you this? That your eyes are ringed with a perfect circle a few shades darker than the rest of the…don’t they call it the iris?” Sophia nodded. “The iris.” He propped his elbow on the table and leaned forward, his gaze searching hers intently. “An apt term it is, too. There are these lighter rays that fan out from the center, like petals. And when your pupils widen-like that, right there-your eyes are like two flowers just coming into bloom. Fresh. Innocent.” She bowed her head, mixing a touch of lead white into the sea-green paint on her palette. He leaned closer still, his voice a hypnotic whisper. “But when you take delight in teasing me, looking up through those thick lashes, so saucy and self-satisfied…” She gave him a sharp look. He snapped his fingers. “There! Just like that. Oh, sweet-then those eyes are like two opera dancers smiling from behind big, feathered fans. Coy. Beckoning.” Sophia felt a hot blush spreading from her bosom to her throat. He smiled and reclined in his chair. “I don’t need to know the color of your hair to see that it’s smooth and shiny as silk. I don’t need to know whether it’s yellow or orange or red to spend an inordinate amount of time wondering how it would feel brushing against my bare skin.” Opening his book to the marked page, he continued, “And don’t get me started on your lips, sweet. If I endeavored to discover the precise shade of red or pink or violet they are, I might never muster the concentration for anything else.” He turned a leaf of his book, then fell silent. Sophia stared at her canvas. Her pulse pounded in her ears. A bead of sweat trickled down the back of her neck, channeling down between her shoulder blades, and a hot, itchy longing pooled at the cleft of her legs. Drat him. He’d known she was taunting him with her stories. And now he sat there in an attitude of near-boredom, making love to her with his teasing, colorless words in a blatant attempt to fluster her. It was as though they were playing a game of cards, and he’d just raised the stakes. Sophia smiled. She always won at cards. “Balderdash,” she said calmly. He looked up at her, eyebrow raised. “No one has violet lips.” “Don’t they?” She laid aside her palette and crossed her arms on the table. “The slope of your nose is quite distinctive.” His lips quirked in a lopsided grin. “Really.” “Yes.” She leaned forward, allowing her bosom to spill against her stacked arms. His gaze dipped, but quickly returned to hers. “The way you have that little bump at the ridge…It’s proving quite a challenge.” “Is that so?” He bent his head and studied his book. Sophie stared at him, waiting one…two…three beats before he raised his hand to rub the bridge of his nose. Quite satisfactory progress, that. Definite beginnings of fluster.

It is easy for the student to feel that with all his labour he is collecting only a few leaves, many of them now torn or decayed, from the countless foliage of the Tree of Tales, with which the Forest of Days is carpeted. It seems vain to add to the litter. Who can design a new leaf? The patterns from bud to unfolding, and the colours from spring to autumn were all discovered by men long ago. But that is not true. The seed of the tree can be replanted in almost any soil, even in one so smoke-ridden (as Lang said) as that of England. Spring is, of course, not really less beautiful because we have seen or heard of other like events: like events, never from world's beginning to world's end the same event. Each leaf, of oak and ash and thorn, is a unique embodiment of the pattern, and for some this very year may be the embodiment, the first ever seen and recognized, though oaks have put forth leaves for countless generations of men. We do not, or need not, despair of drawing because all lines must be either curved or straight, nor of painting because there are only three 'primary' colours. We may indeed be older now, in so far as we are heirs in enjoyment or in practice of many generations of ancestors in the arts. In this inheritance of wealth there may be a danger of boredom or of anxiety to be original, and that may lead to a distaste for fine drawing, delicate pattern, and 'pretty' colours, or else to mere manipulation and over-elaboration of old material, clever and heartless. But the true road of escape from such weariness is not to be found in the willfully awkward, clumsy, or misshapen, not in making all things dark or unremittingly violent; nor in the mixing of colours on through subtlety to drabness, and the fantastical complication of shapes to the point of silliness and on towards delirium. Before we reach such states we need recovery. We should look at green again, and be startled anew (but not blinded) by blue and yellow and red. We should meet the centaur and the dragon, and then perhaps suddenly behold, like the ancient shepherds, sheep, and dogs, and horses – and wolves. This recovery fairy-stories help us to make. In that sense only a taste for them may make us, or keep us, childish.

