Observing Painting Quotes

What do you think of this" he asked, indicating the painting nearby. She gave him an odd look. "I think it's an enormous painting of a dog." He made a show of considering the picture and nodded seriously. "An astute observation.

We Irish prefer embroideries to plain cloth. To us Irish, memory is a canvas--stretched, primed, and ready for painting on. We love the "story" part of the word "history," and we love it trimmed out with color and drama, ribbons and bows. Listen to our tunes, observe a Celtic scroll: we always decorate our essence.

believe that this way of living, this focus on the present, the daily, the tangible, this intense concentration not on the news headlines but on the flowers growing in your own garden, the children growing in your own home, this way of living has the potential to open up the heavens, to yield a glittering handful of diamonds where a second ago there was coal. This way of living and noticing and building and crafting can crack through the movie sets and soundtracks that keep us waiting for our own life stories to begin, and set us free to observe the lives we have been creating all along without ever realizing it. I don’t want to wait anymore. I choose to believe that there is nothing more sacred or profound than this day. I choose to believe that there may be a thousand big moments embedded in this day, waiting to be discovered like tiny shards of gold. The big moments are the daily, tiny moments of courage and forgiveness and hope that we grab on to and extend to one another. That’s the drama of life, swirling all around us, and generally I don’t even see it, because I’m too busy waiting to become whatever it is I think I am about to become. The big moments are in every hour, every conversation, every meal, every meeting. The Heisman Trophy winner knows this. He knows that his big moment was not when they gave him the trophy. It was the thousand times he went to practice instead of going back to bed. It was the miles run on rainy days, the healthy meals when a burger sounded like heaven. That big moment represented and rested on a foundation of moments that had come before it. I believe that if we cultivate a true attention, a deep ability to see what has been there all along, we will find worlds within us and between us, dreams and stories and memories spilling over. The nuances and shades and secrets and intimations of love and friendship and marriage an parenting are action-packed and multicolored, if you know where to look. Today is your big moment. Moments, really. The life you’ve been waiting for is happening all around you. The scene unfolding right outside your window is worth more than the most beautiful painting, and the crackers and peanut butter that you’re having for lunch on the coffee table are as profound, in their own way, as the Last Supper. This is it. This is life in all its glory, swirling and unfolding around us, disguised as pedantic, pedestrian non-events. But pull of the mask and you will find your life, waiting to be made, chosen, woven, crafted. Your life, right now, today, is exploding with energy and power and detail and dimension, better than the best movie you have ever seen. You and your family and your friends and your house and your dinner table and your garage have all the makings of a life of epic proportions, a story for the ages. Because they all are. Every life is. You have stories worth telling, memories worth remembering, dreams worth working toward, a body worth feeding, a soul worth tending, and beyond that, the God of the universe dwells within you, the true culmination of super and natural. You are more than dust and bones. You are spirit and power and image of God. And you have been given Today.

The impulse to paint comes neither from observation nor from the soul (which is probably blind) but from an encounter: the encounter between painter and model: even if the model is a mountain or a shelf of empty medicine bottles.

For all the pain you suffered, my mama. For all the torment of your past and future years, my mama. For all the anguish this picture of pain will cause you. For the unspeakable mystery that brings good fathers and sons into the world and lets a mother watch them tear at each other’s throats. For the Master of the Universe, whose suffering world I do not comprehend. For dreams of horror, for nights of waiting, for memories of death, for the love I have for you, for all the things I remember, and for all the things I should remember but have forgotten, for all these I created this painting—an observant Jew working on a crucifixion because there was no aesthetic mold in his own religious tradition into which he could pour a painting of ultimate anguish and torment.

It's often about the simple things, isn't it? Painting and photography are first about seeing, they say. Writing is about observing. Technique is secondary. Sometimes the simple is the most difficult.

ART IS MADE BY ORDINARY PEOPLE. Creatures having only virtues can hardly be imagined making art. It’s difficult to picture the Virgin Mary painting landscapes. Or Batman throwing pots. The flawless creature wouldn’t need to make art.

But I realized something. About art. And psychiatry. They're both self-perpetuating systems. Like religion. All three of them promise you a sense of inner worth and meaning, and spend a lot of time telling you about the suffering you have to go through to achieve it. As soon as you get a problem in any one of them, the solution it gives is always to go deeper into the same system. They're all in rather uneasy truce with one another in what's actually a mortal battle. Like all self-reinforcing systems. At best, each is trying to encompass the other two and define them as sub-groups. You know: religion and art are both forms of madness and madness is the realm of psychiatry. Or, art is the study and praise of man and man's ideals, so therefore a religious experience just becomes a brutalized aesthetic response and psychiatry is just another tool for the artist to observe man and render his portraits more accurately. And the religious attitude I guess is that the other two are only useful as long as they promote the good life. At worst, they all try to destroy one another. Which is what my psychiatrist, whether he knew it or not, was trying, quite effectively, to do to my painting. I gave up psychiatry too, pretty soon. I just didn't want to get all wound up in any systems at all.

It is amazing to me," said Bingley, "How young ladies can have patience to be so very accomplished as they all are." "All young ladies accomplished? My dear Charles, what do you mean?" "Yes, all of them, I think. They all paint tables, cover screens and net purses. I scarcely know any one who cannot do all this, and I am sure I never heard a young lady spoken of for the first time without being informed that she was very accomplished." "Your list of the common extent of accomplishments," said Darcy, "has too much truth. The word is applied to many a woman who deserves it no otherwise than by netting a purse or covering a screen. But I am very far from agreeing with you in your estimation of ladies in general. I cannot boast of knowing more than half a dozen, in the whole range of my acquaintance, that are really accomplished." "Nor I, I am sure." said Miss Bingley. "Then," observed Elizabeth, "you must comprehend a great deal in your idea of an accomplished woman." "Yes, I do comprehend a great deal in it." "Oh! certainly," cried his faithful assistant, "no one can really be esteemed accomplished who does not greatly surpass knowledge of music, singing, drawing, dancing, and the modern languages, to deserve the word; and besides all this, she must possess a certain something in her air and manner of walking, the tone of her voice, her address and expressions, or the word will be but half deserved." "All this she must possess," added Darcy, "and to all this she must yet add something more substantial, in the improvement of her mind by extensive reading." "I am no longer surprised at your knowing only six accomplished women. I rather wonder at your knowing any.

A self-destructive man feels completely alienated, utterly alone. He's an outsider to the human community. He thinks to himself, "I must be insane." What he fails to realize is that society has, just as he does, a vested interest in considerable losses and catastrophes. These wars, famines, floods and quakes meet well-defined needs. Man wants chaos. In fact, he has to have it. Depression, strife, riots, murder - all this dread. We're irresistibly drawn to that almost orgiastic state created out of death and destruction. It's in all of us. We revel in it. Sure, the media tries to put a sad face on these things and paints them up as great human tragedies. But we all know the function of the media has never been to eliminate the evils of the world - no! Their job is to persuade us to accept those evils and get used to living with them. The powers that be want us to be passive observers, and they haven't given us any other options outside the occasional, purely symbolic, participatory act of voting. "You want the puppet on the right or the puppet on the left?" I feel that the time has come to project my own inadequacies and dissatisfactions into the sociopolitical and scientific schemes, let my own lack of a voice be heard.

