Monochrome Quotes

She was an exotic flower amongst the snowdrifts, out of place, a Technicolor misfit in a monochrome Christmas movie.

You never forget about things you've done that you know you shouldn't have done. They hang around your mind, linger like a thief casing a joint for a future job. You see them there, dramatically lurking nearby in striped monochrome, leaping behind postboxes as soon as your head whips around to confront them. Or it's a familiar face in a crowd that you glimpse but then lose sight of. An annoying Where's Wally? forever locked away and hidden in every thought in your conscience. The bad thing that you did, always there to let you know.

Winter came and the city [Chicago] turned monochrome -- black trees against gray sky above white earth. Night now fell in midafternoon, especially when the snowstorms rolled in, boundless prairie storms that set the sky close to the ground, the city lights reflected against the clouds

Mist swirled and spun, like monochrome paints running together on a canvas. Light died in the west, and night came of age.

Often the case with people who don't read fiction. Hollow inside, monochrome, so they can switch gears no problem. They swallow something and forget about it as soon as it goes down their throat. Constitutionally incapable of empathy. These are people who most need to read, but in most cases it's already too late.

And again there are no words. Words exist that can, used by a poet, achieve a dim monochrome of the body's love, but beyond that they fail clumsily. My love flowed out to her, hers back to me. Mine stroked and soothed. Hers caressed. The distance - and the difference - between us dwindled and vanished. We could meet, mingle, and blend. Neither one of us existed any more; for a time there was a single being that was both. There was escape from the solitary cell; a brief symbiosis, sharing all the word ...

Monochrome contentment or technicolor roller-coaster? No contest, is it?

He was a single captured moment, a stillness amidst the chaos and noise, a dark ghost in the world of the living. Monochrome in his paleness and dark clothing, standing poised as if the crow would take flight—or the spirit would fade away, as dead as the boy lying blank and empty on the pavement.

Expect the unexpected like a chain smoking, hard drinking, monochrome world dwelling Noir Detective

When I dream of her, it’s in vibrant color, unlike the gradients of gray of my monochrome days. But everything is hazy when I wake. The details merge. The colors fade.

Happy endings? The only ending life allows us is death, and that’s rarely happy. So, until my happy death, I have to fill my life: fill it with monochrome feels and leading ladies.

A profile was visible against the dull monochrome of cloud around her; and it was as though side shadows from the features of Sappho and Mrs. Siddons had converged upwards from the tomb to form an image like neither but suggesting both.

I don't believe in God or miracles, I believe in the human heart and our own strength to overcome and survive. ~Shannon~

A monochrome Jackson Pollock," Jane says, and then tells Tiny, "We gotta bolt. This band is like a root canal sans painkiller".

Every night, just before you fall asleep, other voices start talking amongst themselves in the monochrome waters at the deep end of your brain…

The Eye-Mote Blameless as daylight I stood looking At a field of horses, necks bent, manes blown, Tails streaming against the green Backdrop of sycamores. Sun was striking White chapel pinnacles over the roofs, Holding the horses, the clouds, the leaves Steadily rooted though they were all flowing Away to the left like reeds in a sea When the splinter flew in and stuck my eye, Needling it dark. Then I was seeing A melding of shapes in a hot rain: Horses warped on the altering green, Outlandish as double-humped camels or unicorns, Grazing at the margins of a bad monochrome, Beasts of oasis, a better time. Abrading my lid, the small grain burns: Red cinder around which I myself, Horses, planets and spires revolve. Neither tears nor the easing flush Of eyebaths can unseat the speck: It sticks, and it has stuck a week. I wear the present itch for flesh, Blind to what will be and what was. I dream that I am Oedipus. What I want back is what I was Before the bed, before the knife, Before the brooch-pin and the salve Fixed me in this parenthesis; Horses fluent in the wind, A place, a time gone out of mind. --written 1959

You should understand that I did not want you to read a painting. I/ wanted you to bathe in it before words domesticated the experience,/ and you turned to such stand-bys as "illumination" and "transcendent"/ to describe what happened to you. Painting should not be sentenced to/ sentences.

The claustrophobia of the forest. The first few trees visible before her, monochrome contrasts of black shadow and white moonlight, and beyond that an entire continent, wilderness uninterrupted from ocean to ocean with so few people left between the shores.

We are all just illusions of what we want the world to believe about us,

There's sex and death and human grime in monochrome for one thin dime, and at least all the trains run on time but they don't go anywhere.

Coming to New York from the muted mistiness of London, as I regularly do, is like travelling from a monochrome antique shop to a technicolor bazaar.

Gray February skies, misty white sands, black rocks, and the sea seemed black too, like a monochrome photograph, with only the girl in the yellow raincoat adding any color to the world.

Sometimes he missed the monochrome world of his first two incarnations. It had felt like a simpler, cleaner time; so many centuries had passed before he realised he’d just been colour blind.

They say Los Angeles is like The Wizard of Oz. One minute it’s small-town monochrome neighborhoods and then boom—all of a sudden you’re in a sprawling Technicolor freak show, dense with midgets.

But should a sensation from the distant past-like those musical instruments that record and preserve the sound and style of the various artists who played them-enable our memory to make us hear that name with the particular tone it then had for our ears, even if the name seems not to have changed, we can still feel the distance between the various dreams which its unchanging syllables evoked for us in turn. For a second, rehearing the warbling from some distant springtime, we can extract from it, as from the little tubes of color used in painting, the precise tint-forgotten, mysterious, and fresh-of the days we thought we remembered when, like bad painters, we were in fact spreading our whole past on a single canvas and painting it with the conventional monochrome of voluntary memory.

I am too selfish to be a mother, I can barely tolerate being his lover at this point. I am selfish and I make no apology for that. ~Shannon~

I f*cking hate love. I loathe the hope it allowed to fester in me. The glimmer of life where my future was not just my own. I hate loving her. ~Callum~

Being loved is the most God awful thing I have ever had to live through and I have lived through hell.

Double Indemnity, Gaslight, Saboteur, The Big Clock . . . We lived in monochrome those nights. For me, it was a chance to revisit old friends; for Ed, it was an opportunity to make new ones. And we’d make lists. The Thin Man franchise, ranked from best (the original) to worst (Song of the Thin Man). Top movies from the bumper crop of 1944. Joseph Cotten’s finest moments. I can do lists on my own, of course. For instance: best Hitchcock films not made by Hitchcock. Here we go: Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment.

What!? I dont need you to introduce me to her! I really don't care! Just leave me alone and let me play this game!' said Akira 'Please! If you don't, she'll kill me!' said Kengo 'Fine... go ahead and die.' 'You're so awful!

