Nail Art Quotes

We are, not metaphorically but in very truth, a Divine work of art, something that God is making, and therefore something with which He will not be satisfied until it has a certain character. Here again we come up against what I have called the “intolerable compliment.” Over a sketch made idly to amuse a child, an artist may not take much trouble: he may be content to let it go even though it is not exactly as he meant it to be. But over the great picture of his life—the work which he loves, though in a different fashion, as intensely as a man loves a woman or a mother a child—he will take endless trouble—and would doubtless, thereby give endless trouble to the picture if it were sentient. One can imagine a sentient picture, after being rubbed and scraped and re-commenced for the tenth time, wishing that it were only a thumb-nail sketch whose making was over in a minute. In the same way, it is natural for us to wish that God had designed for us a less glorious and less arduous destiny; but then we are wishing not for more love but for less.

When I tried to show him how an electromagnet works by making a little coil of wire and hanging a nail on a piece of string, I put the voltage on, the nail swung into the coil, and Jerry said, “Ooh! It’s just like fucking!

A Good Relationship is like a neat and defined nail art. It requires a lot of concentration, time devotion and patience, to take it to perfection!

A farmer is sitting on his porch in a chair, hanging out. A friend walks up to the porch to say hello, and hears an awful yelping, squealing sound coming from inside the house. "What's that terrifyin' sound?" asks the friend. "It's my dog," said the farmer. "He's sittin' on a nail." "Why doesn't he just sit up and get off it?" asks the friend. The farmer deliberates on this and replies: "Doesn't hurt enough yet.

If your only tool is a hammer, all your problems will be nails,

Dirty talk is an art. Do it too often, it becomes routine. Never do it, and you’re missing something. Simon did it just right. He was like a perfect bowl of smutty porridge: just right.

Unless you’re a doubter and a worrier, a nail-biter, an apologizer, a rethinker, then memoir may not be your playpen. That’s the quality I’ve found most consistently in those life-story writers I’ve met.

Aspiring authors, get this through your head. Cover art serves one purpose, and one purpose only, to get potential customers interested long enough to pick up the book to read the back cover blurb. In the internet age that means the thumb nail image needs to be interesting enough to click on. That’s what covers are for.

For only after, can one nail down, examine, explain. To try to know beforehand is to freeze and kill. Self-consciousness is the enemy of all art, be it acting, writing, painting, or living itself, which is the greatest art of all.

attempts to nail down “who we really are” most often serve as rhetorical pawns in unwinnable arguments fueled by competing agendas

It is a truism that when one is a hammer, everything looks like a nail. The glory of art is that it can show this proverbial hammer how everything looks to a screwdriver--and to a plowshare, and to an earthenware pot. If reality is the sum of our perceptions, to acquire more varying points of view is to acquire, literally, more reality.

In The Brothers Karamazov, Dostoevsky commented on Turkish atrocities in Bulgaria during the Russo-Turkish War of 1877–78, when unborn children were ripped from their mothers’ wombs and prisoners were nailed by their ears to a fence overnight before being hanged: “People speak sometimes about the ‘animal’ cruelty of man, but that is terribly unjust and offensive to animals. No animal could ever be so cruel as a man, so artfully, so artistically cruel. A tiger simply gnaws and tears, that is all he can do. It would never occur to him to nail people by their ears overnight, even if he were able to do it.”89

Prophets are always disagreeable and usually have bad manners, but it is said that they occasionally hit the nail on the head . . . like every true prophet, the artist is the unwitting mouthpiece of the psychic secrets of his time and is often as unconscious as a sleep-walker.

Was it not part of the secret black art of truly grand politics of revenge, of a farseeing, subterranean, slowly advancing, and premeditated revenge, that Israel must itself deny the real instrument of its revenge before all the world as a mortal enemy and nail it to the cross, so that 'all the world,' namely all the opponents of Israel, could unhesitatingly swallow just this bait? And could spiritual subtlety imagine any more dangerous bait than this? Anything to equal the enticing, intoxicating, overwhelming, and undermining power of that symbol of the 'holy cross,' that ghastly paradox of a 'God on the cross,' that mystery of an unimaginable ultimate cruelty and self-crucifixion of God for the salvation of man?

Just as to a man with a hammer, everything is a nail, so in the age of science and technology, everything is a scientific and technical matter to be solved by scientific and technical means.

both you and paintings are layered… first, ephemera and notations on the back of the canvas. Labels indicate gallery shows, museum shows, footprints in the snow, so to speak. Then pencil scribbles on the stretcher, usually by the artist, usually a title or date. Next the stretcher itself. Pine or something. Wooden triangles in the corners so the picture can be tapped tighter when the canvas becomes loose. Nails in the wood securing the picture to the stretcher. Next, a canvas: linen, muslin, sometimes a panel; then the gesso - a primary coat, always white. A layer of underpaint, usually a pastel color, then, the miracle, where the secrets are: the paint itself, swished around, roughly, gently, layer on layer, thick or thin, not more than a quarter of an inch ever -- God can happen in that quarter of an inch -- the occasional brush hair left embedded, colors mixed over each other, tones showing through, sometimes the weave of the linen revealing itself. The signature on top of the entire goulash. Then varnish is swabbed over the whole. Finally, the frame, translucent gilt or carved wood. The whole thing is done.

For a second, I stared at the map of her veins just under the surface of her thin skin. It was like her body was trying to become diaphanous. Instead of getting harder and stronger and full of life as we age, we disappear slowly. Our skin thins and evaporates. Our nails barely coat our fingertips. Our hair falls out. We are never more see-through.

From: fmarino@thewillingschool.org To: abainbr@thewillingschool.org Date: December 19, 6:54 p.m. Subject: Three Things 1. Truth: I'm terrified of an embarrassing number of things, including Ferris wheels, rusty nails, being alone, and being with someone. 2. Truth: I'm working on that. 3. Dare: Take a chance on me, Alex Bainbridge. Qu'ieu sui precieuse, leu lo sai."

He was rowed down from the north in a leather skiff manned by a crew of trolls. His fur cape was caked with candle wax, his brow stained blue by wine - though the latter was seldom noticed due to the fox mask he wore at-all times. A quill in his teeth, a solitary teardrop a-squirm in his palm, he was the young poet prince of Montreal, handsome, immaculate, searching for sturdier doors to nail his poignant verses on. In Manhattan, grit drifted into his ink bottle. In Vienna, his spice box exploded. On the Greek island of Hydra, Orpheus came to him at dawn astride a transparent donkey and restrung his cheap guitar. From that moment on, he shamelessly and willingly exposed himself to the contagion of music. To the secretly religious curiosity of the traveler was added the openly foolhardy dignity of the troubadour. By the time he returned to America, songs were working in him like bees in an attic. Connoisseurs developed cravings for his nocturnal honey, despite the fact that hearts were occasionally stung. Now, thirty years later, as society staggers towards the millennium - nailing and screeching at the while, like an orangutan with a steak knife in its side - Leonard Cohen, his vision, his gift, his perseverance, are finally getting their due. It may be because he speaks to this wounded zeitgeist with particular eloquence and accuracy, it may be merely cultural time-lag, another example of the slow-to-catch-on many opening their ears belatedly to what the few have been hearing all along. In any case, the sparkle curtain has shredded, the boogie-woogie gate has rocked loose from its hinges, and here sits L. Cohen at an altar in the garden, solemnly enjoying new-found popularity and expanded respect. From the beginning, his musical peers have recognized Cohen´s ability to establish succinct analogies among life´s realities, his talent for creating intimate relationships between the interior world of longing and language and the exterior world of trains and violins. Even those performers who have neither "covered" his compositions nor been overtly influenced by them have professed to admire their artfulness: the darkly delicious melodies - aural bouquets of gardenia and thistle - that bring to mind an electrified, de-Germanized Kurt Weill; the playfully (and therefore dangerously) mournful lyrics that can peel the apple of love and the peach of lust with a knife that cuts all the way to the mystery, a layer Cole Porter just could`t expose. It is their desire to honor L. Cohen, songwriter, that has prompted a delegation of our brightest artists to climb, one by one, joss sticks smoldering, the steep and salty staircase in the Tower of Song.