I find it hard to talk about myself. I'm always tripped up by the eternal who am I? paradox. Sure, no one knows as much pure data about me as me. But when I talk about myself, all sorts of other factors--values, standards, my own limitations as an observer--make me, the narrator, select and eliminate things about me, the narratee. I've always been disturbed by the thought that I'm not painting a very objective picture of myself. This kind of thing doesn't seem to bother most people. Given the chance, people are surprisingly frank when they talk about themselves. "I'm honest and open to a ridiculous degree," they'll say, or "I'm thin-skinned and not the type who gets along easily in the world." Or "I am very good at sensing others' true feelings." But any number of times I've seen people who say they've easily hurt other people for no apparent reason. Self-styled honest and open people, without realizing what they're doing, blithely use some self-serving excuse to get what they want. And those "good at sensing others' true feelings" are duped by the most transparent flattery. It's enough to make me ask the question: How well do we really know ourselves? The more I think about it, the more I'd like to take a rain check on the topic of me. What I'd like to know more about is the objective reality of things outside myself. How important the world outside is to me, how I maintain a sense of equilibrium by coming to terms with it. That's how I'd grasp a clearer sense of who I am.

But it so happens that everything on this planet is, ultimately, irrational; there is not, and cannot be, any reason for the causal connexion of things, if only because our use of the word "reason" already implies the idea of causal connexion. But, even if we avoid this fundamental difficulty, Hume said that causal connexion was not merely unprovable, but unthinkable; and, in shallower waters still, one cannot assign a true reason why water should flow down hill, or sugar taste sweet in the mouth. Attempts to explain these simple matters always progress into a learned lucidity, and on further analysis retire to a remote stronghold where every thing is irrational and unthinkable. If you cut off a man's head, he dies. Why? Because it kills him. That is really the whole answer. Learned excursions into anatomy and physiology only beg the question; it does not explain why the heart is necessary to life to say that it is a vital organ. Yet that is exactly what is done, the trick that is played on every inquiring mind. Why cannot I see in the dark? Because light is necessary to sight. No confusion of that issue by talk of rods and cones, and optical centres, and foci, and lenses, and vibrations is very different to Edwin Arthwait's treatment of the long-suffering English language. Knowledge is really confined to experience. The laws of Nature are, as Kant said, the laws of our minds, and, as Huxley said, the generalization of observed facts. It is, therefore, no argument against ceremonial magic to say that it is "absurd" to try to raise a thunderstorm by beating a drum; it is not even fair to say that you have tried the experiment, found it would not work, and so perceived it to be "impossible." You might as well claim that, as you had taken paint and canvas, and not produced a Rembrandt, it was evident that the pictures attributed to his painting were really produced in quite a different way. You do not see why the skull of a parricide should help you to raise a dead man, as you do not see why the mercury in a thermometer should rise and fall, though you elaborately pretend that you do; and you could not raise a dead man by the aid of the skull of a parricide, just as you could not play the violin like Kreisler; though in the latter case you might modestly add that you thought you could learn. This is not the special pleading of a professed magician; it boils down to the advice not to judge subjects of which you are perfectly ignorant, and is to be found, stated in clearer and lovelier language, in the Essays of Thomas Henry Huxley.

I picked up the blue tube again, unscrewed the cap, and squeezed a perfect line of paint onto the palate. As soon as I brushed it on the canvas, I was responsible for it, for the inevitable imperfections. My world had always been like that paint, left on a palate. That color was a passive observer. But not it wanted to make something of itself. And I was terrified.

A man’s work reveals him. In social intercourse he gives you the surface that he wishes the world to accept, and you can only gain a true knowledge of him by inferences from little actions, of which he is unconscious, and from fleeting expressions, which cross his face unknown to him. Sometimes people carry to such perfection the mask they have assumed that in due course they actually become the person they seem. But in his book or his picture the real man delivers himself defenceless. His pretentiousness will only expose his vacuity. The lathe painted to look like iron is seen to be but a lathe. No affectation of peculiarity can conceal a commonplace mind. To the acute observer no one can produce the most casual work without disclosing the innermost secrets of the soul.

You look ill,” Matthew observed. “Is it my dancing? Is it me personally?” “Perhaps I’m nervous,” she said. “Lucie did say you didn’t like many people.” Matthew gave a sharp, startled laugh, before schooling his face back into a look of lazy amusement. “Did she? Lucie’s a chatterbox.” “But not a liar,” she said. “Well, fear not. I do not dislike you. I hardly know you,” said Matthew. “I do know your brother. He made my life miserable at school, and Christopher’s, and James’s.” “Alastair and I are very different,” Cordelia said. She didn’t want to say more than that. It felt disloyal to Alastair. “I like Oscar Wilde, for instance, and he does not.” The corner of Matthew’s mouth curled up. “I see you go directly for the soft underbelly, Cordelia Carstairs. Have you really read Oscar’s work?” “Just Dorian Gray,” Cordelia confessed. “It gave me nightmares.” “I should like to have a portrait in the attic,” Matthew mused, “that would show all my sins, while I stayed young and beautiful. And not only for sinning purposes—imagine being able to try out new fashions on it. I could paint the portrait’s hair blue and see how it looks.” “You don’t need a portrait. You are young and beautiful,” Cordelia pointed out. “Men are not beautiful. Men are handsome,” objected Matthew. “Thomas is handsome. You are beautiful,” said Cordelia, feeling the imp of the perverse stealing over her. Matthew was looking stubborn. “James is beautiful too,” she added. “He was a very unprepossessing child,” said Matthew. “Scowly, and he hadn’t grown into his nose.” “He’s grown into everything now,” Cordelia said. Matthew laughed, again as if he was surprised to be doing it. “That was a very shocking observation, Cordelia Carstairs. I am shocked.

Have I ever said that Turner once actually had himself lashed to the mast of a ship, to be able to later do a painting of a storm? Which has never failed to remind me of the scene in which Odysseus does the identical thing, of course, so that he can listen to the Sirens singing but will stay put.

It's only because I refused to tear those spattered maps from the study for years, or to allow you to paint over them as you were so anxious to, that Kevin "remembers" the incident at all. He was, as you observed repeatedly at the time, awfully young. 'I kept them p for my sanity,' I said. 'I needed to see something you'd done to me, to reach out and touch it. To prove that your malice wasn't all in my head.' 'Yeah,' he said, tickling the scar on his arm again. 'Know what you mean.