You were the colors to my monochrome life. My morning light and my midnight dream. Flawed, yet whole. You used to think that you weren’t enough – but you were enough for me. You were my first everything. My fire. My tornado. You were the eye of my storm. The moment I saw you, I knew you were going to destroy my life. But I let it happen. There was just something magical and outlandish about playing with fire that I couldn’t resist. I wanted to be as close as I could to the idea of destroying myself. It didn’t happen out of the blue. Day by day – moment by moment, I started to lose myself. With every kiss, you took away a part of me. Until one day, I woke up and I wasn’t myself anymore. I never thought that a disaster could be so damn beautiful. I don’t regret it. But I regret waking up next to an empty bed and how unceremoniously you left when the damage was done. I saw your picture today, holding someone else’s hand. And it made me realize that some disasters don’t make a sound. Not every destruction stands still. Some of them might walk right past you.

You didn't tell me that!' said Akira But you didn't even give me a chance to tell you! You wouldn't even trust me at first!' said Shirogane Th-thats because you looked so weird!!

It felt important to acknowledge our small successes, to stop and observe the tiny pockets of sunshine that broke up the boredom of our monochrome days and made us smile.

It was as if food had been in monochrome and had suddenly appeared for the first time in colour.

The destruction of sight, wherever the injuries be sustained, follows the same law: all colors are affected in the first place,and lose their saturation. Then the spectrum is simplified, being reduced to four and soon to two colors; finally a grey monochrome stage is reached, although the pathological color is never identifiable with any normal one. Thus in central as in peripheral lesions ‘the loss of nervous substance results not only in a deficiency of certain qualities, but in the change to a less differentiated and more primitive structure’.

My art was never so tarnished that I couldn't bear to create it. It makes me wonder what would strip art from Sloane so thoroughly that she can no longer paint or sculpt, reduced to monochrome.

Rodchenko says his one-color, all-over canvases are non-representational and no more than a piece of painted material, while Mark Rothko says that his monochrome canvas is much more; it has some mystical, emotional and spiritual depth.

THEY SAY LOS Angeles is like The Wizard of Oz. One minute it’s small-town monochrome neighborhoods and then boom—all of a sudden you’re in a sprawling Technicolor freak show, dense with midgets. Unfortunately, this story does not take place in Los Angeles.

The destruction of sight, wherever the injuries be sustained, follows the same law: all colours are affected in the first place, and lose their saturation. Then the spectrum is simplified, being reduced to four and soon to two colours; finally a grey monochrome stage is reached, although the pathological colour is never identifiable with any normal one. Thus in central as in peripheral lesions ‘the loss of nervous substance results not only in a deficiency of certain qualities, but in the change to a less differentiated and more primitive structure’.

Probably nothing going on inside, thinks Tangerine. Often the case with people who don’t read fiction. Hollow inside, monochrome, so they can switch gears no problem. They swallow something and forget about it as soon as it goes down their throat. Constitutionally incapable of empathy. These are the people who most need to read, but in most cases it’s already too late.

Neela had dressed for beauty, not for warmth, and the afternoon had lost its glow. Solanka took off his coat and put it over her trembling shoulders. All around them in the park the colours were fading. The world became a place of blacks and greys. Women’s clothes – unusually for New York, it had been a season of bright colours – faded to monochrome. Under a gunmetal sky, the green leached out of the spreading trees.

ALL WARS—BUT this war in particular—tend to be seen in monochrome: good and evil, winner and loser, champion and coward, loyalist and traitor. For most people, the reality of war is not like that, but rather a monotonous gray of discomforts and compromises, with occasional flashes of violent color. War is too messy to produce easy heroes and villains; there are always brave people on the wrong side, and evil men among the victors, and a mass of perfectly ordinary people struggling to survive and understand in between. Away

The cleric appears tonight in monochrome and collar. Bless me Do you take this woman Sarah To be my How long For I have since your last confession to a body with the power to absolve. Confession need As I those who have swimmed against me not entail absolution, lay bare, confession in the absence of awareness of sin, Bless me father for there can be no awareness of sin without awareness of transgression without awareness of limit Full of Grace no such animal. Pray together for a revelation of limit Red clouds in Warhol's coffee arrange in yourself an awareness of.

A girl sat neatly on a flat rock. Somehow he’d not seen her. She looked like she’d stepped through the screen of a 1950s movie. Her skin and blond hair were such pale shades they looked monochrome. Her long coat was tied at the waist by a fabric belt. She was probably a few years younger than him, in her early twenties, wearing a white hat with matching gloves. “Sorry,” she said, “If I surprised you.” Her irises were titanium gray, her most striking feature. Her lips were an afterthought and her cheekbones flat. But her eyes...He realized he was staring into them and quickly looked away.

A place with a pond, in the fifth month when the rains are falling, is a very moving thing. It's deeply affecting to sit for hours on end staring out at the garden, a sea of monochrome soft green with the pond's water as deep green as the sweet flag and reeds that crowd it, and the heavy rain clouds hanging above. Indeed all places with ponds are at all times moving and delightful, and of course this is too on winter mornings when the water is frozen over. Rather than a carefully tended pond, I find delightful the sort that have been left neglected to the rampant water weed, where patches of reflected moonlight gleam whitely on the water here and there between the swathes of green. All moonlight is moving, wherever it may be.

A sundry of intimate encounters with the vibrant intellect of perceptive thinkers dissolves a recluse’s shroud of seclusion. Can I manufacture the needed first aid kit to arrest my internal hemorrhaging? Can I stave off my mental deterioration by exploring the written words of renowned authors? Can I map a course out of my present quandary by scouring the libraries brimming with the beautiful mind works of previous generations of eminent writers? Will diligent encounters with the incisive thoughts of outstanding essayist shred the indivisible bars shielding my indeterminate self and release me from of the monochrome cage of self-imposed isolation? Can respected writers’ perceptive soul-searching create a template for my inchoative thoughts spontaneously to mature?