Her voice was a throaty screech, without melody, as false as her eyebrows and as sharp as her nails. (The King in Yellow)

They had been talking about astrology, a forbidden science that was not pursued in the cloister. Narcissus had said that astrology was an attempt to arrange and order the many different types of human beings according to their natures and destinies. At this point Goldmund had objected: "You're forever talking of differences - I've finally recognised a pet theory of yours. When you speak of the great difference that is supposed to exist between you and me, for instance, it seems to me that this difference is nothing but your strange determination to establish differences." Narcissus: "Yes. You've hit the nail on the head. That's it: to you, differences are quite unimportant; to me, they are what matters most. I am a scholar by nature; science is my vocation. And science is, to quote your words, nothing but the 'determination to establish differences.' Its essence couldn't be defined more accurately. For us, the men of science, nothing is as important as the establishment of differences; science is the art of differentiation. Discovering in every man that which distinguishes him from others is to know him.

Great paintings—people flock to see them, they draw crowds, they’re reproduced endlessly on coffee mugs and mouse pads and anything-you-like. And, I count myself in the following, you can have a lifetime of perfectly sincere museum-going where you traipse around enjoying everything and then go out and have some lunch. But if a painting really works down in your heart and changes the way you see, and think, and feel, you don’t think, ‘oh, I love this picture because it’s universal.’ ‘I love this painting because it speaks to all mankind.’ That’s not the reason anyone loves a piece of art. It’s a secret whisper from an alleyway. Psst, you. Hey kid. Yes you. An individual heart-shock. Your dream, Welty’s dream, Vermeer’s dream. You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum gift shop sees something else entire, and that’s not even to mention the people separated from us by time—four hundred years before us, four hundred years after we’re gone—it’ll never strike anybody the same way and the great majority of people it’ll never strike in any deep way at all but—a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and very particular. Yours, yours. I was painted for you. And—oh, I don’t know, stop me if I’m rambling… but Welty himself used to talk about fateful objects. Every dealer and antiquaire recognizes them. The pieces that occur and recur. Maybe for someone else, not a dealer, it wouldn’t be an object. It’d be a city, a color, a time of day. The nail where your fate is liable to catch and snag.

If we are inclined to forget how much there is in the world besides that which we anticipate, then works of art are perhaps a little to blame, for in them we find at work the same process of simplification or selection as in the imagination. Artistic accounts include severe abbreviations of what reality will force upon us. A travel book may tell us, for example, that the narrator journeyed through the afternoon to reach the hill town of X and after a night in its medieval monastery awoke to a misty dawn. But we never simply 'journey through an afternoon'. We sit in a train. Lunch digests awkwardly within us. The seat cloth is grey. We look out the window at a field. We look back inside. A drum of anxieties resolves in our consciousness. We notice a luggage label affixed to a suitcase in a rack above the seats opposite. We tap a finger on the window ledge. A broken nail on an index finger catches a thread. It starts to rain. A drop wends a muddy path down the dust-coated window. We wonder where our ticket might be. We look back at the field. It continues to rain. At last, the train starts to move. It passes an iron bridge, after which it inexplicably stops. A fly lands on the window And still we may have reached the end only of the first minute of a comprehensive account of the events lurking within the deceptive sentence 'He journeyed through the afternoon'. A storyteller who provides us with such a profusion of details would rapidly grow maddening. Unfortunately, life itself often subscribes to this mode of storytelling, wearking us out with repetitions, misleading emphases[,] and inconsequential plot lines. It insists on showing us Burdak Electronics, the safety handle in the car, a stray dog, a Christmas card[,] and a fly that lands first on the rim and then the centre of a laden ashtray. Which explains the curious phenomenon whereby valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress; they cut away the periods of boredom and direct our attention to critical moments, and thus, without either lying or embellishing, they lend to life a vividness and a coherence that it may lack in the distracting woolliness of the present.

I dance like both my shoes are nailed to the wall. It goes way beyond mere performance and into the realm of art. I am the Rodin of the music world.

nails. The gyms you go to are crowded with guys trying to look like men, as if being a man means looking the way a sculptor or an art director says.

sits the object of my affection: a kitschy two-tiered trophy consisting of a silver hand with gold nail polish brandishing a royal flush, and, in a patriotic

In the meantime, cling tooth and nail to the following rule: not to give in to adversity, not to trust prosperity, and always take full note of fortune’s habit of behaving just as she pleases. —SENECA

I thought more about anger, about the art piece I would create. A more fitting tribute: a piece called Construction; each victim is given a nail for every day she has lived with what happened to her. There’s a haphazard pile of wood in the center of campus. Victims can come as they please, hammering nails into the wood. All day people hear the banging, all the drilling and incessant interruption. This is a lot of what surviving is like, trying to carry on and get work done, while your past pounds into you, distracts you, makes it impossible. At the end there’d be an immense wooden structure, randomly nailed together, large, useless, pointy, and dangerous in the middle of everything, people forced to walk around it, interrupting the pretty view of the trees. This is also what assault feels like, what to do with this, where to put it, what is it.

He was "distinguished" to the tips of his polished nails, and there was not a movement of his fine perpendicular person that was not noble and majestic. Newman had never yet been confronted with such an incarnation of the art of taking oneself seriously; he felt a sort of impulse to step backward, as you do to get a view of a great facade.

Nothing is a masterpiece - a real masterpiece - till it's about two hundred years old. A picture is like a tree or a church, you've got to let it grow into a masterpiece. Same with a poem or a new religion. They begin as a lot of funny words. Nobody knows whether they're all nonsense or a gift from heaven. And the only people who think anything of 'em are a lot of cranks or crackpots, or poor devils who don't know enough to know anything. Look at Christianity. Just a lot of floating seeds to start with, all sorts of seeds. It was a long time before one of them grew into a tree big enough to kill the rest and keep the rain off. And it's only when the tree has been cut into planks and built into a house and the house has got pretty old and about fifty generations of ordinary lumpheads who don't know a work of art from a public convenience, have been knocking nails in the kitchen beams to hang hams on, and screwing hooks in the walls for whips and guns and photographs and calendars and measuring the children on the window frames and chopping out a new cupboard under the stairs to keep the cheese and murdering their wives in the back room and burying them under the cellar flags, that it begins even to feel like a religion. And when the whole place is full of dry rot and ghosts and old bones and the shelves are breaking down with old wormy books that no one could read if they tried, and the attic floors are bulging through the servants' ceilings with old trunks and top-boots and gasoliers and dressmaker's dummies and ball frocks and dolls-houses and pony saddles and blunderbusses and parrot cages and uniforms and love letters and jugs without handles and bridal pots decorated with forget-me-nots and a piece out at the bottom, that it grows into a real old faith, a masterpiece which people can really get something out of, each for himself. And then, of course, everybody keeps on saying that it ought to be pulled down at once, because it's an insanitary nuisance.

For him life was all full of opportunities, and I don’t think that was necessarily a bad thing, but I think he wanted to grab them for all the wrong reasons. He wasn’t passionate about art, he didn’t care about lawyers helping people, he didn’t even care about my singing voice. It was all for more money. And so I suppose it was fitting that it was the loss of all his money that killed him in the end. The pills and the whiskey were just the nails in the coffin.

That surface bore the swirls and lines – fainter of course, and interrupted, and scarred – that, below, would let his finger print. I moved my hand, feeling the textures, copper, stone, nail, skin; and thought about the mechanics through which we locate beauty. By art, we can only do it through a disinterested precision which represses, while it mimes, all the interest that impels it. And we can only hope the difference between the repressed and the represented will read as intensity. His hand was beautiful.

Indeed, people speak sometimes about the ‘animal’ cruelty of man, but that is terribly unjust and offensive to animals, no animal could ever be so cruel as a man, so artfully, so artistically cruel. A tiger simply gnaws and tears, that is all he can do. It would never occur to him to nail people by their ears overnight, even if he were able to do it.

I got into Jillian's Mercedes and drove back across the bridge to wait for my art installation. Which never showed up. Hey, art installation? Suck my dick.

A pair of stockings is no less suitable o make a painting of than wood,nails,turpentine,oil,and fabric.

O Deus Ego Amo Te Oh God, I love Thee mightily, Not only for Thy saving me, Nor yet because who love not Thee Must burn throughout eternity. Thou, Thou, my Jesu, once didst me Embrace upon the bitter Tree. For me the nails, the soldier's spear, With injury and insult, bear- In pain all pain exceeding, In sweating and in bleeding, Yea, very death, and that for me A sinner all unheeding! O Jesu, should I not love Thee Who thus hast dealt so lovingly- Not hoping some reward to see, Nor lest I my damnation be; But as Thyself hast loved me, So love I now and always Thee, Because my King alone Thou art, Because, O God, mine own Thou art!