Inside" Children Inside each of us are the children we were at each developmental stage. With regard to our creative dreams, these inside children can prevent us from living them by "acting out" in order to try to get our attention. Your inner 5-year-old is not going to patiently wait as you learn intricate metalworking techniques or study impressionist painting. Yet, your inner 10-year-old may be perfectly suited to learn and observe new skills. What's really needed is parenting of these inside children so that we bring them to age-appropriate activities.

It is not I who mix the colors but your own vision,' he answered. 'I only place them next to one another on the wall in their natural state; it is the observer who mixes the colors in his own eye, like porridge. Therein lies the secret. The better the porridge, the better the painting, but you cannot make good porridge from bad buckwheat. Therefore, faith in seeing, listening, and reading is more important than faith in painting, singing, or writing.' He took blue and red and placed them next to each other, painting the eyes of an angel. And I saw the angel's eyes turn violet. 'I work with something like a dictionary of colors,' Nikon added, 'and from it the observer composes sentences and books, in other words, images. You could do the same with writing. Why shouldn't someone create a dictionary of words that make up one book and let the reader himself assemble the words into a whole?

The function of the overwhelming majority of your artwork is simply to teach you how to make the small fraction of your artwork that soars. One of the basic and difficult lessons every artist must learn is that even the failed pieces are essential. X-rays of famous paintings reveal that even master artists sometimes made basic mid-course corrections (or deleted really dumb mistakes) by overpainting the still-wet canvas. The point is that you learn how to make your work by making your work, and a great many of the pieces you make along the way will never stand out as finished art. The best you can do is make art you care about — and lots of it!

The Poem About Taking out the Trash In the vast emptiness of darkness, Stars are being born and are burning out; Galaxies expand, into what I have no idea, And dark matter fills the infinite space That has no bounds and no limits. In the middle of all this, I stand In a single moment and know how small I am. A group of atoms, the size of nothing in comparison. I am the observer of the play on a tiny stage. The onlooker who watches the painting Of a picture that few stop to see. The listener of a song where I hear only a fraction Of a fraction of a note in a song that will be forever sung And that has been being sung for eternity upon eternity, Before I knew breath and sound. I am but dust, stardust, a breath of a life, smoke Rising into oblivion, here then gone as quickly. Under all of this, I take out the trash.

Acting on desire is more like a craft, a science, an art. It takes careful mindful practice. Be patient and quiet. Listen, observe, take notes. Figure out what you want, privately, and then choose to want it, publicly. Put your desire out in the open. I want to go swimming. I want to bake bread. I want to paint a picture. I want to build a chair. I want to write a book. You act and then you fail. Over and over. And it’s better to start failing when you’re young, when all you lose is an ice-cream cone or a basketball game or an afternoon of fun. When you’re older, the stakes are higher. If adults don’t know how to want, then they lose a love, a career, a life.

The women here are so white,” Rin marveled. “Like the girls in wall paintings.” The skin tones she observed from the caravan had moved up the color gradient the farther north they drove. She knew that the people of the northern provinces were industrialists and businessmen. They were citizens of class and means; they didn’t labor in the fields like Tikany’s farmers did. But she hadn’t expected the differences to be this pronounced. “They’re pale as their corpses will be,” Tutor Feyrik said dismissively. “They’re terrified of the sun.

He read a lot, but what he read, and not just that but everything he saw, films and paintings, he translated into feeling. And this feeling, which could not immediately be expressed in words, not yet and maybe never, that formless mass of sentiments, impressions, observations — that was his way of thinking. You could circle around it with words, but there always remained far more that was not expressed than was. And later, too, a certain resentment would take possession of him, toward those people who demanded precise answers, or pretended to be able to give them. It was, on the contrary, the very mystery of everything that was so attractive. You should not want to impose too much order on it. If you did, something would be lost irrevocably. That mysteries can become more mysterious if you think about them with precision and method, he did not yet know. He felt at home in his sentimental chaos. To chart it you had to be an adult, but then you were at once labelled, finished, and in effect already a little dead.

Hi there, cutie." Ash turned his head to find an extremely attractive college student by his side. With black curly hair, she was dressed in jeans and a tight green top that displayed her curves to perfection. "Hi." "You want to go inside for a drink? It's on me." Ash paused as he saw her past, present, and future simultaneously in his mind. Her name was Tracy Phillips. A political science major, she was going to end up at Harvard Med School and then be one of the leading researchers to help isolate a mutated genome that the human race didn't even know existed yet. The discovery of that genome would save the life of her youngest daughter and cause her daughter to go on to medical school herself. That daughter, with the help and guidance of her mother, would one day lobby for medical reforms that would change the way the medical world and governments treated health care. The two of them would shape generations of doctors and save thousands of lives by allowing people to have groundbreaking medical treatments that they wouldn't have otherwise been able to afford. And right now, all Tracy could think about was how cute his ass was in leather pants, and how much she'd like to peel them off him. In a few seconds, she'd head into the coffee shop and meet a waitress named Gina Torres. Gina's dream was to go to college herself to be a doctor and save the lives of the working poor who couldn't afford health care, but because of family problems she wasn't able to take classes this year. Still Gina would tell Tracy how she planned to go next year on a scholarship. Late tonight, after most of the college students were headed off, the two of them would be chatting about Gina's plans and dreams. And a month from now, Gina would be dead from a freak car accident that Tracy would see on the news. That one tragic event combined with the happenstance meeting tonight would lead Tracy to her destiny. In one instant, she'd realize how shallow her life had been, and she'd seek to change that and be more aware of the people around her and of their needs. Her youngest daughter would be named Gina Tory in honor of the Gina who was currently busy wiping down tables while she imagined a better life for everyone. So in effect, Gina would achieve her dream. By dying she'd save thousands of lives and she'd bring health care to those who couldn't afford it... The human race was an amazing thing. So few people ever realized just how many lives they inadvertently touched. How the right or wrong word spoken casually could empower or destroy another's life. If Ash were to accept Tracy's invitation for coffee, her destiny would be changed and she would end up working as a well-paid bank officer. She'd decide that marriage wasn't for her and go on to live her life with a partner and never have children. Everything would change. All the lives that would have been saved would be lost. And knowing the nuance of every word spoken and every gesture made was the heaviest of all the burdens Ash carried. Smiling gently, he shook his head. "Thanks for asking, but I have to head off. You have a good night." She gave him a hot once-over. "Okay, but if you change your mind, I'll be in here studying for the next few hours." Ash watched as she left him and entered the shop. She set her backpack down at a table and started unpacking her books. Sighing from exhaustion, Gina grabbed a glass of water and made her way over to her... And as he observed them through the painted glass, the two women struck up a conversation and set their destined futures into motion. His heart heavy, he glanced in the direction Cael had vanished and hated the future that awaited his friend. But it was Cael's destiny. His fate... "Imora thea mi savur," Ash whispered under his breath in Atlantean. God save me from love.