He had panicked. Tessier cursed his own stupidity. He should have remained in the column where he would have been protected. Instead, he saw an enemy coming for him like a revenant rising from a dark tomb, and had run first instead of thinking. Except this was no longer a French stronghold. The forts had all been captured and surrendered and the glorious revolutionary soldiers had been defeated. If the supply ships had made it through the blockade, Vaubois might still have been able to defend the city, but with no food, limited ammunition and disease rampant, defeat was inevitable. Tessier remembered the gut-wrenching escape from Fort Dominance where villagers spat at him and threw rocks. One man had brought out a pistol and the ball had slapped the air as it passed his face. Another man had chased him with an ancient boar spear and Tessier, exhausted from the fight, had jumped into the water. He had nearly drowned in that cold grey sea, only just managing to cling to a rock whilst the enemy searched the shoreline. The British warship was anchored outside the village, and although Tessier could see men on-board, no one had spotted him. Hours passed by. Then, when he considered it was clear, he swam ashore to hide in the malodorous marshland outside Mġarr. His body shivered violently and his skin was blue and wrinkled like withered fruit, but in the night-dark light he lived. He had crept to a fishing boat, donned a salt-stained boat cloak and rowed out to Malta's monochrome coastline. He had somehow managed to escape capture by abandoning the boat to swim into the harbour. From there it had been easy to climb the city walls and to safety. He had written his account of the marines ambush, the fort’s surrender and his opinion of Chasse, to Vaubois. Tessier wanted Gamble cashiered and Vaubois promised to take his complaint to the senior British officer when he was in a position to. Weeks went past. Months. A burning hunger for revenge changed to a desire for provisions. And until today, Tessier reflected that he would never see Gamble again. Sunlight twinkled on the water, dazzling like a million diamonds scattered across its surface. Tessier loaded his pistol in the shadows where the air was still and cool. He had two of them, a knife and a sword, and, although starving and crippled with stomach cramps, he would fight as he had always done so: with everything he had.

horizontal division between clearness and opacity, but were imbedded in an elastic body of a monotonous pallor throughout. There was no perceptible motion in the air, not a visible drop of water fell upon a leaf of the beeches, birches, and firs composing the wood on either side. The trees stood in an attitude of intentness, as if they waited longingly for a wind to come and rock them. A startling quiet overhung all surrounding things—so completely, that the crunching of the waggon-wheels was as a great noise, and small rustles, which had never obtained a hearing except by night, were distinctly individualized. Joseph Poorgrass looked round upon his sad burden as it loomed faintly through the flowering laurustinus, then at the unfathomable gloom amid the high trees on each hand, indistinct, shadowless, and spectre-like in their monochrome of grey. He felt anything but cheerful, and wished he had the company even of a child or dog. Stopping the horse, he listened. Not a footstep or wheel was audible anywhere around, and the dead silence was broken only by a heavy particle falling from a tree through the evergreens and alighting with a smart rap upon the coffin of poor Fanny. The fog had by this time saturated the trees, and this was the first dropping of water from the overbrimming leaves. The hollow echo of its fall reminded the waggoner painfully of the grim Leveller. Then hard by came down another drop, then two or three. Presently there was a continual tapping of these heavy drops upon the dead leaves, the road, and the travellers. The nearer boughs were beaded with the mist to the greyness of aged men, and the rusty-red leaves of the beeches were

Shirogane: "This is a brand-new show called 'Naze? Naze? Neeze!' " I'm Shirogane, the teacher of course.♥" " We're covering Arithmethic!" "Here we have Akira-kun and Kengo-kun, who will tackle the questions with us!" Kengo: "Hello there!" ^_^ Akira: "I'm a high school student, by the way!" "Why do I have to do arithmethic?!" Shirogane: "And here's my assistant, kokuchi!" Kokuchi: "HISS!" Akira: "HEY! I don't get why a kokuchi is here...Besides, does it even remotely understand our language." Shirogane:"Here's the first question" "Akira-kun, what's three times four?" Akira: "Twelve..." Shirogane: "CORRECT!!!" "Wonderful Akira-kun! Fantastic Job!" "You're so smart. Can I call you genius from now on?" Akira: "Only if you want a pencil shoved in your eye!" "Stop making fun of me right now!" Shirogane: "Let's move on to the next question.♥ (Shirogane spinning) Akira: "Why are you so hyper today?" "You're acting like a different person!" Shirogane: "Kengo-kun what is 23 minus 15?" Kengo: "Twe--" Shirogane: "WRONG." " If you can't solve a simple problem like this, you don't even deserve to be considered human. You'd be better off dead. SO JUST DIE." Kengo: "I made a small mistake! No need to walk all over me like that!!" Shirogane: "Let me explain this problem so that stupid Kengo-kun can understand." Kengo: "I...I am not stupid!" Shirogane: "First, you have 23 kokuchi..." "...You take 15 from the 23..." "...AND KILL THEM" (Shirogane killing the Kokuchi) Kengo: "OMG, Akira! Can you stop him?!" Akira: "Well...Why should I? I don't really care...I'm tired." Kengo: "AKIRA!!" (Shirogane covered in Kokuchi blood) Shirogane: Now then! How many kokuchi do we have left now, Kengo-kun." (Kokuchi shivers) Kengo: "SO GROSS! EI--EIGHT! THE ANSWER IS EIGHT!" Shirogane: "Yes you are correct! Well, the dumb boy finally understood the problem, and it's time for us to say goodbye!" "Take care and see you next week!" (Akira sleeping) Kengo: Not likely..." Shirogane: "GOODBYE!

Poland is a beautiful, heart-wrenching, soul-split country which in many ways (I came to see through Sophie’s eyes and memory that summer, and through my own eyes in later years) resembles or conjures up images of the American South—or at least the South of other, not-so-distant times. It is not alone that forlornly lovely, nostalgic landscape which creates the frequent likeness—the quagmiry but haunting monochrome of the Narew River swampland, for example, with its look and feel of a murky savanna on the Carolina coast, or the Sunday hush on a muddy back street in a village of Galicia, where by only the smallest eyewink of the imagination one might see whisked to a lonesome crossroads hamlet in Arkansas these ramshackle, weather-bleached little houses, crookedly carpentered, set upon shrubless plots of clay where scrawny chickens fuss and peck—but in the spirit of the nation, her indwellingly ravaged and melancholy heart, tormented into its shape like that of the Old South out of adversity, penury and defeat.

As I noted in the previous chapter, we interpret active eyes as a sign of an active mind. But mantis shrimps actually have small, weak brains. The hypermobile nature of their eyes is not a sign of a probing intelligence. But it is the key to understanding how and what they see. Our retinas have cone-rich foveae, where our vision is sharpest and most colorful. We train this zone onto different parts of the world by flicking our eyes from place to place. And when we spot something interesting in our peripheral vision, we redirect our gaze at it to analyze it in detailed color. Mantis shrimps do something similar. The midband sees color, but its view is confined to a thin strip of space. The hemispheres probably only see in black-and-white, but their view is panoramic. As the mantis shrimp moves its eyes around, it looks for movements and objects of interest with the hemispheres. When it spots something, it flicks its eyes across and scans the midbands over the area, as if waving two supermarket scanners along a shelf. Does the mantis shrimp start with a monochrome view, which it gradually paints with colors? “I don’t think so,” Marshall tells me. He suspects that “they never construct a solid two-dimensional representation of color” in their brains. Instead, as they scan with their midbands, they simply wait for anything that excites the right combination of photoreceptors.