In the wake of the Patriot Act, during the second administration of George W., you made a series of small, handheld weapons. The rule was that each weapon had to be assembled from household items within minutes. You’d been gay-bashed before, two black eyes while waiting in line for a burrito (you ran after him, of course). Now you thought, if the government comes for its citizens, we should be prepared, even if our weapons are pathetic. Your art-weapons included a steak knife affixed to a bottle of ranch dressing and mounted on an axe handle, a dirty sock sprouting nails, a wooden stump with a clump of urethane resin stuck to one end with dull bolts protruding from it, and more.

Lifting a sabre-saw, feeling the heft of it, Mickelsson recognized his hand as his father's hand. They were the same size and shape and had much the same freckled redness; the only real difference was that his father's hand had always been barked, scabbed, cracked, and calloused, always at least one fingernail discolored by some mishap. He remembered a chest his uncle and father had let him help them make when he was seven or so, a pine chest longer and deeper than a coffin, no nails or screws, just wooden pegs, locust. It had served as a windowseat through most of his childhood; later they'd used it to hold cow-feed. In the bright, pleasant-smelling hardware store, the discovery that his father and uncle, all those years, had been playing, enjoying themselves—making art, in a way—came over Mickelsson like an awakening. He felt an extravagant inclination to pity himself. What foolishness his life was, in comparison to theirs! But the likeness of his hand to his father's hand distracted him, made him feel, almost unwillingly, a surge of joy.

OUT of that moment Jesus was nailed to his cross flowed our attempts to represent it, to create a narrative that could contain it. Yet the body, hanging there, is still, simply, terrible. Caravaggio’s genius was to paint Jesus with dirty feet, to bring him back down to earth.

maintain muscle and other protein-containing tissues. But when you observe a human over a number of weeks of adaptation to a low carbohydrate diet, most of this initial inefficiency in protein use goes away[27]. Thus, once you are keto-adapted, your body’s need for protein isn’t much higher than during a ‘balanced diet’. This is a key fact in our understanding that low carbohydrate diets used in the long term do not need to be particularly high in protein. All the protein we eat (with the exception of stuff that is rubbed or cut off, like skin, hair, and nails) eventually gets burned for energy, yielding 4 Calories per gram. And you can’t “push” your body to build muscle by eating extra protein – muscle is built up under the stimulus of exercise (or illicit pharmaceuticals) as long as adequate protein is available at the time. No one has ever shown

We must give up many things to which we are addicted, considering them to be good. Otherwise, courage will vanish, which should continually test itself. Greatness of soul will be lost, which can’t stand out unless it disdains as petty what the mob regards as most desirable. —SENECA, MORAL LETTERS, 74.12b–13 What we consider to be harmless indulgences can easily become full-blown addictions. We start with coffee in the morning, and soon enough we can’t start the day without it. We check our email because it’s part of our job, and soon enough we feel the phantom buzz of the phone in our pocket every few seconds. Soon enough, these harmless habits are running our lives. The little compulsions and drives we have not only chip away at our freedom and sovereignty, they cloud our clarity. We think we’re in control—but are we really? As one addict put it, addiction is when we’ve “lost the freedom to abstain.” Let us reclaim that freedom. What that addiction is for you can vary: Soda? Drugs? Complaining? Gossip? The Internet? Biting your nails? But you must reclaim the ability to abstain because within it is your clarity and self-control.

The Chicago historian Studs Terkel asked Bob Dylan in the sixties about how he went about writing a song and trying to outdo himself, or at least being as good as the last song he wrote, and his response was pretty damn perfect. “I’m content with the same old piece of wood,” he said. “I just want to find another place to pound a nail . . . Music, my writing, is something special, not sacred.” If the songs Bob Dylan wrote aren’t sacred, then nobody’s songs are sacred. Nobody’s. No one has ever laid on their deathbed thinking, “Thank god I didn’t make that song. Thank god I didn’t make that piece of art. Thank god I avoided the embarrassment of putting a bad poem into the world.” Nobody reaches the end of their life and regrets even a single moment of creating something, no matter how shitty or unappreciated that something might have been. I’m writing this just weeks after returning from Belleville, where I sat next to my dad’s bed in my childhood house and watched him die. I can guarantee you that in the final moments of his life, he wasn’t kicking himself for all those times when he dared to make a fool of himself by singing too loud.

Oak puts his hands on my shoulders, pushing my back to the wall. 'Pretend with me,' he whispers. And then he presses his mouth to mine. A soldier kissing one of the serving girls. A bored ex-falcon attempting to amuse himself. Oak hiding our faces, giving us a reason to be overlooked. I understand the game. This is no declaration of desire. And yet, I am rooted in place by the shocking heat of his mouth, the softness of his lips, the way one of his hands goes to the ice wall to brace himself and the other to my waist, and then to the hilt of my knife as they draw closer. He doesn't want me. This doesn't mean he wants me. I repeat that over and over as I let him part my lips with his tongue. I run my hands up his back under his shirt, letting my nails trail over his skin. I have been trained in all the arts of a courtier. Dancing and duelling, kissing and deceiving. Still, I am gratified when he shudders, when the hand he was bracing with lifts to thread through my hair, to cup my head. My mouth slides over his jaw to his throat, then against his shoulder, where I press the points of my teeth. His body stiffens, his fingers gripping me harder, pulling me closer to him. When I bite down, he gasps.

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.

He was shaking his head as he read some of the words that were written in the pie sections of the wheel; Meat Snatch, Gash and Stitch, Jaws of Life, Tongue Twister, Enema of Horror, Nailed, Dissection, Musical Hair Patches, Eye Deflation, Intestinal Jump Rope, Cooked Until Dripping, Spoon of Pain, Needle Works, Ball Squats, Cut and Rip, Two Headed Cock, Bone Collector, Joint Screws, Fused, Human Tesla Coil, Barbed Wired, Shit Faced, Root and Rod, Colon Blow, Skin Deep, Boiling Nuts, Sewn, Muscle Stimulator, Urethra Tug-o-war, Crack a Cap, Tendon Rubber Bands, Weenie Roast, Musical Extremities, Root Canal, Needle Mania, Tattooed Wall Art, Rod and Prod, Slice and Dice, Sex Change and Torched Beyond Recognition. I

Dear New Orleans, What a big, beautiful mess you are. A giant flashing yellow light—proceed with caution, but proceed. Not overly ambitious, you have a strong identity, and don’t look outside yourself for intrigue, evolution, or monikers of progress. Proud of who you are, you know your flavor, it’s your very own, and if people want to come taste it, you welcome them without solicitation. Your hours trickle by, Tuesdays and Saturdays more similar than anywhere else. Your seasons slide into one another. You’re the Big Easy…home of the shortest hangover on the planet, where a libation greets you on a Monday morning with the same smile as it did on Saturday night. Home of the front porch, not the back. This engineering feat provides so much of your sense of community and fellowship as you relax facing the street and your neighbors across it. Rather than retreating into the seclusion of the backyard, you engage with the goings-on of the world around you, on your front porch. Private properties hospitably trespass on each other and lend across borders where a 9:00 A.M. alarm clock is church bells, sirens, and a slow-moving eight-buck-an-hour carpenter nailing a windowpane two doors down. You don’t sweat details or misdemeanors, and since everybody’s getting away with something anyway, the rest just wanna be on the winning side. And if you can swing the swindle, good for you, because you love to gamble and rules are made to be broken, so don’t preach about them, abide. Peddlin worship and litigation, where else do the dead rest eye to eye with the livin? You’re a right-brain city. Don’t show up wearing your morals on your sleeve ’less you wanna get your arm burned. The humidity suppresses most reason so if you’re crossing a one-way street, it’s best to look both ways. Mother Nature rules, the natural law capital “Q” Queen reigns supreme, a science to the animals, an overbearing and inconsiderate bitch to us bipeds. But you forgive her, and quickly, cus you know any disdain with her wrath will reap more: bad luck, voodoo, karma. So you roll with it, meander rather, slowly forward, takin it all in stride, never sweating the details. Your art is in your overgrowth. Mother Nature wears the crown around here, her royalty rules, and unlike in England, she has both influence and power. You don’t use vacuum cleaners, no, you use brooms and rakes to manicure. Where it falls is where it lays, the swerve around the pothole, the duck beneath the branch, the poverty and the murder rate, all of it, just how it is and how it turned out. Like a gumbo, your medley’s in the mix. —June 7, 2013, New Orleans, La.