This painting was created by someone who spent endless hours observing their subject and applying precise strokes of paint in patterns to replicate what their mind said was the essence of the person who stood before them.

As they walked, Tehol spoke. ‘…the assumption is the foundation stone of Letherii society, perhaps all societies the world over. The notion of inequity, my friends. For from inequity derives the concept of value, whether measured by money or the countless other means of gauging human worth. Simply put, there resides in all of us the unchallenged belief that the poor and the starving are in some way deserving of their fate. In other words, there will always be poor people. A truism to grant structure to the continual task of comparison, the establishment through observation of not our mutual similarities, but our essential differences. ‘I know what you’re thinking, to which I have no choice but to challenge you both. Like this. Imagine walking down this street, doling out coins by the thousands. Until everyone here is in possession of vast wealth. A solution? No, you say, because among these suddenly rich folk there will be perhaps a majority who will prove wasteful, profligate and foolish, and before long they will be poor once again. Besides, if wealth were distributed in such a fashion, the coins themselves would lose all value—they would cease being useful. And without such utility, the entire social structure we love so dearly would collapse. ‘Ah, but to that I say, so what? There are other ways of measuring self-worth. To which you both heatedly reply: with no value applicable to labour, all sense of worth vanishes! And in answer to that I simply smile and shake my head. Labour and its product become the negotiable commodities. But wait, you object, then value sneaks in after all! Because a man who makes bricks cannot be equated with, say, a man who paints portraits. Material is inherently value-laden, on the basis of our need to assert comparison—but ah, was I not challenging the very assumption that one must proceed with such intricate structures of value? ‘And so you ask, what’s your point, Tehol? To which I reply with a shrug. Did I say my discourse was a valuable means of using this time? I did not. No, you assumed it was. Thus proving my point!’ ‘I’m sorry, master,’ Bugg said, ‘but what was that point again?’ ‘I forget. But we’ve arrived. Behold, gentlemen, the poor.

As a student I thought there was a formula of some kind that I would get hold of somewhere, and thereby become and artist. There is a formula, but it has not been in books. It is really plain old courage, standing on one's own feet, and forever seeking enlightenment; courage to develop your way, but learning from the other fellow; experimentation with your own ideas, observing for yourself, a rigid discipline of doing over that which you can improve.

On dry days, Bobbi and I walked along underused paths, kicking leaves and talking about things like the idea of landscape painting. Bobbi thought the fetishization of untouched nature was intrinsically patriarchal and nationalistic. "I like like houses better than fields," I observed. "They're more poetic, because they have people in them.

Sure, but don’t expect great observations. Mostly I just looked for dirty pictures hidden within the artwork. Did you know Monet put a boob in all his paintings? Apples and Grapes—get it? I mean, come on. The guy was a horn-dog.

As I began painting myself, I started making connection with all that was painted around me. With further immersion into it, my connection deepened and I was simply transformed from the painter to the canvas itself all observing, all absorbing

It often happens that opposite emotions trigger similar reactions in the human body, for crying occurs both in moments of deep despair and great joy. Only observant poets know the difference, for despair paints the eyes red and causes swelling, while joy makes them glitter like emeralds under the brightest of suns.

Her monstrosities in the way of cattle would have taken prizes at an agricultural fair, and the perilous pitching of her vessels would have produced seasickness in the most nautical observer, if the utter disregard to all known rules of shipbuilding and rigging had not convulsed him with laughter at the first glance.

The French approach to food is characteristic; they bring to their consideration of the table the same appreciation, respect, intelligence and lively interest that they have for the other arts, for painting, for literature, and for the theatre. We foreigners living in France respect and appreciate this point of view but deplore their too strict observance of a tradition which will not admit the slightest deviation in a seasoning or the suppression of a single ingredient. Restrictions aroused our American ingenuity, we found combinations and replacements which pointed in new directions and created a fresh and absorbing interest in everything pertaining to the kitchen.

Not even by colourfully painting my window can I block out the noise of the life outside, which doesn’t know I’m observing it.

Love is an artist, painting souls with colors unseen by casual observers.

A few observations upon the soul of Paris may explain the causes of its cadaverous physiognomy, which has but two ages—youth and decay: youth, wan and colorless; decay, painted to seem young.

I asked Geertrui the other day what she thought love is-real love, true love. She said that for her real love is observing another person and being observed by another person with complete attention. If she's right, you only have to look at the pictures Rembrandt painted of Titus, and there are quite a lot, to see that they loved each other. Because that is what you're seeing. Complete attention, one of the other..."but in that case," he said, speaking the words as the thought came to him, "all art is love, because all art is about looking closely, isn't it? Looking closely at what's being painted." "The artist looking closely while he paints, the viewer looking closely at what has been painted. I agree. All true art, yes. Painting, Writing-literature-also. I think it is. And bad art is a failure to observe with complete attention. So, you see why I like the history of art. It's the study of how to observe life with complete attention. It's the history of love.

Let us then suppose the mind to be, as we say, white paper, void of all characters, without any ideas:—How comes it to be furnished? Whence comes it by that vast store which the busy and boundless fancy of man has painted on it with an almost endless variety? Whence has it all the MATERIALS of reason and knowledge? To this I answer, in one word, from EXPERIENCE. In that all our knowledge is founded; and from that it ultimately derives itself. Our observation employed either, about external sensible objects, or about the internal operations of our minds perceived and reflected on by ourselves, is that which supplies our understandings with all the MATERIALS of thinking. These two are the fountains of knowledge, from whence all the ideas we have, or can naturally have, do spring.

But all of a sudden the scene changed; it was the memory, no longer of old impressions but of an old desire, only recently reawakened by the Fortuny gown in blue and gold, that spread before me another spring, a spring not leafy at all but on the contrary suddenly stripped of its trees and flowers by the name that I had just murmured to myself: “Venice”; a decanted springtime, which is reduced to its own essence and expresses the lengthening, the warming, the gradual unfolding of its days in the progressive fermentation, no longer, now, of an impure soil, but of a blue and virginal water, springlike without bud or blossom, which could answer the call of May only by the gleaming facets fashioned and polished by May, harmonising exactly with it in the radiant, unalterable nakedness of its dusky sapphire. Likewise, too, no more than the seasons to its flowerless creeks, do modern times bring any change to the Gothic city; I knew it, even if I could not imagine it, or rather, imagining it, this was what I longed for with the same desire which long ago, when I was a boy, in the very ardour of departure, had broken and robbed me of the strength to make the journey: to find myself face to face with my Venetian imaginings, to observe how that divided sea enclosed in its meanderings, like the sinuosities of the ocean stream, and urbane and refined civilization, but one that, isolated by their azure girdle, had evolved independently, had had its own schools of painting and architecture, to admire that fabulous garden of fruits and birds in coloured stone, flowering in the midst of the sea which kept it refreshed, lapped the base of the columns with its tide, and, like a somber azure gaze watching in the shadows, kept patches of light perpetually flickering on the bold relief of the capitals.