What did E.S. like about dreams? Their similarity to life and their dissimilarity; their salutary effect on body and soul; their unrestricted choice and arrangement of themes and contents; their bottomless depths and eerie heights; their eroticism; their freedom; their openness to guidance by will and suggestion (a perfumed handkerchief under one's pillow, soft music on the radio or gramophone, etc.); their resemblance to death and their power to confer intimations of eternity; their resemblance to madness without the consequences of madness; their cruelty and their gentleness; their power to pry the deepest secrets out of us; their blissful silence, to which cries are not unknown; their telepathic and spiritist faculty of communication with those dead or far away; their coded language, which we manage to understand and translate; their ability to condense the mythical figures of Icarus, Ahasuerus, Jonah, Noah, etc., into images; their monochrome and polychrome quality; their resemblance to the womb and to the jaws of a shark; their faculty of transforming unknown places, people, and landscapes into known ones, and vice versa; their power to diagnose certain ailments and traumas before it is too late; the difficulty of determining how long they last; the fact that they can be mistaken for reality; their power to preserve images and distant memories; their disrespect for chronology and the classical unities of time and action.

Television* means ‘to see from a distance’. The desire in man to do so has been there for ages. In the early years of the twentieth century many scientists experimented with the idea of using selenium photosensitive cells for converting light from pictures into electrical signals and transmitting them through wires. The first demonstration of actual television was given by J.L. Baird in UK and C.F. Jenkins in USA around 1927 by using the technique of mechanical scanning employing rotating discs.However, the real breakthrough occurred with the invention of the cathode ray tube and the success of V.K. Zworykin of the USA in perfecting the first camera tube (the iconoscope) based on the storage principle. By 1930 electromagnetic scanning of both camera and picture tubes and other ancillary circuits such as for beam deflection, video amplification, etc. were developed. Though television broadcast started in 1935, world political developments and the second world war slowed down the progress of television. With the end of the war, television rapidly grew into a popular medium for dispersion of news and mass entertainment. Television Systems At the outset, in the absence of any international standards, three monochrome (i.e. black and white) systems grew independently. These are the 525 line American, the 625 line European and the 819 line French systems. This naturally prevents direct exchange of programme between countries using different television standards.Later, efforts by the all world committee on radio and television (CCIR) for changing to a common 625 line system by all concerned proved ineffective and thus all the three systems have apparently come to stay. The inability to change over to a common system is mainly due to the high cost of replacing both the transmitting equipment and the millions of receivers already in use. However the UK, where initially a 415 line monochrome system was in use, has changed to the 625 line system with some modification in the channel bandwidth. In India, where television transmission started in 1959, the 625-B monochrome system has been adopted.

It may be cheap, but it should also be sturdy. What must be avoided at all costs is dishonest, distorted and ornate work. What must be sought is the natural, direct, simple, sturdy and safe. Confining beauty to visual appreciation and excluding the beauty of practical objects has proven to be a grave error on the part of modern man. A true appreciation of beauty cannot be fostered by ignoring practical handicrafts. After all, there is no greater opportunity for appreciating beauty than through its use in our daily lives, no greater opportunity for coming into direct contact with the beautiful. It was the tea masters who first recognized this fact. Their profound aesthetic insight came as a result of their experience with utilitarian objects. If life and beauty are treated as belonging to different realms, our aesthetic sensibilities will gradually wither and decline. It is said that someone living in proximity to a flowering garden grows insensitive to its fragrance. Likewise, when one becomes too familiar with a sight, one loses the ability to truly see it. Habit robs us of the power to perceive anew, much less the power to be moved. Thus it has taken us all these years, all these ages, to detect the beauty in common objects. The world of utility and the world of beauty are not separate realms. Users and the used have exchanged a vow: the more an object is used the more beautiful it will become and the more the user uses an object, the more the object will be used. When machines are in control, the beauty they produce is cold and shallow. It is the human hand that creates subtlety and warmth. Weakness cannot withstand the rigors of daily use. The true meaning of the tea ceremony is being forgotten. The beauty of the way of tea should be the beauty of the ordinary, the beauty of honest poverty. Equating the expensive with the beautiful cannot be a point of pride. Under the snow's reflected light creeping into the houses, beneath the dim lamplight, various types of manual work are taken up. This is how time is forgotten; this is how work absorbs the hours and days. yet there is work to do, work to be done with the hands. Once this work begins, the clock no longer measures the passage of time. The history of kogin is the history of utility being transformed into beauty. Through their own efforts, these people made their daily lives more beautiful. This is the true calling, the mission, of handicrafts. We are drawn by that beauty and we have much to learn from it. As rich as it is, America is perhaps unrivalled for its vulgar lack of propriety and decorum, which may account for its having the world's highest crime rate. The art of empty space seen in the Nanga school of monochrome painting and the abstract, free-flowing art of calligraphy have already begun to exert considerable influence on the West. Asian art represents a latent treasure trove of immense and wide-reaching value for the future and that is precisely because it presents a sharp contrast to Western art. No other country has pursued the art of imperfection as eagerly as Japan. Just as Western art and architecture owe much to the sponsorship of the House of Medici during the Reformation, tea and Noh owe much to the protection of the shogun Ashikaga Yoshimasa ( 1436-1490 ). The most brilliant era of Japanese culture, the Higashiyama period ( 1443-1490 ). Literally, sabi commonly means "loneliness" but as a Buddhist term it originally referred to the cessation of attachment. The beauty of tea is the beauty of sabi. It might also be called the beauty of poverty or in our day it might be simply be called the beauty of simplicity. The tea masters familiar with this beauty were called sukisha-ki meaning "lacking". The sukisha were masters of enjoying what was lacking.

Chapter 1 A lot of people lounge by pools in L.A., but few of them are truly immortal, no matter how hard they pretend with plastic surgery and exercise. Doyle was truly immortal and had been for over a thousand years. A thousand years of wars, assassinations, and political intrigue, and he’d been reduced to being eye candy in a thong bathing suit by the pool of the rich and famous. He lay at the edge of the pool, wearing almost nothing. Sunlight glittered across the blue, blue water of the pool. The light broke in a jagged dance across his body, as if some invisible hand stirred the light, turning it into a dozen tiny spotlights that coaxed Doyle’s dark body into colors I’d never known his skin could hold. He wasn’t black the way a human being is black, but more the way a dog is black. Watching the play of light on his skin, I realized I’d been wrong. His skin gleamed with blue highlights, a shine of midnight blue along the long muscular sweep of his calf, a flare of royal blue like a stroke of deep sky touched his back and shoulder. Purple to shame the darkest amethyst caressed his hip. How could I ever have thought his skin monochrome? He was a miracle of colors and light, strapped across a body that rippled and moved with muscles honed in wars fought centuries before I was born.