Their eyes, warm not only with human bond but with the shared enjoyment of the art objects he sold, their mutual tastes and satisfactions, remained fixed on him; they were thanking him for having things like these for them to see, pick up and examine, handle perhaps without even buying. Yes, he thought, they know what sort of store they are in; this is not tourist trash, not redwood plaques reading Muir Woods, Marin County, PSA, or funny signs or girly rings or postcards or views of the Bridge. The girl’s eyes especially, large, dark. How easily, Childan thought, I could fall in love with a girl like this. How tragic my life, then; as if it weren’t bad enough already. The stylish black hair, lacquered nails, pierced ears for the long dangling brass handmade earrings. “Your

Jesus must have had man hands. He was a carpenter, the Bible tells us. I know a few carpenters, and they have great hands, all muscled and worn, with nicks and callused pads from working wood together with hardware and sheer willpower. In my mind, Jesus isn't a slight man with fair hair and eyes who looks as if a strong breeze could knock him down, as he is sometimes depicted in art and film. I see him as sturdy, with a thick frame, powerful legs, and muscular arms. He has a shock of curly black hair and an untrimmed beard, his face tanned and lined from working in the sun. And his hands—hands that pounded nails, sawed lumber, drew in the dirt, and held the children he beckoned to him. Hands that washed his disciples' feet, broke bread for them, and poured their wine. Hands that hauled a heavy cross through the streets of Jerusalem and were later nailed to it. Those were some man hands.

Doing it all the time, whether or not we are in the mood, gives us ownership of our writing ability. It takes it out of the realm of conjuring where we stand on the rock of isolation, begging the winds for inspiration, and it makes it something as do-able as picking up a hammer and pounding a nail. Writing may be an art, but it is certainly a craft. It is a simple and workable thing that can be as steady and reliable as a chore—does that ruin the romance?

The little compulsions and drives we have not only chip away at our freedom and sovereignty, they cloud our clarity. We think we’re in control—but are we really? As one addict put it, addiction is when we’ve “lost the freedom to abstain.” Let us reclaim that freedom. What that addiction is for you can vary: Soda? Drugs? Complaining? Gossip? The Internet? Biting your nails? But you must reclaim the ability to abstain because within it is your clarity and self-control.

From a long way off one could distinguish and identify the steeple of Saint-Hilaire inscribing its unforgettable form upon a horizon beneath which Combray had not yet appeared; when from the train which brought us down from Paris at Easter-time my father caught sight of it, as it slipped into every fold of the sky in turn, its little iron cock veering continually in all directions, he would say: “Come, get your wraps together, we are there.” And on one of the longest walks we ever took from Combray there was a spot where the narrow road emerged suddenly on to an immense plain, closed at the horizon by strips of forest over which rose and stood alone the fine point of Saint-Hilaire’s steeple, but so sharpened and so pink that it seemed to be no more than sketched on the sky by the finger-nail of a painter anxious to give to such a landscape, to so pure a piece of ‘nature,’ this little sign of art, this single indication of human existence.

We often think the purpose of criticism is to nail things down. During my years as an art critic, I used to joke that museums love artists the way that taxidermists love deer, and something of that desire to secure, to stabilize, to render certain and definite the open-ended, nebulous, and adventurous work of artists is present in many who work in that confinement sometimes called the art world. A similar kind of aggression against the slipperiness of the work and the ambiguities of the artist's intent and meaning often exists in literary criticism and academic scholarship, a desire to make certain what is uncertain, to know what is unknowable, to turn the flight across the sky into the roast upon the plate, to classify and contain. What escapes categorization can escape detection altogether. There is a kind of counter-criticism that seeks to expand the work of art, by connecting it, opening up its meanings, inviting in the possibilities. A great work of criticism can liberate a work of art, to be seen fully, to remain alive, to engage in a conversation that will not ever end but will instead keep feeing the imagination. Not against interpretation, but against confinement, against the killing of the spirit. Such criticism is itself great art. This is a kind of criticism that does not pit the critic against the text, does not seek authority. It seeks instead to travel with the work and its ideas, to invite it to blossom and invite others into a conversation that might have previously seemed impenetrable, to draw out relationships that might have been unseen and open doors that might have been locked. This is a kind of criticism that respects the essential mystery of art, which is in part its beauty and its pleasure, both of which are irreducible and subjective. The worst criticism seeks to have the last word and leave the rest of us in silence; the best opens up an exchange that need never end.

one dirty-nailed hand. “So what are you doing?” he said. “Want to help me out this afternoon?” “Help you how?” “Put down your naked-lady book” (Janson’s History of Art) “and ride out to Brooklyn with me.” “What for?” “I have to take some of this garbage out to storage, could use an extra hand. Mike was supposed to help but sick today. Ha! Giants played last night, they lost, he had a lot of rocks on the game. Bet he is home in bed up in Inwood with a hangover and a black eye.” vi. ON THE WAY OUT to Brooklyn

That’s not the reason anyone loves a piece of art. It’s a secret whisper from an alleyway. Psst, you. Hey kid. Yes you. Fingertip gliding over the faded-out photo—the conservator’s touch, a touch-without-touching, a communion wafer’s space between the surface and his forefinger. “An individual heart-shock. Your dream, Welty’s dream, Vermeer’s dream. You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum gift shop sees something else entire, and that’s not even to mention the people separated from us by time—four hundred years before us, four hundred years after we’re gone—it’ll never strike anybody the same way and the great majority of people it’ll never strike in any deep way at all but—a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and very particular. Yours, yours. I was painted for you. And—oh, I don’t know, stop me if I’m rambling…” passing a hand over his forehead.… “but Welty himself used to talk about fateful objects. Every dealer and antiquaire recognizes them. The pieces that occur and recur. Maybe for someone else, not a dealer, it wouldn’t be an object. It’d be a city, a color, a time of day. The nail where your fate is liable to catch and snag.

The Nurse's Song This mighty man of whom I sing, The greatest of them all, Was once a teeny little thing, Just eighteen inches tall. I knew him as a tiny tot, I nursed him on my knee. I used to sit him on the pot And wait for him to wee. I always washed between his toes, And cut his little nails. I brushed his hair and wiped his nose And weighed him on the scales. Through happy childhood days he strayed, As all nice children should. I smacked him when he disobeyed, And stopped when he was good. It soon began to dawn on me He wasn't very bright, Because when he was twenty-three He couldn't read or write. "What shall we do?" his parents sob. "The boy has got the vapors! He couldn't even get a job Delivering the papers!" "Ah-ha," I said, "this little clot Could be a politician." "Nanny," he cried, "Oh Nanny, what A super proposition!" "Okay," I said, "let's learn and note The art of politics. Let's teach you how to miss the boat And how to drop some bricks, And how to win the people's vote And lots of other tricks. Let's learn to make a speech a day Upon the T.V. screen, In which you never never say Exactly what you mean. And most important, by the way, In not to let your teeth decay, And keep your fingers clean." And now that I am eighty nine, It's too late to repent. The fault was mine the little swine Became the President.

In Bruges he had carried out a work which was anonymous and brought no glory, but was seen as admirable once it had been understood. He was the embalmer of the town. Being dead, it would have decomposed, disintegrated. He had mummified it in the bandages of its inert waters, its regular columns of smoke, with the gilding and polychrome decoration on the facades like gold and unguents on nails and teeth; and the lily of Memling across the corpse, like the ancient lotus on the virgins of Egypt. It was thanks to him that the town stood triumphant and beautiful in the adornment of death. In that garb it would be eternal, no less than the mummies themselves, eternally in funeral finery, which has nothing sad about it, since it has transformed death into a work of art.

The art world assumed an air of polite remove from the activities of the K Foundation from then on in, and it soon became apparent that no suitable gallery was going to host their inaugural exhibition. This was called Money: A Major Body of Cash, and largely consisted of what money the pair still had from The KLF years nailed to things. The key piece was called Nailed To The Wall, and consisted of a million pounds in fifty pound notes nailed to a board. The reserve price for this was going to be half a million pounds. The purchaser could therefore double their money by simply taking it apart. If they hung it on the wall, however, the value of the notes would decrease over time, but the value of the art might well increase. The exhibition, then, raised many thorny issues about the relationship between art and money. Or at least it would have done, if a gallery had been found to put it on.

You are in his car and your words taste like honey. The suns yolk is stretching over the road, with hues of pink and red ribbon pressed against the bruises of the sky. He is talking about mechanics or sugar factories, and you are touching the rings on your fingers. The windows are open and the wind is making a home in your bones. Your jeans are ripped, your perfume smells like lilacs, your nails painted the color of sea weed. You forget about noise. You forget about color. It’s your lungs - I think, it’s your lungs that are morphing into purple butter. You are in his car and you are Mozart composing art, Claude Monet painting Water Lilies, you are Aphrodite, you are Shakespeare. You are in his car and you can’t remember what salt feels like against your tongue. You are in his car and you are ocean, fire - lip, tongue, breath, sweat. You are in his car and you are telling him you love him. You are in his car and he is telling you he loves you back.