These partygoers hadn’t been the cool kids growing up. They’d spent their adolescence buried in art books, scrawling poems into steno pads during recess, living full stories in their heads. Distracted by their artistic micro-obsessions, many forgot to learn how to engage with the world. They were too busy studying life, storing up their notes to use later in a novel, a song, a script, a painting. They were observers, not joiners.

The faculties of our souls are improved and made useful to us just after the same manner as our bodies are. Would you have a man write or paint, dance or fence well, or perform any other manual operation dexterously and with ease, let him have ever so much vigour and activity, suppleness and address naturally, yet no body expects this from him unless he has been used to it, and has employed time and pains in fashioning and forming his hand or outward parts to these motions. Just so it is in the mind; would you have a man reason well, you must use him to it betimes, exercise his mind in observing the connection of ideas and following them in train.

It is not I who mix the colors but your own vision,' he answered. 'I only place them next to one another on the wall in their natural state; it is the observer who mixes the colors in his own eye, like porridge. Therein lies the secret. The better the porridge, the better the painting, but you cannot make good porridge from bad buckwheat. Therefore, faith in seeing, listening, and reading is more important than faith in painting, singing, or writing.

On the other hand, in his book, The Enemy Within, Bobby Kennedy wrote about his experiences and observations as chief counsel for the McClellan Committee hearings on organized crime and labor unions, saying: “We saw and questioned some of the nation’s most notorious gangsters and racketeers. But there was no group that better fits the prototype of the old Al Capone syndicate than Jimmy Hoffa and some of his chief lieutenants in and out of the union.” Twentieth

When I started to draw, most of my influences were from other painters and illustrators, so I was drawing landscape at second hand, really. The trees were Rackham trees, or trees that I had seen in paintings rather than from my own observation...and I started to feel this was a real lack in my work. Everything was too generalised, and not based on real experience. Then in 1975, after having worked for some years in London as a book cover illustrator mainly, I came down to Devon and stayed with some friends up on the moor. In the course of this one weekend, wandering around the moor, finding rivers and ancient woods, I realised that everything that I would ever want to draw was actually here. There was so much richness in the texture and forms of these fantastic trees...and I decided in the course of that weekend to come and live here. I looked at a couple of houses, found one, and made an offer on it, all in that one weekend!

Trent Kite told Fackelmann he thought Gately was out of his fucking mind. Fax observed that Kite himself was not exactly a W. T. Sherman with the ladies, even with coke-whores and strung-out nursing students and dipsoid lounge-hags whose painted faces swung loose from their heads. Fackelmann claimed to have started a Log just to keep track of Kite’s attempted pickup lines—surefire lines like e.g. ‘You’re the second most beautiful woman I’ve ever seen, the first most beautiful woman I’ve ever seen being former British Prime Minister Margaret Thatcher,’ and ‘If you came home with me I’m unusually confident that I could achieve an erection,’ and said that if Kite wasn’t still cherry at twenty-three and a half it was proof of some kind of divine-type grace.

To most people, Hans Hubermann was barely visible. An un-special person. Certainly, his painting skills were excellent. His musical ability was better than average. Somehow, though, and I’m sure you’ve met people like this, he was able to appear as merely part of the background, even if he was standing at the front of a line. He was always just there. Not noticeable. Not important or particularly valuable. The frustration of that appearance, as you can imagine, was its complete misleadence, let’s say. There most definitely was value in him, and it did not go unnoticed by Liesel Meminger. (The human child—so much cannier at times than the stupefyingly ponderous adult.) She saw it immediately. His manner. The quiet air around him. When he turned the light on in the small, callous washroom that night, Liesel observed the strangeness of her foster father’s eyes. They were made of kindness, and silver. Like soft silver, melting. Liesel, upon seeing those eyes, understood that Hans Hubermann was worth a lot.

In the pillared bowl atop the tower, a great pyre blazed, casting a golden glow over the granite walls. The bloody body of a man painted with the white four-pointed star of Kimisara hung by his neck below. “I think that Kimisar you saw is still here,” Alex observed dryly.

And I was a Child again, watching the bright World. But the Spell broke when at this Juncture some Gallants jumped from the Pitt onto the Stage and behaved as so many Merry-Andrews among the Actors, which reduced all to Confusion. I laugh'd with them also, for I like to make Merry among the Fallen and there is pleasure to be had in the Observation of the Deformity of Things. Thus when the Play resumed after the Disturbance, it was only to excite my Ridicule with its painted Fictions, wicked Hypocrisies and villainous Customs, all depicted with a little pert Jingle of Words and a rambling kind of Mirth to make the Insipidnesse and Sterility pass. There was no pleasure in seeing it, and nothing to burden the Memory after: like a voluntarie before a Lesson it was absolutely forgotten, nothing to be remembered or repeated.

Much of the attraction of the cult has to do with the grace of an early and romantic death. George Orwell once observed that if Napoleon Bonaparte had been cut down by a musket ball as he entered Moscow, he would have been remembered as the greatest general since Alexander. And not only did Guevara die before his ideals did, he died in such a manner as to inspire something akin to superstition. He rode among the poor of the altiplano on a donkey. He repeatedly foresaw and predicted the circumstances of his own death. He was spurned and betrayed by those he claimed to set free. He was by calling a healer of the sick. The photographs of his corpse, bearded and half-naked and lacerated, make an irresistible comparison with paintings of the deposition from Calvary. There is a mystery about his last resting place. Alleged relics are in circulation. There have even been sightings….

I was drawing near to the curve of the track; already the twelve hooves of those dead horses were visible in the distance, jutting towards the sky like the columns in the cathedral crypt at Stará Boleslav. I thought of Masha, and of how we met for the first time, when I was still with the track superintendent. He gave us two buckets of red paint and told us to paint the fence round the entire state workshops. Masha began by the railway track, just as I did. We stood facing each other with the tall wire fence between us, at our feet we each had a bucket of cinnabar paint, we each had a brush, and we stippled away with our brushes opposite each other and painted that fence, she from her side and I from mine. There were four kilometres altogether of this fence; for five months we stood facing each other like this, and there wasn't anything we didn't say to each other, Masha and I, but always there was this fence between us. After we'd painted two kilometres of it, one day I'd done just as high as Masha's mouth with this red colour, and I told her that I loved her, and she, from her side, had painted just up to there, too, and she said that she loved me, too ... and she looked into my eyes, and, as this was in a ditch and among tall goosefoot plants, I put out my lips, and we kissed through the newly painted fence, and when we opened our eyes she had a sort of tiny red fence-pale striped across her mouth, and so had I, and we burst out laughing, and from that moment on we were happy.