Smellin' the beefaloes and leanpigs turnin' on their spits, holding a cold cheer-beer in my hand, watchin' the stars poppin' out one by one like random pixels on God's antique monochrome display, listenin' to the joyful chatter of my fellow gips, contemplatin' the easy job ahead of me, I was as near to heaven asI have ever been on this mostly sad ol' earth.

Someday Tatiana must tell Alexander how glad she is that her sister Dasha did not die without once feeling what it was like to love. Alexander. Here he is, before he was Tatiana’s, at the age of twenty, getting his medal of valor for bringing back Yuri Stepanov during the 1940 Winter War. Alexander is in his dress Soviet uniform, snug against his body, his stance at-ease and his hand up to his temple in teasing salute. There is a gleaming smile on his face, his eyes are carefree, his whole man-self full of breathtaking, aching youth. And yet, the war was on, and his men had already died and frozen and starved... and his mother and father were gone... and he was far away from home, and getting farther and farther, and every day was his last—one way or another, every day was his last. And yet, he smiles, he shines, he is happy. Anthony is gone so long that his daughters say something must have happened to him. But then he appears. Like his father, he has learned well the poker face and outwardly remains imperturbable. Just as a man should be, thinks Tatiana. A man doesn’t get to be on the President’s National Security Council without steeling himself to some of life’s little adversities. A man doesn’t go through what Anthony went through without steeling himself to some of life’s little adversities. In this hand Anthony carries two faded photographs, flattened by the pages of the book, grayed by the passing years. The kitchen falls quiet, even Rachel and Rebecca are breathless in anticipation. “Let’s see...” they murmur, gingerly picking up the fragile, sepia pictures with their long fingers. Tatiana is far away from them. “Do you want to see them with us, Grammy? Grandpa?” “We know them well,” Tatiana says, her voice catching on something. “You kids go ahead.” The grandchildren, the daughter, the son, the guests circle their heads, gaping. “Washington, look! Just look at them! What did we tell you?” Shura and Tania, 23 and 18, just married. In full bloom, on the steps of the church near Lazarevo, he in his Red Army dress uniform, she in her white dress with red roses, roses that are black in the monochrome photo. She is standing next to him, holding his arm. He is looking into the camera, a wide grin on his face. She is gazing up at him, her small body pressed into him, her light hair at her shoulders, her arms bare, her mouth slightly parted. “Grammy!” Rebecca exclaims. “I’m positively blushing. Look at the way you’re coming the spoon on Grandpa!” She turns to Alexander from the island. “Grandpa, did you catch the way she is looking at you?” “Once or twice,” replies Alexander. The other colorless photo. Tania and Shura, 18 and 23. He lifts her in the air, his arms wrapped around her body, her arms wrapped around his neck, their fresh faces tilted, their enraptured lips in a breathless open kiss. Her feet are off the ground. “Wow, Grammy,” murmurs Rebecca. “Wow, Grandpa.” Tatiana is busily wiping the granite island. “You want to know what my Washington said about you two?” Rebecca says, not looking away from the photograph. “He called you an adjacent Fibonacci pair!” She giggles. “Isn’t that sexy?” Tatiana shakes her head, despite herself glancing at Washington with reluctant affection. “Just what we need, another math expert. I don’t know what you all think math will give you.” And Janie comes over to her father who is sitting at the kitchen table, holding her baby son, bends over Alexander, leans over him, kisses him, her arm around him, and murmurs into his ear, “Daddy, I’ve figured out what I’m going to call my baby. It’s so simple.” “Fibonacci?” She laughs. “Why, Shannon, of course. Shannon.” The

I’ll figure a way out,” he promises, and in some part of his own mind sees a monochrome image, himself and Reno, Raul and Lupe, Sarah looking as if she’s been lit by von Sternberg and bearing a resemblance to Louise Brooks, all in some improbably large delta cabin, sailing against a background of gray watercolor-wash clouds pierced by the bright swords of sunbeams, a happy silver nitrate ending glowing on the screen of Cowboy’s closed lids, and he has a feeling he can work it somehow, flick a switch and things will turn out that way, if he just knows what switch and when.

The portraits were monochrome photographs of men in dark suits and ties, four very sober gentlemen whose lapels were decorated with small metal emblems of the kind her father sometimes wore. Though her mother had told her that the cubes contained ghosts, the ghosts of her father’s evil ancestors, Kumiko found them more fascinating than frightening.

Charles wore khaki Dockers, with monochrome argyle socks and leather tasseled loafers. The temperature was only supposed to be sixty-five, so he wore a pale blue rugby shirt. He put his feet up on the table and crossed his ankles.

A Great Design Monochrome, it's a Saturn world Lying beneath the rings And they tell me we don't have a long time 'til our decline All the grown men are set in their ways Shining in the street And they tell me we don't have a long time, a great design Why don't you shame the world Shame it with your words and I'll smile Why don't you shame the world Shame it with words and I'll finally make believe I'll atone for the saddle verse Dry beneath my feet And they tell me I don't have a long time to change your mind All the grown men are set in their ways Shining in the street And they tell me we don't have a long time, a great design Shame the world Shame it with your words and I'll smile We always have the tender words to my mind

The woman turned to him, and he observed she was someone his own age or a bit younger. Dark, wavy hair and large brown eyes behind schoolmarm glasses. A friendly, olive-complected face. Not stereotypically Southern, if there was such a thing. Greek or Spanish maybe. He wasn’t sure. What he did know was that he felt something then. Something that was shapeless and intangible, but neither quality made it—whatever it was—any less there. It was a shifting of his senses or maybe even of reality itself. You turned a corner and a stunning landscape presented itself, and though you yourself had not changed, everything else had for, after you’d seen this new thing, whatever this thing was, you automatically understood the mechanisms of life could not go back to where they had been before. The sight—though it could more properly be called an experience, encompassing all five senses and even ones not yet discovered—rendered everything before it monochrome and matte. John Pressman had only felt this way twice before in his life with a woman, and this time, he felt it at fifty years, four months, and twenty-three days of age. At a greasy spoon in a small town in Mississippi in the summer of 1961.