I think he painted the way he did," I answered, "because he had something perfect with Diana." I braced myself for her next scathing insight and nearly fell over when she reached out to pat my hand. Her wedding ring was a heavy,hammered gold band that could probably pound nails. "Nothing but the occasional espresso is perfect," she said, not unkindly. "Let me share some wisdom, Willing Girl. Relationships are like Whack-a-Mole. You squash one annoying deformity and another one pops up in no time." Not your classic sentiment, there. Or a particularly heartening one. It seemed well meant, though, so I figured it might be a good time to inform her, "Um, my name....is Ella. Marino." "Oh,I know who you are, Miss Marino," she shot back. "Shall I mention again that the Willing Foundation doesn't?" "No,Dr. Rothaus," I said meekly. "No need." "Excellent." Dr. Rothaus headed for the door. "You may call me Maxine. Good luck finding something I haven't. And don't cry on the materials.

He leaned down and kissed her stomach, her hip bones, while his big hands held her in place. Then his mouth was on her, covering her, licking over her clit. She arched up, crying out as his tongue slid over her folds, making her mindless and crazy. She clutched the pillow, burying her head into the softness as he sucked and licked, nipping over her skin. She clamped her thighs around his head. Whimpered. He was going to drive her right over the edge. His tongue lapped over her clit. "Jack, stop," she said, her voice harsh and panting. "I'm going to... God... No... I want..." He didn't stop. Didn't ease up. He just pushed her harder. His tongue. It was magic. The condom packet slid off her stomach as she planted her feet and rocked into him. Giving up, surrendering to his will and determination. Everything that made Jack, Jack. She coiled tight and then she exploded. She bit her lip, stifling her moans as she rode out wave after wave of delicious sensation. She couldn't think, couldn't put together a sentence, but then he was on her, over her. His palm on her neck, his fingers on her jaw, twisting her face to meet his. His mouth covered hers. He tasted like sex. And lust. His grasp was tight on her jaw, and the way he kissed her, devoured her, sucked her right back under. It was a raw, dirty kiss that consumed her. Her fingers came up to where he held her, and she dug her nails into his wrists. He growled against her lips, biting her, sucking. And the kiss went on and on and on. He finally pulled away, grabbed the condom, and tore open the package. He tossed it onto her body again, ridding himself of his sweats, and then he was naked. And she could only gape at him. Her gaze wide. He had the best cock she'd ever seen in her life. Long and thick. A work of goddamn art. She reached for him, but he grabbed her wrist, shaking his head. "I can't wait, Chlo." He picked up the condom, threw the packet on the floor somewhere and rolled the condom down his hard shaft. She breathed out his name. "Jack." He leaned down, kissing her again, soft and sweet. His erection nudged between her legs. "Just let me inside.

Then she dove into the morning cleaning. There weren't many rooms in the tower, which made it easy, but she liked to be thorough. Sweep, mop, polish. The garderobe and her mirror got sparkly from scrubbing with a bit of vinegar (a trick she learned from Book #14: Useful Recipes for Master Servants). She transferred a day dress that was soaking in a soapy bucket to a clean water bucket, scrubbing out the bit of lingonberry juice stain from breakfast on Monday. 7:00: Personal ablutions. She washed her face and nails and applied cream to her cuticles and everywhere on her face but the T-zone, which was, despite her fairy-tale beauty, just a tad prone to breaking out. 8:00: Reading. She (re)read Book #26, Sidereus Nuncius by Galileo. More a pamphlet than a book, but it counted. 8:30: Art! Lacking a proper canvas (or piece of wall space) she chose to spend her painting time decorating the mop handle. It might not be dry enough to actually use the next day, but that was all right. Birthday weeks meant the occasional break from routine-- that was part of the fun!

My honors thesis project was my first interactive exhibit, in which two facing chairs were activated by a motion sensor when the viewer walked by. One was a cofortable armchair of plush red velvet, with a dildo sticking out of a hole in the seat. When activated, the dildo moved up and down and a strobe light pulsed. The facing chair was hard and uncomfortable, with spikes protruding from the seat, and when the viewer walked by it a dog would bark. The juxtaposition of the two chairs was meant to represent how forces of repression censor the desire for liberation. In that same exhibition, I showed a handmade box in the shape of a cross, decorated with a beautiful painting of the Holy Trinity. The viewer was encouraged to open the box, where they would find a dildo wrapped in the American flag and nailed to a cross-- this was meant to symbolize the hypocrisy and repression that is hidden under the attractive facade of organized religion. The dildo was surrounded by pages from the Bible, which were themselves surrounded by images of the sickness and starvation caused by the embargo in Iraq, a comment on the effects of imposing one culture and religion on another.

Della & I are drunk at the top of Mont-Royal. We have an open blue plastic thermos of red wine at our feet. It's the first day of spring & it's midnight & we've been peeling off layers of winter all day. We stand facing each other, as if to exchange vows, chests heaving from racing up & down the mountain to the sky. My face is hurting from smiling so much, aching at the edges of my words. She reaches out to hold my face in her hands, dirty palms form a bowl to rest my chin. I’m standing on a tree stump so we’re eye to eye. It’s hard to stay steady. I worry I may start to drool or laugh, I feel so unhinged from my body. It’s been one of those days I don’t want to end. Our goal was to shirk all responsibility merely to enjoy the lack of everyday obligations, to create fullness & purpose out of each other. Our knees are the colour of the ground-in grass. Our boots are caked in mud caskets. Under our nails is a mixture of minerals & organic matter, knuckles scraped by tree bark. We are the thaw embodied. She says, You have changed me, Eve, you are the single most important person in my life. If you were to leave me, I would die. At that moment, our breath circling from my lungs & into hers, I am changed. Perhaps before this I could describe our relationship as an experiment, a happy accident, but this was irrefutable. I was completely consumed & consuming. It was as though we created some sort of object between us that we could see & almost hold. I would risk everything I’ve ever known to know only this. I wanted to honour her in a way that was understandable to every part of me. It was as though I could distill the meaning of us into something I could pour into a porcelain cup. Our bodies on top of this city, rulers of love. Originally, we were celebrating the fact that I got into Concordia’s visual arts program. But the congratulatory brunch she took me to at Café Santropol had turned into wine, which had turned into a day for declarations. I had a sense of spring in my body, that this season would meld into summer like a running-jump movie kiss. There would be days & days like this. XXXX gone away on a sojurn I didn’t care to note the details of, she simply ceased to be. Summer in Montreal in love is almost too much emotion to hold in an open mouth, it spills over, it causes me to not need any sleep. I don’t think I will ever feel as awake as I did in the summer of 1995.

August 21st DON’T BE MISERABLE IN ADVANCE “It’s ruinous for the soul to be anxious about the future and miserable in advance of misery, engulfed by anxiety that the things it desires might remain its own until the very end. For such a soul will never be at rest—by longing for things to come it will lose the ability to enjoy present things.” —SENECA, MORAL LETTERS, 98.5b–6a The way we nervously worry about some looming bad news is strange if you think about it. By definition, the waiting means it hasn’t happened yet, so that feeling bad in advance is totally voluntary. But that’s what we do: chewing our nails, feeling sick to our stomachs, rudely brushing aside the people around us. Why? Because something bad might occur soon. The pragmatist, the person of action, is too busy to waste time on such silliness. The pragmatist can’t worry about every possible outcome in advance. Think about it. Best case scenario—if the news turns out to be better than expected, all this time was wasted with needless fear. Worst case scenario—we were miserable for extra time, by choice. And what better use could you make of that time? A day that could be your last—you want to spend it in worry? In what other area could you make some progress while others might be sitting on the edges of their seat, passively awaiting some fate? Let the news come when it does. Be too busy working to care.