In subsequent experiences I frequently found the mothers of schizophrenic children to be extraordinarily narcissistic individuals like Mrs. X. This is not to say that such mothers are always narcissistic or that narcissistic mothers can’t raise non-schizophrenic children. Schizophrenia is an extremely complex disorder, with obvious genetic as well as environmental determinants. But one can imagine the depth of confusion in Susan’s childhood produced by her mother’s narcissism, and one can objectively see this confusion when actually observing narcissistic mothers interact with their children. On an afternoon when Mrs. X. was feeling sorry for herself Susan might have come home from school bringing some of her paintings the teacher had graded A. If she told her mother proudly how she was progressing in art, Mrs. X. might well respond: “Susan, go take a nap. You shouldn’t get yourself so exhausted over your work in school. The school system is no good anymore. They don’t care for children anymore.” On the other hand, on an afternoon when Mrs. X. was in a very cheerful mood Susan might have come home in tears over the fact that she had been bullied by several boys on the school bus, and Mrs. X. could say: “Isn’t it fortunate that Mr. Jones is such a good bus driver? He is so nice and patient with all you children and your roughhousing. I think you should be sure to give him a nice little present at Christmastime.” Since they do not perceive others as others but only as extensions of themselves, narcissistic

I go near to the shore And the rustling boat smiles I stare up at the moon And the stars shine bright I walk during the sunsets Observing the shades of nature Oh how I wonder Seeing the sunrise painting the sky But I fear that We are losing the art of god For we do not know How to make the world A great place to live in

Well, it looks like there are things no amount of money can buy.” “Yeah. That sucks. At least you can buy a wife.” I shrug. “For three million you could have gotten a whole harem, not just one.” Roman cocks his head to the side, observing me with interest, and then leans in to whisper in my ear. “You, Nina Grey, are one strange woman.

Gavin stood within the trees, observing her from the shadows. He watched the basket rise to her nose as she closed her eyes to sniff at its contents. A smile told him it smelled delicious, but she didn’t open the container to pinch off a sample. Instead, the basket lowered to swing at her side as it had previously done. All at once the air was filled with soft singing--a sweet, merry tune comprised of ludicrous lyrics. It was impossible not to grin at the words. “Rainbows paint the sky ‘til the sun melts their colors. Swinging in the wind, whiskered cattails purr. The pigs gallop by and snort at the moon, While frogs kiss the lizards and princesses too.”

It’s been said that we pass through life with a diminishing portfolio of enthusiasms. My problem is having had so many to start out with. Now, at the age of fifty-six, I have painting, my four beautiful children, fly casting, writing, friends, wing shooting, printing, family and extended family, cooking, and Marusia, the light of my life, not at all necessarily in that order. The problem, if you want to call it that, is there is no time left for things that don’t matter. Years ago, after watching someone waste endless hours on some pointless project, Tom McGuane observed that the fellow obviously believed the average human lifetime to be ten thousand years. I’m treating it as if there were less than a minute to go.

But gradually, as he tried to inhabit the room presented on the canvas (Van Gogh - The Bedroom), he began to experience it as a prison, an impossible space, an image, not so much of a place to live, but of the mind that has been forced to live there. Observe carefully. The bed blocks one door, a chair blocks the other door, the shutters are closed: you can't get in, and once you are in, you can't get out. Stifled among the furniture and everyday objects of the room, you begin to hear a cry of suffering in this painting, and once you hear it, it does not stop. 'I cried by reason of mine affliction...' But there is no answer to this cry. The man in this painting (and this is a self-portrait, no different from a picture of a man's face, with eyes, nose, lips, and jaw) has been alone too much, has struggled too much in the depthts of solitude. The world ends at that barricaded door. For the room is not a representation of solitude, it is the substance of solitude itself. And it is a thing so heavy, so unbreatheable, that it cannot be shown in any terms other than what it is.

Vision without execution is hallucination. But I also came to believe that his ability to blur the line between reality and fantasy, just like his sfumato techniques for blurring the lines of a painting, was a key to his creativity. Skill without imagination is barren. Leonardo knew how to marry observation and imagination, which made him history’s consummate innovator.

men worked fifty, sixty, even seventy or more hours a week; the women worked all the time, with little assistance from labor-saving devices, washing laundry, ironing shirts, mending socks, turning collars, sewing on buttons, mothproofing woolens, polishing furniture, sweeping and washing floors, washing windows, cleaning sinks, tubs, toilets, and stoves, vacuuming rugs, nursing the sick, shopping for food, cooking meals, feeding relatives, tidying closets and drawers, overseeing paint jobs and household repairs, arranging for religious observances, paying bills and keeping the family’s books while simultaneously attending to their children’s health, clothing, cleanliness, schooling, nutrition, conduct, birthdays, discipline, and morale.

Her work was indeed elliptical, she left out everything that was essential, including logic and meaning. Her words neither described nor observed things. They were just words scattered across the page. This was braininess of the highest order, the verbal equivalent of the white canvas passed off as a painting; so abstract that to have expected some sense from it would have insulted the artist.

The woman laughed again. She was the loudest person in the cave. Eena wondered if perhaps she was talking to a female Ghengat. Curiosity got the best of her and she turned around to look, surprised to find neither a Ghengat nor a Harrowbethian woman, but a Mishmorat. A striking, cheetah-spotted Mishmorat with straight lengths of charcoal hair and the most alluring dark eyes in existence. This bronzed female was the same size as Eena but observably more muscular. She appeared to be a mix of cheetah, Arabian princess, and gladiator in tight-fitting pants. Eena paused, dropping the stone in her hands. “Kira?” she breathed. “Hmmm,” the woman grumbled. Her painted eyes scrunched with displeasure. The look was still stunning. “I see my reputation precedes me.” Eena gawked as if a legendary ghost had been resurrected. “You’re alive?

Italy still has a provincial sophistication that comes from its long history as a collection of city states. That, combined with a hot climate, means that the Italians occupy their streets and squares with much greater ease than the English. The resultant street life is very rich, even in small towns like Arezzo and Gaiole, fertile ground for the peeping Tom aspect of an actor’s preparation. I took many trips to Siena, and was struck by its beauty, but also by the beauty of the Siennese themselves. They are dark, fierce, and aristocratic, very different to the much paler Venetians or Florentines. They have always looked like this, as the paintings of their ancestors testify. I observed the groups of young people, the lounging grace with which they wore their clothes, their sense of always being on show. I walked the streets, they paraded them. It did not matter that I do not speak a word of Italian; I made up stories about them, and took surreptitious photographs. I was in Siena on the final day of the Palio, a lengthy festival ending in a horse race around the main square. Each district is represented by a horse and jockey and a pair of flag-bearers. The day is spent by teams of supporters with drums, banners, and ceremonial horse and rider processing round the town singing a strange chanting song. Outside the Cathedral, watched from a high window by a smiling Cardinal and a group of nuns, with a huge crowd in the Cathedral Square itself, the supporters passed, and to drum rolls the two flag-bearers hurled their flags high into the air and caught them, the crowd roaring in approval. The winner of the extremely dangerous horse race is presented with a palio, a standard bearing the effigy of the Virgin. In the last few years the jockeys have had to be professional by law, as when they were amateurs, corruption and bribery were rife. The teams wear a curious fancy dress encompassing styles from the twelfth to the eighteenth centuries. They are followed by gangs of young men, supporters, who create an atmosphere or intense rivalry and barely suppressed violence as they run through the narrow streets in the heat of the day. It was perfect. I took many more photographs. At the farmhouse that evening, after far too much Chianti, I and my friends played a bizarre game. In the dark, some of us moved lighted candles from one room to another, whilst others watched the effect of the light on faces and on the rooms from outside. It was like a strange living film of the paintings we had seen. Maybe Derek Jarman was spying on us.