Introducing a great artist, Alexander Wainwright in THe Fate of Pryde. In his landscapes, Alex expresses the totality of everything in the universe. At the same time, within each leaf, each drop of water or human hair, he conveys a light or glow, which seems to come—how shall I put this—from another dimension. And each brushstroke contains every ounce of his own life and vitality. From The Fate of Pryde, the second in The Trilogy of Remembrance. Enter the giveaway to win one of ten personalized, autographed copies of this novel starting July 31st to August 31st. You can sample the first fifty pages of it at my page.

In his landscapes, Alex expresses the totality of everything in the universe. At the same time, within each leaf, each drop of water or human hair, he conveys a light or glow, which seems to come—how shall I put this—from another dimension. And each brushstroke contains every ounce of his own life and vitality. From The Fate of Pryde, the second in The Trilogy of Remembrance. Enter the giveaway to win one of ten personalized, autographed copies of this novel starting July 31st to August 31st. You can sample the first fifty pages of it on my page. Also, for the same time period, The Drawing Lesson, the first in the trilogy is offered as a giveaway.

I've been strongly influenced, in technique as well as subject matter, by some of the early 20th-century book illustrators — Arthur Rackham and Edmund Dulac in particular, Burne-Jones and other Pre-Raphaelites, and the Arts-&-Crafts movement they engendered. I'm continually inspired by Rembrandt, Breughel (I've wondered whether his brilliant "Tower of Babel" had inspired Tolkien's description of Minas Tyrith), Hieronymous Bosch, Albrecht Durer, and Turner; it's not necessarily that they influence my work in any particular direction, more that their example raises my spirits, re-affirms my belief in the power of images to move and delight us, and shows me how much further I have to go, how much is possible. Having visited Venice and Florence for the first time, I am besotted with the Italian Renaissance artists — Botticelli, Bellini, da Vinci and others. Their work is calm, controlled, and yet each face and landscape contains such passion. In Botticelli's paintings, every pebble and every leaf is rendered with a religious devotion; there is reverence inherent in paying such close attention to every stone, turning painting itself into a form of worship, an act of prayer.

Do books, after all, change anything? For all their proverbial liberalism, have they made the world more liberal? Or have they offered the fig leaf that allows us to go on as we were, liberal in our reading and conservative in our living. Perhaps art is more part of the problem than the solution; we may be going to hell, but look how well we write about it, look at our paintings and operas and tragedies.

Memories of lost love they do enpain, Fleeting images of what once was never again to gain. Hold tight those memories that slip through the mind, To walk in those fields again with her—a dream divined. Oh to be with that lost Valkyrie forevermore again, To hold her hand delicate until the last world’s end. To be at peace once amore in deep loving soul, Husband to wife in embracing hold. How he loved her so, but she was now gone, Leaf to the wind, heart tossed and tumbled torn. Memories like arrows stick deep—ohhh so deep, Shafts of pain and joy assail the soul’s lonely keep. --Angel-Heart, Ch. 22 Valley of the Damned

We treat plants like pieces of jewelry, fine dresses, and designer shoes…Instead of celebrating plants as part of the global community, highlighting what each can do for life beyond our own visual pleasure, we focus exclusively on a new leaf color or a new bloom….plants are far more than a visual commodity. Simply put plants are not art. What we do with them, how we honor their life processes as part of creating ecological function—that is art.

I noticed a lot of magic realism- Salman Rushdie and Gabriel García Márquez and Alice Hoffman. I tugged down Laura Esquivel's Like Water for Chocolate, a small book with an art deco cover, and a wave of warmth spread through me- it was one of my favorites, magic realism centered on food and sex. Leafing through the pages, I revisited the pleasure of the reading, feeling myself on a foggy winter day in San Francisco drinking hot chocolate.