Mes hivers monochromes d'aujourd'hui sont peints en noir et blanc. Ce paysage où tout semble avoir péri mais qui ressuscite au printemps, ce paysage est quand même inondé de soleil et de ciels grecs, d'une lumière qui guérit. Infiltré de couleurs plus subtiles, du calme de la neige et de la beauté qu'elle étend sans compter.

One day it's the clouds, one day the mountains. One day the latest bloom of roses—the pure monochromes, the dazzling hybrids—inspiration for the cathedral's round windows. Every now and then there's the splendor of thought: the singular idea and its brilliant retinue— words, cadence, point of view, little gold arrows flitting between the lines. And too the splendor of no thought at all: hands lying calmly in the lap, or swinging a six iron with effortless tempo. More often than not splendor is the star we orbit without a second thought, especially as it arrives and departs. One day it's the blue glassy bay, one day the night and its array of jewels, visible and invisible. Sometimes it's the warm clarity of a face that finds your face and doesn't turn away. Sometimes a kindness, unexpected, that will radiate farther than you might imagine. One day it's the entire day itself, each hour foregoing its number and name, its cumbersome clothes, a day that says come as you are, large enough for fear and doubt, with room to spare: the most secret wish, the deepest, the darkest, turned inside out." "Splendor

Minimalism is not living 'Life in monochrome'.

Their tumultuous love story was adapted into the 1974 Broadway musical Mack & Mabel. * Peeping Pete was released on June 23, 1913, with A Bandit; they are the oldest surviving Arbuckle movies. * Custard tended to break up in flight, and it faded into the background when shot in monochrome, so later pies consisted of blackberries and whipped cream—a concoction local bakeries readily learned to devise.

Redeemed particularity is part of God’s perfecting plan for his creation. Redeemed uniqueness is a gift of the Spirit allowing ransomed humans to be ‘gifted’ to the world for its common good. As Gunton puts it, ‘The Spirit enables people and things to be themselves through Jesus Christ.’ There is unity but never uniformity… …The redemption of the post-Pentecost world contrasts with the well-intentioned credo of the band U2. In ‘I Still Haven’t Found What I’m Looking For,’ belief in ‘Kingdom come’ coincides with the hope that ‘all the colors’ will eventually ‘bleed into one.’ While this is indeed a worthy hope, it is not quite the biblical one. In Scripture, it is not all who bleed into one but one (Jesus of Nazareth) who ‘bleeds’ into all so that our particularity - our ‘colors’ - are not ‘washed out’ but brightened, like a renovated painting. Pentecost does not return us to a pre-Babel monochrome. Instated, it redeems diversity so that tribe, tongue, and racial contrasts remain, but without the ‘dividing wall’ between us (Eph.2:14). The kingdom itself is a coat of many colors because the Spirit does not wash out but redeems particularity. This also explains why Christ’s Spirit-driven moral influence moves us away from racist, classist, sexist, and nationalist errors. These are gospel issues.

Redeemed particularity is part of God’s perfecting plan for his creation. Redeemed uniqueness is a gift of the Spirit allowing ransomed humans to be ‘gifted’ to the world for its common good. As Gunton puts it, ‘The Spirit enables people and things to be themselves through Jesus Christ.’ There is unity but never uniformity… …The redemption of the post-Pentecost world contrasts with the well-intentioned credo of the band U2. In ‘I Still Haven’t Found What I’m Looking For,’ belief in ‘Kingdom come’ coincides with the hope that ‘all the colors’ will eventually ‘bleed into one.’ While this is indeed a worthy hope, it is not quite the biblical one. In Scripture, it is not all who bleed into one but one (Jesus of Nazareth) who ‘bleeds’ into all so that our particularity - our ‘colors’ are not ‘washed out’ but brightened, like a renovated painting. Pentecost does not return us to a pre-Babel monochrome. Instated, it redeems diversity so that tribe, tongue, and racial contrasts remain, but without the ‘dividing wall’ between us (Eph.2:14). The kingdom itself is a coat of many colors because the Spirit does not wash out but redeems particularity. This also explains why Christ’s Spirit-driven moral influence moves us away from racist, classist, sexist, and nationalist errors. These are gospel issues.

She was a weird combination of many personality traits – obviously not fitting into any of the zodiac stereotypes. She had been a soul filled enigma, irrevocably colouring a few chapters in the otherwise monochrome book of my life in vibrant shades.

She laughed. He was right. Her laughter was enchanting. So, too, the sparkle in her eyes as she glanced at him. He'd never seen eyes as darkly brown as hers. With her dark hair she should have been a study in monochrome, but she wasn't. Her cheeks matched her pink lips.

On the morning of the wedding-day, Lord Peter emerged from Bunter's hands a marvel of sleek brilliance. His primrose-coloured hair was so exquisite a work of art that to eclipse it with his glossy hat was like shutting up the sun in a shrine of jet; his spats, light trousers, and exquisitely polished shoes formed a tone-symphony in monochrome.

Sat apart from the decay, an area of woodland, which shimmered in green. It offered a kind of radiance Namtilla had never seen, such a hostile paradox to the world she had grown up in. Memories were haunted by fear, but affected by the same mundane surroundings, as if someone with a single set of bricks and a monochrome vision had created it for them, and colour was something that only inhabited the imagination.

Alan Beaumont stepped through the automatic door of his office building and down the broad steps to the pavement. The sky above DC was a monochrome of grey cloud. A light rain fell, but a few drops of water were not going to bother him. Damp clothes? Whatever. Messed-up hair? He had no hair to ruin. That was long gone. Nothing had helped retain those once-magnificent curls. Not pills. Not potions. Nada. He used a thumb and middle finger to snap open his Zippo lighter and lit the cigarette perched between his lips. Smoking was perhaps the only real pleasure he had. He watched the downtown traffic and the pedestrians pass by, all miserable. Good. He didn’t like anyone to be happy but himself. It wasn’t pure selfishness. Joy was a zero sum game. There just wasn’t enough to go around.

Once you get out of Copenhagen airport, you may think you have walked on to the set of a ninja movie. In Denmark, everyone wears black. You want to aim for a look that would be fitting for Karl Lagerfeld’s funeral: stylish but monochrome. In the summertime, you are allowed to go for a wider range of colours, even something crazily flamboyant like grey.