Working hard is important. But more effort does not necessarily yield more results. “Less but better” does. Ferran Adrià, arguably the world’s greatest chef, who has led El Bulli to become the world’s most famous restaurant, epitomizes the principle of “less but better” in at least two ways. First, his specialty is reducing traditional dishes to their absolute essence and then re-imagining them in ways people have never thought of before. Second, while El Bulli has somewhere in the range of 2 million requests for dinner reservations each year, it serves only fifty people per night and closes for six months of the year. In fact, at the time of writing, Ferran had stopped serving food altogether and had instead turned El Bulli into a full-time food laboratory of sorts where he was continuing to pursue nothing but the essence of his craft.1 Getting used to the idea of “less but better” may prove harder than it sounds, especially when we have been rewarded in the past for doing more … and more and more. Yet at a certain point, more effort causes our progress to plateau and even stall. It’s true that the idea of a direct correlation between results and effort is appealing. It seems fair. Yet research across many fields paints a very different picture. Most people have heard of the “Pareto Principle,” the idea, introduced as far back as the 1790s by Vilfredo Pareto, that 20 percent of our efforts produce 80 percent of results. Much later, in 1951, in his Quality-Control Handbook, Joseph Moses Juran, one of the fathers of the quality movement, expanded on this idea and called it “the Law of the Vital Few.”2 His observation was that you could massively improve the quality of a product by resolving a tiny fraction of the problems. He found a willing test audience for this idea in Japan, which at the time had developed a rather poor reputation for producing low-cost, low-quality goods. By adopting a process in which a high percentage of effort and attention was channeled toward improving just those few things that were truly vital, he made the phrase “made in Japan” take on a totally new meaning. And gradually, the quality revolution led to Japan’s rise as a global economic power.3

The mind is hurried out of itself, by a crowd of great and confused images; which affect because they are crowded and confused. For separate them, and you lose much of the greatness; and join them, and you infallibly lose the clearness. [...] But painting, when we have allowed for the pleasure of imitation, can only affect simply by the images it presents; and even in painting, a judicious obscurity in some things contributes to the effect of the picture; because the images in painting are exactly similar to those in nature; and in nature, dark, confused, uncertain images have a greater power on the fancy to form the grander passions, than those have which are more clear and determinate. But where and when this observation may be applied to practice, and how far it shall be extended, will be better deduced from the nature of the subject, and from the occasion, than from any rules that can be given.

The geneticist Antoine Danchin once used the parable of the Delphic boat to describe the process by which individual genes could produce the observed complexity of the natural world. In the proverbial story, the oracle at Delphi is asked to consider a boat on a river whose planks have begun to rot. As the wood decays, each plank is replaced, one by one—and after a decade, no plank is left from the original boat. Yet, the owner is convinced that it is the same boat. How can the boat be the same boat—the riddle runs—if every physical element of the original has been replaced? The answer is that the “boat” is not made of planks but of the relationship between planks. If you hammer a hundred strips of wood atop each other, you get a wall; if you nail them side to side, you get a deck; only a particular configuration of planks, held together in particular relationship, in a particular order, makes a boat. Genes operate in the same manner. Individual genes specify individual functions, but the relationship among genes allows physiology. The genome is inert without these relationships. That humans and worms have about the same number of genes—around twenty thousand—and yet the fact that only one of these two organisms is capable of painting the ceiling of the Sistine Chapel suggests that the number of genes is largely unimportant to the physiological complexity of the organism. “It is not what you have,” as a certain Brazilian samba instructor once told me, “it is what you do with it.

When Leonardo wished to paint a figure, he first considered what social standing and emotion it was to represent; whether noble or plebeian, joyful or severe, troubled or serene, old or young, irate or quiet, good or evil; and when he had made up his mind, he went to places where he knew that people of that kind assembled and observed their faces, their manners, dresses, and gestures; and when he found what fitted his purpose, he noted it in a little book which he was always carrying in his belt.

The shield, perhaps Leonardo’s first recorded piece of art, displayed his lifelong talent for combining fantasy with observation. In the notes for his proposed treatise on painting, he would later write, “If you wish to make an imaginary animal invented by you appear natural, let us say a dragon, take for the head that of a mastiff or hound, for the eyes a cat, and for the ears a porcupine, and for the nose a greyhound, and the brows of a lion, the temple of an old cock, the neck of a terrapin.”28

The world is broken up by tribalism—the British, the German, the Swiss, the Hindu, the Buddhist, are tribes. See the fact that they are tribes, glorified as nations, and that this tribalism is creating havoc in the world, bringing wars in the world. Each tribe thinks in its own culture opposed to other cultures. But tribalism is the root, not the culture. Observing the fact of that is the action that frees the brain from the condition of tribalism. You see actually, not theoretically or ideationally, the fact that tribalism glorified as nations is one of the causes of war. That is a fact. There are other causes of war, economics and so on, but one of the causes is tribalism. When you see that, perceive that, and see that cannot bring about peace, the very perception frees the brain from its conditioning of tribalism. One of the factors of contention throughout the world is religion. You are a Catholic, I am a Muslim, based on ideas, propaganda of hundreds or thousands of years; the Hindu and the Buddhist ideas are of thousands of years. We have been programmed like a computer. That programming has brought about great architecture, great paintings, great music, but it has not brought peace to mankind. When you see the fact of that, you do not belong to any religion. When there are half a dozen gurus in the same place, they bring about misery, contradiction, conflict: “My guru is better than yours; my group is more sanctified than yours; I have been initiated, you have not.” You know all the nonsense that goes on. So when you see all this around you as an actual fact, then you do not belong to any group, to any guru, to any religion, to any political commitment of ideas. In the serious urgency to live peacefully there must be freedom from all this because they are the causes of dissension, division. Truth is not yours or mine. It does not belong to any church, to any group, to any religion. The brain must be free to discover it. And peace can exist only when there is freedom from fallacy. You know, for most of us, to be so drastic about things is very difficult, because we have taken security in things of illusion, in things that are not facts, and it is very difficult to let them go. It is not a matter of exercising will, or taking a decision: “I will not belong to anything” is another fallacy. We commit ourselves to some group, to an idea, to religious quackery, because we think it is some kind of security for us. In all these things there is no security, and therefore there is no peace. The brain must be secure; but the brain, with its thought, has sought security in things that are illusory.