Daniel Mas Masumoto: The blade slices into the soil. My muscles tense and push the shovel into the moist ground. Dark and damp, the sweet warm smell of wet earth…I can’t count the thousands of shovelfuls of earth I have moved in my life. But I like to think of the thousands that lie in my future, if I am fortunate. Spring irrigation brings life to the orchards and vineyards. Peaches ripen and the scent of bloom lingers in the air…I guide the water into my fields in an act of renewal, I think of Paul, a farmer and oil painter friend. He enjoys experimenting with green, capturing the subtle nuances of a fresh leaf or the thriving growth of mid-spring or the weak yellow green of a cover crop on bad soil… Paul knows his paintings work when the farmers gravitate toward a few, attracted by the colors, and begin talking about his greens. The true green of a field has depth, like the mysterious colors of a clear by deep lake. Each shade has meaning we interpret differently. Paul says farmers are his best art critics, we know more of greens than anyone else. I’ve lost raisin crops, peach harvests, whole trees and vines. I’ve lost money, my time, and my labor. I’ve lost my temper, my patience, and, at time, hope. Most of the time, it’s due to things beyond my control, like the weather, market prices, or insects or disease. Ironically, the moment I step off my farm I enter a world where it seems that everything, life and nature, is regulated and managed. Homes are built to insulate families from the outside weather. People work in climate controlled environments designed to minimize the impact of weather. In America, a lack of control means failure…I’ve abandoned my attempts to control and compete with nature, but letting go has been a challenge. I’m trying to listen to my farm. Before I had not reason to hear the sounds of nature. The sole strategy of conventional farming seems to be dominance. Now, with each passing week, I venture into fields full of life and change, clinging to a belief in my work and a hope that it’s working.

Mountains should be climbed with as little effort as possible and without desire. The reality of your own nature should determine the speed. If you become restless, speed up. If you become winded, slow down. You climb the mountain in an equilibrium between restlessness and exhaustion. Then, when you’re no longer thinking ahead, each footstep isn’t just a means to an end but a unique event in itself. This leaf has jagged edges. This rock looks loose. From this place the snow is less visible, even though closer. These are things you should notice anyway. To live only for some future goal is shallow. It’s the sides of the mountain which sustain life, not the top. Here’s where things grow. But

At first she felt overwhelmed by the house, its airy symmetry its silence. Now she was accustomed to the place, but she caught herself wondering, Is this still Berkeley? George's neighborhood felt as far from Telegraph as the hanging gardens of Babylon. You could get a good kebab in Jess's neighborhood, and a Cal T-shirt, and a reproduction NO HIPPIES ALLOWED sign. Where George lived, you could not get anything unless you drove down from the hills. Then you could buy art glass, and temple bells, and burled-wood jewelry boxes, and dresses of hand-painted silk, and you could eat at Chez Panisse, or sip coffee at the authentically grubby French Hotel where your barista took a bent paper clip and drew cats or four-leaf clovers or nudes in your espresso foam. You returned home with organic, free-range groceries, and bouquets of ivory roses and pale green hydrangeas, and you held dinner parties where some guests got lost and arrived late, and others gave up searching for you in the fog. That was George's Berkeley, and even in these environs, his home stood apart, hidden, grand, and rambling; windows set like jewels in their carved frames, gables twined with wisteria of periwinkle and ghostly white.

Mountains should be climbed with as little effort as possible and without desire. The reality of your own nature should determine the speed. If you become restless, speed up. If you become winded, slow down. You climb the mountain in an equilibrium between restlessness and exhaustion. Then, when you’re no longer thinking ahead, each footstep isn’t just a means to an end but a unique event in itself. This leaf has jagged edges. This rock looks loose. From this place the snow is less visible, even though closer. These are things you should notice anyway.

Those spreading trees, so artfully arranged in the California landscape, are nutrient pumps that lift minerals from the deep and scatter them in an annual leaf drop.