To put it in somewhat contradictory terms, true tea existed only before the advent of the tea ceremony. After the coming of tea, when deformation came to be consciously sought, common everyday beauty disappeared and unnatural manipulation began. This meant the demise of the beauty of tea. Every country, according to its historical and geographical conditions, has its own peculiar character. India is characterized by intellect, China by ready action and Japan by aesthetic perception - the three splendors of the East. Indians are adept at thinking, Chinese at acting and Japanese at appreciating art. In Europe, France is close to Japan, Judaism to China and Germany to India. In Germany, however, the intellect tends to be philosophical rather than religious. While there may be many intrinsic contradictions, I still think that there is probably no country like Japan whose people live in surroundings composed of specially chosen objects. Behind it all is undoubtedly some sort of educated taste or standard of beauty. In Korea, the number of monochrome pieces in white or black glaze is stupendous. there are no intricate designs featuring a multitude of colors. the same is true for Korean textiles, which are undyed. Everyone wears white clothing.

Minimalism is not 'Life in monochrome'.

Inside the vault housing Shalmaneser: cool. Waiting for the launch window, which is a decorative way of saying when the GT guide is good and ready to start, this fact has already decided several of the crowd one hundred nine strong (some of whom are tourists some of whom are genuine potential recruits lured by the handouts and TV plugs of the GT Corp. some of whom have seen themselves here so often in the personae of Mr. & Mrs. Everywhere that they couldn’t tell you why they bothered to make the visit in reality and some of whom are GT’s own plantees primed to speak up at the right moments and give the impression of Things Happening) that they aren’t going to be interested in what they’re shown. Cold! In May! Under the Manhattan Fuller Dome! And clad in Nydofoam sneakers, MasQ-Lines, Forlon&Morler skirtlets and dresslets; strung about with Japind Holocams with Biltin g’teed Norisk LazeeLaser monochrome lamps, instreplay SeeyanEar recorders; pocket-heavy with Japind Jettiguns, SeKure Stunnems, Karatands to be slipped on as easily as your grandmother drew on her glove. Uneasy, watching their accidental companions on this guided tour. Well-fed. Shifty-eyed, slipping tranks into their chomp-chomp jaws. Damned good-looking.

It sounds on paper the slightest of shelters for the most powerful of predators. A hole in a snowdrift, sealed by more snow, scarcely seems sufficiently substantial to provide privacy and protection for one of the largest truly carnivorous mammals on Earth. And yet, the hostile environment is an impediment to all but the most curious and determined, and the monochrome surroundings render the dens invisible to all but the keenest, most experienced eyes.

What to do with the lives around us, within us? How to classify them? They are and are not examined lives, monochrome canvases with blots, smudges, freckles scattered over a space made up of shackled time. Examined lives (canvases), crisscrossed with shallow empty spaces, dappled with little bumps—hillocks—and narrow furrows, cuttings, grooves, many alike, in which slow, stagnant waters swirl. Lives with rounded edges, easily catalogued, easily connected, easily nailed onto the shelves of memory. And forgotten there. Then, those others: lives crisscrossed, entangled, knotted wit veins, scars, clefts which continue to breathe under the gravestones over the little mounds of our being, scabbed-over wounds that still bleed within. Impenetrable lives. They flicker in the darkness, sending out little sparks of light, fluorescent, like the bones of corpses. Placed side by side, there is no current between them, because both these kinds of life collapse into themselves, silently and menacingly like rising waters. Kaleidoscopic lives. Like the drawings of schizoid patients.

Hi, I want to thank any of you who have read any of my work. The only thing I know for sure is that it makes me happy if anyone has shared and enjoyed the stories. So thank you dear reader whether you paid for it or not. because this sure as shit is not about money. Nothing really needs to be. There's a bunch of Easter Eggs in Frum God and a few in Monochrome. There's also a few songs created and recorded for All In: that are really cool including "Blame it on the dealer". if you want to talk about anything or hear any of the songs give me a shout at dlkosmo@gmail.com. and not to belabor the point but again......THANK YOU!

Then again, what was the point of showing Anya the article anyway when she had already seen Burnt Ends’ crisp white tablecloths and monochrome paintings in person? The other woman could simply waltz into one of Singapore’s top restaurants for a casual Thursday dinner.

I was not willing to succumb to the monochrome monotony of the goodie-goodie life. I was determined that the rebel life was the good life. As long as I held this belief I would manipulate every situation to enable me to continue pursuing drugs, sex, and partying, despite the consequences.

The Oxford English Dictionary itself feebly admits that 'In Middle English it is often doubtful whether blac, blak, blacke, means "black, dark," or "pale, colourless, wan, livid".' ... Utterly illogical though all this may sound, there are two good explanations. Unfortunately, nobody is quite sure which one is true. So I shall give you both. Once upon a time, there was an old Germanic word for burnt, which was black, or as close to black as makes no difference. The confusion arose because the old Germanics couldn't decide between black and white as to which color burning was. Some old Germans said that when things were burning they were bright and shiny, and other old Germans said that when things were burnt they turned black. The result was a hopeless monochrome confusion, until everybody got bored and rode off to sack Rome. ... The other theory (which is rather less likely, but still good fun) is that there was an old German word black which meant bare, void, and empty. What do you have if you don't have any colours? Well, it's hard to say really. If you close your eyes you see nothing, which is black, but a blank piece of paper is, usually, white. Under this theory, blankness is the original sense and the two colors—black and white—are simply different interpretations of what blank means.

Color, the principle: First, you should think about how color affects the psychology of the user. Then, you should think about the role of color in the product. Finally, you should think about the color itself. According to the theory of static and dynamic, usually colors like static world, the new colors like dynamic elements, new colors will instantly become the focus while ordinary colors will not attract too much attention. For product design, you should aim for a continuous and integrated appearance of the elements, or avoid any interruptions or breaks. This includes the colors of the front panel, frame, and rear panel. For color itself, there are different levels of colors based on how often humans see them. The highest level color is the air, which is the most seen color by humans, but humans cannot make it. The closest thing to air is glass, which can create a 3D color effect by superimposing on other colors. This is a miracle that breaks the common sense that the eye can only see 2D colors. The second level color is the sky, which is the second most seen color by humans, especially during the day. The third level color is the human body, which is the most familiar color to humans, such as skin and hair. The fourth level color is nature, which is the second most familiar color to humans. The fifth level color is artificial. Monochrome is the cornerstone, and the color combination (the same color system can reduce the sense of abruptness, the near color secondary) and the gradient aesthetics are stricter. The more the style focuses on minimalism, the more it favors monochrome.