her power now that she had lost the hair. So when the bride had finished drinking, and would have got upon Falada again, the maid said, "I shall ride upon Falada, and you may have my horse instead;" so she was forced to give up her horse, and soon afterwards to take off her royal clothes, and put on her maid's shabby ones. At last, as they drew near the end of the journey, this treacherous servant threatened to kill her mistress if she ever told anyone what had happened. But Falada saw it all, and marked it well. Then the waiting-maid got upon Falada, and the real bride was set upon the other horse, and they went on in this way till at last they came to the royal court. There was great joy at their coming, and the prince hurried to meet them, and lifted the maid from her horse, thinking she was the one who was to be his wife; and she was led upstairs to the royal chamber, but the true princess was told to stay in the court below. However, the old king happened to be looking out of the window, and saw her in the yard below; and as she looked very pretty, and too delicate for a waiting-maid, he went into the royal chamber to ask the bride whom it was she had brought with her, that was thus left standing in the court below. "I brought her with me for the sake of her company on the road," said she. "Pray give the girl some work to do, that she may not be idle." The old king could not for some time think of any work for her, but at last he said, "I have a lad who takes care of my geese; she may go and help him." Now the name of this lad, that the real bride was to help in watching the king's geese, was Curdken. Soon after, the false bride said to the prince, "Dear husband, pray do me one piece of kindness." "That I will," said the prince. "Then tell one of your slaughterers to cut off the head of the horse I rode upon, for it was very unruly, and plagued me sadly on the road." But the truth was, she was very much afraid lest Falada should speak, and tell all she had done to the princess. She carried her point, and the faithful Falada was killed; but when the true princess heard of it she wept, and begged the man to nail up Falada's head against a large dark gate in the city through which she had to pass every morning and evening, that there she might still see him sometimes. Then the slaughterer said he would do as she wished, so he cut off the head and nailed it fast under the dark gate. Early the next morning, as the princess and Curdken went out through the gate, she said sorrowfully— "Falada, Falada, there thou art hanging!" and the head answered— "Bride, bride, there thou are ganging! Alas! alas! if thy mother knew it, Sadly, sadly her heart would rue it." Then they went out of the city, driving the geese. And when they came to the meadow, the princess sat down upon a bank there and let down her waving locks of hair, which were all of pure gold; and when Curdken saw it glitter in the sun, he ran up, and would have pulled some of the locks out; but she cried— "Blow, breezes, blow! Let Curdken's hat go! Blow breezes, blow! Let him after it go! "O'er hills, dales, and rocks, Away be it whirl'd, Till the golden locks Are all comb'd and curl'd!" Then there came a wind, so strong that it blew off Curdken's hat, and away it flew over the hills, and he after it; till, by the time he came back, she had done combing and curling her hair, and put it up again safely. Then he was very angry and sulky, and would not speak to her at all; but they watched the geese until it grew dark in the evening, and then drove them homewards. The next morning, as they were going through the dark gate, the poor girl looked up at Falada's head, and cried— "Falada, Falada, there thou art hanging!" and it answered— "Bride, bride, there thou are ganging! Alas! alas! if thy mother knew it, Sadly, sadly her heart would rue it." Then she drove on the geese and sat down again in the meadow, and began to comb

When I drive I like to listen to Schubert's piano sonatas with the volume turned up. Do you know why?' 'I have no idea.' 'Because playing Schubert's piano sonatas well is one of the hardest things in the world. Especially this, the Sonata in D Major. It's a tough piece to master. Some pianists can play one or maybe two of the movements perfectly, but if you listen to all four movements as a unified whole, no one has ever nailed it. A lot of famous pianists have tried to rise to the challenge, but it's like there's always something missing. There's never one where you can say, Yes! He's got it! Do you know why?' 'No,' I reply. 'Because the sonata itself is imperfect. Robert Schumann understood Schubert's sonatas well, and he labeled this one "Heavenly Tedious."' "If the composition's imperfect, why would so many pianists try to master it?' 'Good question,' Oshima says, and pauses as music fills in the silence. 'I have no great explanation for it, but one thing I can say. Works that have a certain imperfection to them have an appeal for that very reason―or at least they appeal to certain types of people. Just like you're attracted to Soseki's The Miner. There's something in it that draws you in, more than more fully realized novels like Kokoro or Sanshiro. You discover something about that work that tugs at your heart―or maybe we should say the work discovers you. Schubert's Sonata in D Major is sort of the same thing.' 'To get back to the question,' I say, 'why do you listen to Schubert's sonatas? Especially when you're driving?' 'If you play Schubert's sonatas, especially this one straight through, it's not art. Like Schumann pointed out, it's too long and too pastoral, and technically too simplistic. Play it through the way it is and it's flat and tasteless, some dusty antique. Which is why every pianist who attempts it adds something of his own, something extra. Like this―hear how he articulates it there? Adding rubato. Adjusting the pace, modulation, whatever. Otherwise they can't hold it all together. They have to be careful, though, or else all those extra devices destroy the dignity of the piece. Then it's not Schubert's music anymore. Every single pianist who's played this sonata struggles with the same paradox.' He listens to the music, humming the melody, then continues. 'That's why I like to listen to Schubert while I'm driving. Like I said, it's because all the performances are imperfect. A dense, artistic kind of imperfection stimulates your consciousness, keeps you alert. If I listen to some utterly perfect performance of an utterly perfect piece while I'm driving, I might want to close my eyes and die right then and there. But listening to the D major, I can feel the limits of what humans are capable of―that a certain type of perfection can only be realized through a limitless accumulation of the imperfect. And personally, I find that encouraging.

Halo Effect Cisco, the Silicon Valley firm, was once a darling of the new economy. Business journalists gushed about its success in every discipline: its wonderful customer service, perfect strategy, skilful acquisitions, unique corporate culture and charismatic CEO. In March 2000, it was the most valuable company in the world. When Cisco’s stock plummeted 80% the following year, the journalists changed their tune. Suddenly the company’s competitive advantages were reframed as destructive shortcomings: poor customer service, a woolly strategy, clumsy acquisitions, a lame corporate culture and an insipid CEO. All this – and yet neither the strategy nor the CEO had changed. What had changed, in the wake of the dot-com crash, was demand for Cisco’s product – and that was through no fault of the firm. The halo effect occurs when a single aspect dazzles us and affects how we see the full picture. In the case of Cisco, its halo shone particularly bright. Journalists were astounded by its stock prices and assumed the entire business was just as brilliant – without making closer investigation. The halo effect always works the same way: we take a simple-to-obtain or remarkable fact or detail, such as a company’s financial situation, and extrapolate conclusions from there that are harder to nail down, such as the merit of its management or the feasibility of its strategy. We often ascribe success and superiority where little is due, such as when we favour products from a manufacturer simply because of its good reputation. Another example of the halo effect: we believe that CEOs who are successful in one industry will thrive in any sector – and furthermore that they are heroes in their private lives, too.

Nothing better," said this false bride, "than that she should be thrown into a cask stuck around with sharp nails, and that two white horses should be put to it, and should drag it from street to street till she is dead." "Thou art she!" said the old king; "and since thou hast judged thyself, it shall be so done to thee.

Do not limit your planning horizon to what can be accomplished with existing tools. If the only tool you have is a hammer, everything will look like a nail.

February 3 MORNING “Therefore, brethren, we are debtors.” — Romans 8:12 AS God’s creatures, we are all debtors to Him: to obey Him with all our body, and soul, and strength. Having broken His commandments, as we all have, we are debtors to His justice, and we owe to Him a vast amount which we are not able to pay. But of the Christian it can be said that he does not owe God’s justice anything, for Christ has paid the debt His people owed; for this reason the believer owes the more to love. I am a debtor to God’s grace and forgiving mercy; but I am no debtor to His justice, for He will never accuse me of a debt already paid. Christ said, “It is finished!” and by that He meant, that whatever His people owed was wiped away for ever from the book of remembrance. Christ, to the uttermost, has satisfied divine justice; the account is settled; the handwriting is nailed to the cross; the receipt is given, and we are debtors to God’s justice no longer. But then, because we are not debtors to our Lord in that sense, we become ten times more debtors to God than we should have been otherwise. Christian, pause and ponder for a moment. What a debtor thou art to divine sovereignty! How much thou owest to His disinterested love, for He gave His own Son that He might die for thee. Consider how much you owe to His forgiving grace, that after ten thousand affronts He loves you as infinitely as ever. Consider what you owe to His power; how He has raised you from your death in sin; how He has preserved your spiritual life; how He has kept you from falling; and how, though a thousand enemies have beset your path, you have been able to hold on your way. Consider what you owe to His immutability. Though you have changed a thousand times, He has not changed once. Thou art as deep in debt as thou canst be to every attribute of God. To God thou owest thyself, and all thou hast — yield thyself as a living sacrifice, it is but thy reasonable service.