Now, no one likes to grill more than I do. But everyone in the business knows there's a huge difference between grill and sauté. Grill guys- and by no means would I want to imply that grilling isn't an art- but grill guys tend to be the cavemen of the kitchen. The guys who don't possess much in the way of artistic flair but can give you a perfectly pink tenderloin of venison after sprinkling it with salt and pepper, searing it, and poking it a couple of times. These are not the men for delicate seasonings and sauce making. They stick to the meat, mostly. And they can take a lot of heat. Sautéing is the highest station in the kitchen, below the sous chef and chef. And I, for one, goddammit, have piled enough skyscraper salads to be given consideration. I'm not working my way up the kitchen ladder for my goddamn health. I know all too well the sting of vinegar in an open cut. Oh yes, that salad you're eating as a light appetizer? My bare hands have massaged dressing into every leaf. Lettuce loves me. But I've got ambition and, I don't mind saying, a decent palate. I believe I'm capable of executing the finer sauce nuances. I want to start my own place. I want to be The Chef. And the only way to do this (aside from buying a place outright) is by becoming the greatest cook I can be. Which means kicking ass on the line, not just salads and desserts. These are my hopes. These are my dreams.

iced hibiscus tea This tea is one of life’s simple pleasures. At Little Pine, it is a constant—as in, the staff is constantly awash in the stuff. You will be, too, once you’ve tried it. TIME: 15 MINUTES SERVES: 6 4 cups boiling water ½ cup loose-leaf Art of Tea Hibiscus Cooler or other dried hibiscus flowers 2 cinnamon sticks 1 star anise pod 4 cups room-temperature water Pour the boiling water into an 8-cup pitcher. Put the hibiscus tea into a tea bag. Drop the tea bag, cinnamon sticks, and star anise into the boiling water. Let steep for 15 minutes, then take the bag out of the water, leaving the cinnamon sticks and star anise. Add the room-temperature water, let the tea cool down, then enjoy.

Leaves and Angels" True fact (as my freshmen used to write): In Florence, Italy, there’s a wing of a psychiatric hospital specializing in patients who suffer from over-exposure to great art. Patients are observed experiencing delusions, free-floating anxiety, paranoia, even depression. Why? If poetry makes nothing happen, as W.H. Auden famously wrote, shouldn’t the same be true of art? Stand in front of Michelangelo’s David; what do you see? An impossibly outsized right hand, all the more beautiful for being so; and a face reminding one of Lord Byron (or is that the Apollo Belvedere?): a warp and woof between real and ideal. As for crass indifference—shouldn’t that, too, be a ticket of admission to the Florence nuthouse? Last night, a dream-voice whispered a bittersweet nothing in my ear: If you say to someone breathlessly, “I saw an angel fall in the street today!” they look at you askance. If you say to someone breathlessly, “I saw a leaf fall in the street today!” they look at you askance.               shimmering ponds of dream—                             wearying                                   of my reflection Steven Carter, A Hundred Gourds 2:2

In fact, most of what we see is also a chunked pattern. We rarely look at the real world; we instead recognize something we have chunked and leave it at that. The world could easily be composed of cardboard stand-ins for real objects as far as our brains are concerned. One might argue that the essence of much of art is forcing us to see things as they are rather than as we assume them to be. Poems about trees force us to look at the majesty of bark and the subtlety of leaf, the strength of trunk and the amazing abstractness of the negative space between boughs; they are getting us to ignore the image in our head of “wood, big greenish, whatever” that we take for granted.

Charles Rennie Mackintosh, "Art is the Flower - Life is the Green Leaf. Let every artist strive to make his flower a beautiful living thing, something that will convince the world that there may be, there are, things more precious more beautiful - more lasting than life itself.

We’ve forgotten the art of deep and focused mind-management. We want things fast, quick, now. We often don’t want to put in the hard work that leads to true change, or we’ve never been taught what this kind of work looks like.

Wasn't this all I had ever wanted-- a life of freedom, and someone beside me to share it with? It was a warm day and I was with you, anointed in bergamot and geranium leaf and freshly fucked. Yet here I was with the killing jar again, savaging my present to pin it on the wall. I couldn't stop seeing the moment for what it could be, rather than simply what it was.

Trying to express the leaf, the carvers inadvertently had expressed themselves. But it was a superior kind of self-expression, coming not from narcissism or exhibitionism, but from a union with their subject. It was unconscious, unintended: an unimportant side effect....If you want to express yourself, stop expressing yourself. Better yet, stop wanting to express yourself....Forget yourself. It will improve your work. Let the things you make proceed by their own design.