They did actually creep, though, those thousands of days. Petty pace, and all that,” he continued. “I know this intellectually, though something else is currently denying it. I am aware of it particularly, because I am especially conscious of the difference between that earlier time and this present. It was a cumulative thing, the change. Space travel, cities under the sea, the advances in medicine—even our first contact with the aliens—all of these things occurred at different times and everything else seemed unchanged when they did. Petty pace. Life pretty much the same but for this one new thing. Then another, at another time. Then another. No massive revolution. An incremental process is what it was. Then suddenly a man is ready to retire, and this gives rise to reflection. He looks back, back to Cambridge, where a young man is climbing a building. He sees those stars. He feels the texture of that roof. Everything that follows is a blur, a kaleidoscopic monochrome. He is here and he is there. Everything else is unreal. But they are two different worlds, Fred—two completely different worlds—and he didn’t really see it happen, never actually caught either one in the act of going or coming. And that is the feeling that accompanies me tonight.

The actual world is monochrome and silent. Sounds, colours, tastes and smells exist only in the projection in our heads. What’s actually out there are vibrating particles, floating chemical compounds, molecules and colourless light waves of varying lengths. Our perceptions of these phenomena are special effects in a brain-generated movie. And our senses can only detect the tiniest fraction of what’s out there. Our eyes, for instance, are able to pick up less than one ten-trillionth of the available light spectrum.

Like all birds, it fears the unpredictable. Enter and leave the same fields at the same time each day, soothe the hawk from its wildness by a ritual of behaviour as invariable as its own. Hood the glare of the eyes, hide the white tremor of the hands, shade the stark reflecting face, assume the stillness of a tree. A peregrine fears nothing he can see clearly and far off. Approach him across open ground with a steady unfaltering movement. Let your shape grow in size but do not alter its outline. Never hide yourself unless concealment is complete. Be alone. Shun the furtive oddity of man, cringe from the hostile eyes of farms. Learn to fear. To share fear is the greatest bond of all. The hunter must become the thing he hunts. What is, is now, must have the quivering intensity of an arrow thudding into a tree. Yesterday is dim and monochrome. A week ago you were not born. Persist, endure, follow, watch.

Talk to me and show me the world in your eyes Show me the beauty, monochrome, loneliness inside Show me the heart too battered to try Give me a chance to show you mine Cause we have the same mess in our minds Similar scars, stories, feelings to hide Like two floating puzzle pieces that finally collide Something tells me that one day, we could shine

Consider going monochrome for your next pic.

The black of the eye has to expand for the sight to be maintained in the dark. If the dark grows as deep as in the exquisite night, it would be helpful if the eye could become as large as the eye itself. Perhaps such a spheric eye would be ready for what lies before us: the journey through a black monochrome. If the subject in the dark had become wholly a pupil, the pupil wholly a tactile organ, and the tactile organ wholly a sounding body, the homogeneous massif of that orb of blackness could unfold into landscapes already sensed. Suddenly a world before the world would begin to transpire; a vague, ethereal universe would take shape, as delicate as breath and pre-discrete. The salty night would remain safe in its unspeakable density, and its circle would still be sealed with no possible exit; and yet an organic something would begin to stand out, like a sculpture of black mercury against a black background.

Black-and-white photos kill. Despite making up only 3 percent of posted photos, they see a 106 percent boost in likes. Consider going monochrome for your next pic.

It consisted of a small unit with a keyboard and a monochrome 13” monitor. “Where’s the rest of it?” said Philo. “That’s the whole thing,” said the computer technician who was installing the machine. “Where’s the mainframe?” “There isn’t one. It uses a new type of chip called a microprocessor, right inside the keyboard unit. It runs at two megahertz and it has sixteen kilobytes of memory. This is one of the first off the production line.

Rainbow Days by Stewart Stafford They make us live in monochrome, Autoerotic under a mirrored dome, Regurgitating back this non-entity, Inside I scream it's the death of me. In between bouts of colon screening, Rainbow days in a third eye's gleaming, Silence a throbbing executioner's drum, Brass muffling the demagogue's hum. Shattered manacles I'm going to see, As I'm leaving this world for infinity, Christen horror hurricanes after me, On submerged planet earth, Terra-Firma-On-Sea. © Stewart Stafford, 2022. All rights reserved

To share fear is the greatest bond of all. The hunter must become the thing he hunts. What is, is now, must have the quivering intensity of an arrow thudding into a tree. Yesterday is dim and monochrome. A week ago you were not born.

Old Friend, New Adventure by Stewart Stafford Snow crept down, surprising, Before the sun strolled, rising. Monochrome in palatial white, Teeth chattering in moonlight. Overnight, all became frozen. A cloud nine expedition chosen. This boy came flying out of doors, As a cat sprang with cold paws. A man shadowed me in the dark. As I sculpted him in the park, Rolling a snowball until it grew, And a snowman stood, born anew. With a carrot nose and coal eyes, Gazing at me through rictus guise, This bright curve in an unlit sky A silent friend to thaw the lies. Then fleeing back inside, To hot chocolate by the fireside, Numb, red hands slowly came alive, The joy of life, awoke and arrived. © Stewart Stafford, 2023. All rights reserved.

it’s the journeys we make you said not our sins that we have to account for: places we passed on a road and failed to recognise: the light in a gap between trees that we barely noticed storms above a hayfield like the black in monochrome the neither here nor there of detours or oncoming traffic. It’s the lives we failed to lead lost in a stalled conversation or glancing away to cottonwoods and miles of blue-stemmed grass and everything we miss each least detail patterns and lines in the packed silt around a mooring windows flecked with light and water shades of grey in this or any other afternoon.

The instant Imogenia died, two shimmering figures dressed in official-looking, monochrome uniforms appeared at her side, making her jump. “Oh! You scared me!

fingers, but Joni intercepted it and ducked off into the dark to see to him herself. Lola and I exchanged significant looks about this new burst of activity, while Jack gave us a roll call. I lost track after the second Harry and third George. It didn’t help that their faces all looked the same, monochromed by the torchlight, all round eyes and upside-down mouths, as though they’d

Here are just a few tastes of Dunkirk's messy paradox. Life is always complex, nuanced, and contradictory. We instinctively know this. But too many modern politicians and media sources would have us believe that it is straightforward and monochrome. If one thing alone is remembered about Dunkirk, then let it be this: There was no single story. And this is a theme reinforced by Chris Nolan's film, which takes place in three realms: land, sea, and air. In each of these realms, people were having very different experiences. And they are all equally valid.

Writing a poem, I construct a magenta fan with a photolikeness, enclosed in a central oval, of a beloved relation, with her hair brown that is not to say, before her hair turned grey: it's her essential self. Someone's jealous of the attention I'm paying her in my work because he wants it all for his art which is a pure, gridded, layer of words painted in crosshatched grey monochrome brushstrokes. Your art, he seems to say to me, kisses life's ass. His art asks that his own ass be kissed.