As for the other central vowels, do you know the song “Better Man” by Pearl Jam? (No judgment if not; they’ve done better.) See if you can find it on YouTube. Listen to the part of the chorus where Eddie Vedder sings “Can’t find a better man.” Hear how his voices changes—how it kind of sounds huskier? This is something you heard a lot in the nineties (Scott Weiland did it; Shakira does it a lot; Dave Matthews did a lot [or Dave, as his true fans call him]). What Eddie Vedder is actually doing is centralizing all the front vowels. His typical pronunciation of “can’t find a better” is something I’d transcribe as . Naturally, he doesn’t always sing this way. Every so often he simply feels the need to kick it into overdrive, and so he centralizes all the vowels. It’s a noticeably different sound. As for why, the only thing I can come up with is that it obscures a lot of the vocalic variety of English (there are fewer distinctions for central vowels than for front vowels), and makes it easier to hold a tone. It’s also why baby comes out babay a lot of times ([e] is lower than [i], which means your mouth is open wider). Anyway, if you’re trying to nail central vowels, remember Eddie Vedder (but hopefully for “Corduroy,” “Yellow Ledbetter,” “Black,” “Guaranteed,” “Oceans,” and “I Got Id” rather than “Better Man”).

we should never forget that when Jesus rose from the dead, as the paradigm, first example, and generating power of the whole new creation, the marks of the nails were not just visible on his hands and his feet. They were the way he was to be identified. When art comes to terms with both the wounds of the world and the promise of resurrection and learns how to express and respond to both at once, we will be on the way to a fresh vision, a fresh mission. A

… it is necessary that she be able to sing, dance and play a musical instrument altogether when requested … she should write and draw well, be adept in the giving of tattoos, and be prepared to receive them in whatsoever place the man should desire. ‘She should know how to speak the language of flowers when decorating beds or couches, or even when decorating the ground. In the arts of staining, dyeing, colouring and painting her teeth, her clothes, her nails and her body, a woman should be beyond compare. ‘A woman should know how to play music on glasses filled to different heights with liquids of various sorts. She should be able to fix stained-glass into a floor. She should know how to make, trim and hang a picture; how to fashion a necklace, a rosary, a garland or a wreath; how to store or gather water in an aqueduct or a tank. ‘She should know about scents; and about ornaments. She should be able to act and to lay on theatrical shows; she should be quick and sure in her hands and be able to cook and make lemonade or sherbet; wear jewels and bind a man’s turban. And she should of course, know magic ….

And when had a critical eye ever helped me, really? Nobody likes the girl who points out all the inherent sexism on The Bachelor. But people are charmed byt the girl kvelling about nail art, boba tea, and the homeopathic benefits of ayahuasca.

Grant me the following in the name of our Lord Jesus Christ. Like a leper rotting in flesh, let all avoid me. Like a cripple without limbs, let me not move freely. Remove my cheeks, the tears may not roll down them. Crush my lips and tongue, that I may not sin with them. Pull out my nails, that I may not grasp nothing. Let my shoulders and back be bent, that I may carry nothing. Like a man with tumor in the head let me lack judgment. Ravage my body sworn to chastity leave me with no pride, and have me live in shame. Let no one pray for me. But only the grace of the Lord Jesus Christ have mercy on me.

Consider a guess-the-number game in which players must guess a number between 0 and 100. The person whose guess comes closest to two-thirds of the average guess of all contestants wins. That’s it. And imagine there is a prize: the reader who comes closest to the correct answer wins a pair of business-class tickets for a flight between London and New York. The Financial Times actually held this contest in 1997, at the urging of Richard Thaler, a pioneer of behavioral economics. If I were reading the Financial Times in 1997, how would I win those tickets? I might start by thinking that because anyone can guess anything between 0 and 100 the guesses will be scattered randomly. That would make the average guess 50. And two-thirds of 50 is 33. So I should guess 33. At this point, I’m feeling pretty pleased with myself. I’m sure I’ve nailed it. But before I say “final answer,” I pause, think about the other contestants, and it dawns on me that they went through the same thought process as I did. Which means they all guessed 33 too. Which means the average guess is not 50. It’s 33. And two-thirds of 33 is 22. So my first conclusion was actually wrong. I should guess 22. Now I’m feeling very clever indeed. But wait! The other contestants also thought about the other contestants, just as I did. Which means they would have all guessed 22. Which means the average guess is actually 22. And two-thirds of 22 is about 15. So I should … See where this is going? Because the contestants are aware of each other, and aware that they are aware, the number is going to keep shrinking until it hits the point where it can no longer shrink. That point is 0. So that’s my final answer. And I will surely win. My logic is airtight. And I happen to be one of those highly educated people who is familiar with game theory, so I know 0 is called the Nash equilibrium solution. QED. The only question is who will come with me to London. Guess what? I’m wrong. In the actual contest, some people did guess 0, but not many, and 0 was not the right answer. It wasn’t even close to right. The average guess of all the contestants was 18.91, so the winning guess was 13. How did I get this so wrong? It wasn’t my logic, which was sound. I failed because I only looked at the problem from one perspective—the perspective of logic. Who are the other contestants? Are they all the sort of people who would think about this carefully, spot the logic, and pursue it relentlessly to the final answer of 0?

• You don't get to control your feelings, Thinking Brain. Self-control is an illusion. It's an illusion that occurs when both brains are aligned and pursuing the same course of action. It's an illusion designed to give people hope. And when the Thinking brain isn't aligned with the Feeling Brain, people feel powerless, and the world around them begins to feel hopeless. The only way you consistently nail that illusion is by consistently communicating and aligning the brains around the same values. It's a skill, much the same as playing water polo or juggling knives is a skill. It takes work. And there will be failures along the way. You might slice your arm open and bleed everywhere. But that's just the cost of admission.

If your only tool is a hammer, all your problems will be nails,” said Mark Twain—

How could he warn her that the world resisted the addition of beauty, fought it tooth and nail. Should he tell her that her talent would spark envy and cruelty and that it would heal and answer prayers. Could he tell her of the sadness that would swallow her as soon as a canvas was finished, because created by human hands it was complete and still imperfect.

After discarding a hammer because the handle was worn out, I used my frying pan to pound in any nails.

Those Wielding Hammers See Only Nails Déformation Professionnelle

VINTAGE ROSE NAILS A simple floral print nail art design, perfect for spring! This eye-catching design will surely bring a vintage look to any outfit.

The first hands around his throat belonged to Art Browne, the top dog in his meeting with the editorial board of the New York Daily News. Browne, a slim, balding Pulitzer Prize winner with about forty years logged at the paper, tried to nail him down on a basic question that had eluded most of the media for the entirety of the campaign. Bernie liked to say that he would break up the big banks. In the interview, Sanders acknowledged two important substantive matters that undermined his favorite talking point: he didn’t have a plan for what to do with the banks once they were broken up, and there was already existing authority under the Dodd-Frank law to wind down banks that posed too much risk to the system. He was calling for new authority that already existed! And beyond that, he couldn’t say what would happen to all of the assets once a bank was required to break apart. He was flirting with increasing the risk to consumers, rather than decreasing it. It was a demonstration of exactly what Hillary had been saying about him: his plans weren’t real.

Now, describe, in a single written sentence, your intended successful outcome for this problem or situation. In other words, what would need to happen for you to check this project off as “done”? It could be as simple as “Take the Hawaii vacation,” “Handle situation with customer X,” “Resolve college situation with Susan,” “Clarify new divisional management structure,” “Implement new investment strategy,” or “Research options for dealing with Manuel’s reading issue.” All clear? Great. Now write down the very next physical action required to move the situation forward. If you had nothing else to do in your life but get closure on this, what visible action would you take right now? Would you call or text someone? Write an e-mail? Take pen and paper and brainstorm about it? Surf the Web for data? Buy nails at the hardware store? Talk about it face-to-face with your partner, your assistant, your attorney, or your boss? What? Got the answer to that?

Now, beset with strong feelings in the moment, you lack a clearly marked mental path to self-reflection that can help you self-soothe or communicate effectively. A common difficulty in intimate relationships is not feeling seen and loved in our difference. As a child, if the people you depended upon either got lost in your distress and couldn’t maintain a separate point of view, or required you to suppress your feelings and take their point of view, it taught you that being a separate individual with a different perspective was somehow a problem. If my experience taught me that separate points of view create ruptures in empathy, it’s no wonder I might fight with my partner tooth and nail to enforce agreement. By passionately insisting that you should see things as I do, I both echo and warp the original protest, at the heart of every human, that I should be loved as myself.

It was an ecological protest against air pollution, which in 1969 was at its worst, when acid rain burned our eyes to tears. I handed out bags of roofing nails to five friends and we all got to work. At first, we sprinkled them in the middle of the side streets when there was no traffic. I made sure that at least some of these nails stood upright, their wide heads on the cobblestones. We fanned out through the neighborhood, picking up new bags of nails that I had stashed at strategic locations. And finally, when it got dark, I threw handful after handful of nails across Canal Street in between traffic lights, and watched what happened. Cars ran over the nails, driving for only a few blocks before their tires went flat. In the Holland Tunnel, there were dozens of cars with flat tires, and dozens more backed up outside. Hundreds of disabled vehicles fanned out across SoHo and beyond. In the midst of the confusion, I approached a police officer and asked, “Excuse me, what is happening?” “A nut is nailing the streets,” said the cop. My performance piece was a brilliant success, I thought, falling into bed on the Bowery, aching with exhaustion. I was too angry, too selfish to think of the chaos and suffering I had caused, the lack of real benefit to anyone.