Pindar turned his thoughts back to time. What exactly was a moment? Was it the shortest span of time that could be represented by art? Perhaps moments were like sheets of gold leaf, hammered ever so thin, each leaf the locus for new thoughts. Time would then be a matter of layering, so that each second had a stack of moments on top, a baklava of time. Was this why his new Babylonian fragment had the word layers, then a gap where a piece was chipped out, then time? Or was that word branches rather than layers? Perhaps time wasn't flat after all. In that case, no sheaves like baklava, but filaments like kataifi, those nests made of shredded pastry drenched with syrup or honey. He saw the pastry threads as silver, now, each strand branching into new trees of silvery time growing out from each second, all of them inhabited by breath. For breathing had become necessary to his conception of time, inspiration and expiration. He needed the gods to breathe into him, breathe through him like a flute.

large part of the problem is that we’ve lost much of our ability to think deeply. We’ve forgotten the art of deep and focused mind-management. We want things fast, quick, now. We often don’t want to put in the hard work that leads to true change, or we’ve never been taught what this kind of work looks like.

How could the love between Thee and me sever? As the leaf of the lotus abides on the water: so thou art my Lord, and I am Thy servant. As the night-bird Chakor gazes all night at the moon: so Thou art my Lord and I am Thy servant. From the beginning until the ending of time, there is love between Thee and me; and how shall such love be extinguished? Kabir says: “As the river enters into the ocean, so my heart touches Thee.

Il valore delle fiabe, quindi, secondo me, non lo si deve cercare pensando in particolare ai bambini. Le raccolte di fiabe sono, in realtà, per loro natura soffitte e ripostigli, che divengono stanze da gioco solo temporaneamente e localmente. I loro contenuti sono disordinati, e spesso alterati, una guazzabuglio di dati, intenzioni, e gusti diversi; ma tra di essi per caso di può trovare qualcosa di valore durevole: un’antica opera d’arte, non troppo rovinata, che solo la stupidità può aver ficcato in un angolo.

Plastic Painting He smiled as he looked at the studio in the outer hall, each of these paintings she painted here, enjoying very much observing them immersed in the colors. Her spiritual intelligence is high, as every other plastic artist, he holds the paint brush, and does things, lines and colors, he does not know what he is doing, or what he wants, he only paints, his hand and mind are just a tool, and something else inside him moves it. At the end, their paintings are sold at the most expensive price. She once told him, the reason for the distinction of fine art is that the painter paints with his soul, not with his hands. And every time she grabbed her brush and started doing things on the canvas, he felt her telling the story of his life, he just always did things, he did not know why and what would result be, but he just wanted to do them. His motto when things come down is, go with the wind, let it take you where it wants to go. He stood before a mediocre painting, a bridge suspended in the sky, punctuated by chaotic colors, a bit of haphazard smoke, and what seemed to be flying leaves. When she painted this painting, she stood in front of it for a whole day, she almost went crazy, the painting was complete but something was missing in it. In the end, it was this deficiency that relieved her of finding it, a red dot in the lower-left corner of the painting! It fell right under what appeared to be a leaf. That is crazy, it was actually completed by it!

Riverstone: Viscount of tine stony grave Alive and well attended to; Deliverance beyond this day: I bid thee well along and thru. Despite the case at hand to see Before my eyes against me say: To rid me of my misery, A desperate call to riverine stay. The cult which led me to that place- A devil hooked on just romance-; My sister bled with solemn grace: A flower sti I I and yet to dance. Whatever for we shan't oblige For mystic chanting let alone The daemons and their just demise The daylight break to Riverstone. And well adhered to firm belief The dudgeon of a higher man Amidst my song of pear and leaf To take thee to a brighter land. A season of the greater arts A life of wealth, and will to bring The pristine health of desperate hearts- The kindness of a Druid king- And let alone the blessed face My own two eyes remember this Alone, beyond the steady race, To dance about the cold abyss. A presence well enchanted in The ways of light yet to demand My sister in the hands of sin A daughter of the ocean-brand. To sea she runs with ample stride The wave alone to render sti I I To peer along her way with pride My darling heart she kindly fills. And like the darling buds of May She dances from around and to Deliverance beyond this day: I bid thee well along and thru

An abundance of gold leaf and rich colours enhance the jewel-like appearance of the altarpiece.

A fox crept up to a vine. He gazed longingly at the fat, purple, overripe grapes. He placed his front paws against the trunk of the vine, stretched his neck and tried to get at the fruit, but it was too high. Irritated, he tried his luck again. He launched himself upward, but his jaw snapped only at fresh air. A third time he leapt with all his might – so powerfully that he landed back down on the ground with a thud. Still not a single leaf had stirred. The fox turned up his nose: ‘These aren’t even ripe yet. Why would I want sour grapes?’ Holding his head high, he strode back into the forest. The Greek poet, Aesop, created this fable to illustrate one of the most common errors in reasoning. An inconsistency arose when the fox set out to do something and failed to accomplish it. He can resolve this conflict in one of three ways: A) by somehow getting at the grapes, B) by admitting that his skills are insufficient, or C) by retrospectively reinterpreting what happened. The last option is an example of cognitive dissonance, or rather, its resolution.

I keep you written in the fabric of my stories and the ones that are yet to be written but that live under my skin waiting to be told... This life is passing and I want to marry it with you before our time is up. You are the promise of my faith so how could I ever forget you from the yearning in my soul that screams out its gladness knowing that you exist? There are no words to describe how grateful I am for how love has wrapped my mind in a blanket of dreamy memories that I take with my heart everywhere I go. I hope the birds will carry my love—that I express in words, art and creativity—like silhouettes against the Moon so when you feel alone or feel far from my arms, their fluttering wings will help you remember how very loved you are by me.

wondering why Nicholas Hilliard wasn’t more famous. That he painted most of his portraits the size of turkey eggs seemed to have disqualified him from the greatness we bestow on less gifted artists. This would have shocked Hilliard because during his prime, paintings “in little” were held to be among the most elevated of art forms. At the height of his powers, when he was the court painter to Elizabeth I—who famously told him to leave out the shadows—only nobles were deemed worthy of the liquefied silver leaf he anointed on the backs of playing cards with stoat-toothed tools and squirrel-hair brushes. He painted by turning a blind eye to blemish and transforming his sitters into ruffled gods and goddesses, all of which made Hilliard quite sought after at court.

Zen is to eat, breathe, cook, carry water, and scrub the toilet, to infuse every act of body, speech, and mind with mindfulness, to illuminate every leaf and pebble, every heap of garbage, every path that leads to our mind’s return home. Only a person who has grasped the art of cooking, washing dishes, sweeping, and chopping wood, someone who is able to laugh at the world’s weapons of money, fame, and power, can hope to descend the mountain as a hero.

There is one mind common to all individual men.” This is Platonism; Emerson means we all have reason in common. Communication is possible because all human minds are, in important respects, similarly constituted. The second of Emerson’s Goose Pond principles is the Stoic ground law: “There is a relation between man and nature so that whatever is in matter is in mind.” This is the basis for language and for what the writer does. The third point is that expression is as basic a human drive as sex: “It is a necessity of the human nature that it should express itself outwardly and embody its thought.” “As all creatures are allured to reproduce themselves, so must the thought be imparted in speech.” He adds, as a corollary, “Action is as great a pleasure and cannot be foreborne.” Point four says, “It is the constant endeavor of the mind to idealize the actual, to accommodate the shows of things to the desires of the mind.” He gives architecture and art as examples.6 Point five is the theory of classification: “It is the constant tendency of the mind to unify all it beholds, or to reduce the remotest facts to a single law.” Point six extends point five and is a specific application of point two: “There is a parallel tendency/corresponding unity in nature which makes this [unification] just, as in the composition of a compound shell or leaf or animal from few elements.” Point seven describes, in Baconian fashion, an idol of the mind, the tendency to “separate particulars” and magnify them, from which come “all false views and particular sects.” Emerson’s last point is the intellectual parallax or corrective postulate for the previous point: “The remedy for all abuses, all error in thought or practice, is the conviction that underneath all appearances and causing all appearances are certain eternal laws which we call the Nature of Things.