A Chinese Zen master[FN#230] tells us that the method of instruction adopted by Zen may aptly be compared with that of an old burglar who taught his son the art of burglary. The burglar one evening said to his little son, whom he desired to instruct in the secret of his trade: "Would you not, my dear boy, be a great burglar like myself?" "Yes, father," replied the promising young man." "Come with me, then. I will teach you the art." So saying, the man went out, followed by his son. Finding a rich mansion in a certain village, the veteran burglar made a hole in the wall that surrounded it. Through that hole they crept into the yard, and opening a window with complete ease broke into the house, where they found a huge box firmly locked up as if its contents were very valuable articles. The old man clapped his hands at the lock, which, strange to tell, unfastened itself. Then he removed the cover and told his son to get into it and pick up treasures as fast as he could. No sooner had the boy entered the box than the father replaced the cover and locked it up. He then exclaimed at the top of his voice: "Thief! thief! thief! thief!" Thus, having aroused the inmates, he went out without taking anything. All the house was in utter confusion for a while; but finding nothing stolen, they went to bed again. The boy sat holding his breath a short while; but making up his mind to get out of his narrow prison, began to scratch the bottom of the box with his finger-nails. The servant of the house, listening to the noise, supposed it to be a mouse gnawing at the inside of the box; so she came out, lamp in hand, and unlocked it. On removing the cover, she was greatly surprised to find the boy instead of a little mouse, and gave alarm. In the meantime the boy got out of the box and went down into the yard, hotly pursued by the people. He ran as fast as possible toward the well, picked up a large stone, threw it down into it, and hid himself among the bushes. The pursuers, thinking the thief fell into the well, assembled around it, and were looking into it, while the boy crept out unnoticed through the hole and went home in safety. Thus the burglar taught his son how to rid himself of overwhelming difficulties by his own efforts; so also Zen teachers teach their pupils how to overcome difficulties that beset them on all sides and work out salvation by themselves. [FN#230]

Love finds lazy writers And makes example out of them Nailing them in history

Hunter?” She grasped his shoulders for support, digging her nails into his flesh. “Hunter?” “I am here. Be easy.” He slid a hand to the nape of her neck and turned her face back to him. “Be easy.” Loretta’s legs felt like wet clay. As his mouth again claimed hers, a hundred possibilities ran through her mind, all frightening. Then sensation wiped out everything. There was only Hunter, solid and warm and gentle, holding her in rock-hard arms, his body bracing hers. Even in her inexperience, she sensed that kissing was new to him, that he was doing it only to please her. But after a few experimental nibbles, he mastered the art, claiming her mouth with a shattering thoroughness, his tongue thrusting deep, the sensuous rhythm he struck as old as time. Loretta leaned into him, sliding her hands into his hair, forgetting for a moment to be afraid. Looping an arm under her bottom, he lifted her against him. She could feel his heart slamming. Or was it hers? It didn’t matter. All that mattered were the feelings sweeping through her. When at last Hunter drew back for air, his dark eyes were cloudy with tenderness. He smiled a slow, thoughtful smile and, sliding her down his thighs, let her feet touch the floor. With infinite slowness he grasped the tails of her overblouse and skimmed the leather lightly up her ribs, grazing her sensitized breasts. Loretta glued her gaze to his, bracing herself. “I’m frightened,” she said shakily. “I am frightened beside you,” he murmured. “You? But why are you--” “Because you are sunshine. Because you make a glad song inside me. I have great fear that you will go away from me.” He drew the blouse over her head and tossed it aside. Smiling, he smoothed her hair, then lifted its heavy length to resettle it around her white shoulders so it covered her breasts. Skimming his palms down her slender arms, he found the drawstring that held up her skirt and made fast work of untying the knot. “Nei com-mar-pe ein.” She clutched her skirt. “What does that mean?” “I love you.” “Oh, Hunter.

Applying nail polish is an art. You need non-shaky hands. And a calm and Zen-like nature. I am not calm and have but a nodding acquaintance with Zen. At the best of times, I’m not great at applying nail polish, and if anyone has attempted to apply nail polish when they are in a rush, they will understand the difficulties involved. Your hands will shake. Your hands will take the nail polish beyond the boundaries of your nail and onto the surrounding skin, you will carefully loop it off your skin with a handy ear bud, only to realise you have now got it onto your fingernails, which were also pale pink to begin with, but will now have to be made post-box red—you could never live down the indignity of mottled red and pink nail polish that looks like the visage of a rabid dog, and will spend the entire evening holding your hand petulantly behind your back and refusing to extend it even when you are being introduced to folk you cannot air-kiss and must shake hands with, aka senior corporate types.

FOR WANT OF A NAIL For want of a nail, the shoe was lost. For want of a shoe, the horse was lost. For want of a horse, the rider was lost. For want of a rider, the message was lost. For want of a message, the battle was lost. For want of a battle, the war was lost. For want of a war, the kingdom was lost. And all for the want of a nail.

was on his third medical leave. “We’ve been working on this product for a while and I didn’t want to miss it,” he told the cheering crowd. Jobs closed the presentation with this observation: It’s technology married with liberal arts, married with the humanities, that yields us the result that makes our heart sing. In one sentence Steve Jobs captured the essence of what made him an inspiring storyteller. As it turns out Sculley had nailed it, too, when he said that Jobs was passionate about making a difference. Passion is everything and Jobs had plenty of it.

I thought more about anger, about the art piece I would create. A more fitting tribute: a piece called Construction; each victim is given a nail for every day she has lived with what happened to her. There's a haphazard pile of wood in the center of campus. Victims can come as they please, hammering nails into the wood. All day people hear the banging, all the drilling and incessant interruption. This is a lot of what surviving is like, trying to carry on and get work done, while your past pounds into you, distracts you, makes it impossible. At the end there'd be an immense wooden structure, randomly nailed together, large, useless, pointy, and dangerous in the middle of everything, people forced to walk about it, interrupting the pretty view of the trees. This is also what assault feels like, what to do with this, where to put, what is it.

My real trouble as a writer isn’t trying to mean the words that I write; it’s living into the words that I mean. Nonfiction writing can feel like the high art of hypocrisy, and the act of fixing words to a page can be like an inglorious act of self-crucifixion, ink indelibly driving the nails in the space that lies between life as I live it and life as I wish it were lived.

Steadfast cross, among all other Thou art a tree of great prize; In branch and flower such another I ne wot non in wood nor rise. Sweet be the nails, and sweet be the tree, And sweeter be the burden that hangs upon thee.

The way we nervously worry about some looming bad news is strange if you think about it. By definition, the waiting means it hasn’t happened yet, so that feeling bad in advance is totally voluntary. But that’s what we do: chewing our nails, feeling sick to our stomachs, rudely brushing aside the people around us. Why? Because something bad might occur soon. The pragmatist, the person of action, is too busy to waste time on such silliness. The pragmatist can’t worry about every possible outcome in advance. Think about it. Best case scenario—if the news turns out to be better than expected, all this time was wasted with needless fear. Worst case scenario—we were miserable for extra time, by choice. And what better use could you make of that time? A day that could be your last—you want to spend it in worry? In what other area could you make some progress while others might be sitting on the edges of their seat, passively awaiting some fate? Let the news come when it does. Be too busy working to care.

He would tirelessly recount the horror. With machete words, club words, words studded with nails, naked words and—despite Gérard—words covered with blood and shit. That he could do, because he saw in the genocide of Rwandan Tutsis a great lesson in simplicity. Every chronicler could at least learn—something essential to his art—to call a monster by its name.

The beauty of creation, to which art responds and which it tried to express, imitate, and highlight, is not simply the beauty it possesses in itself but the beauty it possesses in view of what is promised to it: back to the chalice, the violin, the engagement ring. We are committed to describing the world not just as it should be, not just as it is, but as—by God's grace alone!—one day it will be. And we should never forget that when Jesus rose from the dead, as the paradigm, first example, and generating power of the whole new creation, the marks of the nails were not just visible on his hands and his feet. They were the way he was to be identified. When art comes to terms with both the wounds of the world and the promise of resurrection and learns how to express and respond to both at once, we will be on the way to a fresh vision, a fresh mission.

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