My countess tells me Genevieve has taken it into her head to remove to Paris. I suspect she wants to avoid being aunt-at-large, while her own situation admits of no change. We are Jenny’s family, and Christmas is upon us. Harrison paints, he argues with her, and he has all his teeth. What say you, gentlemen?” “Paris reeks,” Lord Kesmore said. “Harrison’s scent is rather pleasant by comparison.” “He smells of linseed oil,” St. Just observed. “A point in his favor,” Hazelton murmured, “from Lady Jenny’s perspective.” Westhaven

There are days when I feel like I’ve seen enough, done enough, felt enough. When I call my wandering days over and slowly accept the quiet life from here on. When the dreams of making waves are a vague memory and the songs I meant to sing feel more like a finished painting, something to just observe and hang on the wall from now on, to those who wish to observe it. But then the night falls and the morning rise and horizons are calling once again and I’m on my way. Forests fresh and pastures new. And most of the time I’m fine with this. I’m learning to be fine with this. So maybe that’s what settling into this world means. To simply, and as hard as it is, just settle into your own way of living—your own pace, your own rhythm—and not think too much about it. Just wake up and let your legs wander where they need to wander no matter where that may lead and just simply trust your path. There is a difference between what you want and what you wish to want. What you’d like to do and what you wish you’d like to do. I’m learning to not wish, but just do.

Any other orders?" "No,but an observation." "I'm fascinated." "No,you're irritated again,but I'll tell you anyway.Your mouth's more appealing naked as it is now than when it's painted as it was this morning." "So you don't approve of lipstick?" "Not at all.Some women need it.You don't, so it's just a distraction." Baffled,nearly amused,she shook her head. "Thanks so much for the advice." She started for the house-where she'd been going to change into something cooler in the first place. "Keeley." She stopped,but instead of turning merely glanced over her shoulder to where he stood,thumbs in the pockets of ancient jeans. "Yes?" "It's nothing.I just wanted to try out your name.I like it." "So do I.Isn't that handy?" This time he blew out a breath as she strode off-long legs in tight pants and tall boots. He lifted her soft drink, took a deep sip.Playing with fire with that one,Donnelly,he warned himself. Since he was damned sure singed fingers wouldn't be all he would get if he risked a touch,it was best to back away before the heat became too tempting to resist.

As Franklin recounted: He composed it in these words, “John Thompson, hatter, makes and sells hats for ready money,” with a figure of a hat subjoined. But he thought he would submit it to his friends for their amendments. The first he showed it to thought the word “Hatter” tautologous, because followed by the words “makes hats,” which showed he was a hatter. It was struck out. The next observed that the word “makes” might as well be omitted, because his customers would not care who made the hats . . . He struck it out. A third said he thought the words “for ready money” were useless, as it was not the custom of the place to sell on credit. Everyone who purchased expected to pay. They were parted with; and the inscription now stood, “John Thompson sells hats.” “Sells hats!” says his next friend; “why, nobody will expect you to give them away. What then is the use of that word?” It was stricken out, and “hats” followed, the rather as there was one painted on the board. So his inscription was reduced ultimately to “John Thompson,” with the figure of a hat subjoined.”37

Alberti in his treatise on painting had advised that lines should be drawn to delineate edges, and Verrocchio did just that. Leonardo took care to observe the real world, and he noticed the opposite: when we look at three-dimensional objects, we don’t see sharp lines. “Paint so that a smoky finish can be seen, rather than contours and profiles that are distinct and crude,” he wrote. “When you paint shadows and their edges, which cannot be perceived except indistinctly, do not make them sharp or clearly defined, otherwise your work will have a wooden appearance.

Since the rise of Islam, Jews had lived as a tolerated minority, or dhimmi, a status granted to Jews and Christians because they were monotheists. Despite a growing tendency in our own times to paint the premodern Islamic world as an Eden of religious tolerance in which Jews flourished, they always lived by the whims of fickle rulers and the mood of a hostile majority. In the eyes of that majority they were effete, lacking in honor, and powerless by definition, but as long as they accepted the supremacy of Muslims they were usually allowed to live and observe their faith and occasionally to prosper.

I went up the stairs of the little hotel, that time in Bystřice by Benešov, and at the turn of the stairs there was a bricklayer at work, in white clothes; he was chiselling channels in the wall to cement in two hooks, on which in a little while he was going to hang a Minimax fire-extinguisher; and this bricklayer was already and old man, but he had such an enormous back that he had to turn round to let me pass by, and then I heard him whistling the waltz from The Count of Luxembourg as I went into my little room. It was afternoon. I took out two razors, and one of them I scored blade-up into the top of the bathroom stool, and the other I laid beside it, and I, too, began to whistle the waltz from The Count of Luxembourg while I undressed and turned on the hot-water tap, and then I reflected, and very quietly I opened the door a crack. And the bricklayer was standing there in the corridor on the other side of the door, and it was as if he also had opened the door a crack to have a look at me and see what I was doing, just as I had wanted to have a look at him. And I slammed the door shut and crept into the bath, I had to let myself down into it gradually, the water was so hot; I gasped with the sting of it as carefully and painfully I sat down. And then I stretched out my wrist, and with my right hand I slashed my left wrist ... and then with all my strength I brought down the wrist of my right hand on the upturned blade I'd grooved into the stool for that purpose. And I plunged both hands into the hot water, and watched the blood flow slowly ouf of me, and the water grew rosy, and yet al the time the pattern of the red blood flowing remained so clearly perceptible, as though someone was drawing out from my wrists a long, feathery red bandage, a film, dancing veil ... and presently I thickened there in the bath, as that red paint thickened when we were painting the fence all round the state workshops, until we had to thin it with turpentine - and my head sagged, and into my mouth flowed pink raspberryade, except that it tasted slightly salty .. and then those concentric circles in blue and violet, trailing feathery fronds like coloured spirals in motion ... and then there was a shadow stooping over me, and my face was brushed lightly by a chin overgrown with stubble. It was that bricklayer in the white clothes. He hoisted me out and landed me like a red fish with delicate red fins sprouting from its wrists. I laid my head on his smock, and I heard the hissing of lime as my wet face slaked it, and that smell was the last thing of which I was conscious.

One might say that, until now, the social, cultural, and political framework for knowledge of the Gulag has not been in place. I first became aware of this problem several years ago, when walking across the Charles Bridge, a major tourist attraction in what was then newly democratic Prague. There were buskers and hustlers along the bridge, and, every fifteen feet or so someone was selling precisely what one would expect to find for sale in such a postcard-perfect spot. Paintings of appropriately pretty streets were on display, along with bargain jewelry and 'Prague' key chains. Among the bric-a-brac, one could buy Soviet military paraphernalia: caps, badges, belt buckles, and little pins, the tin Lenin and Brezhnev images that Soviet schoolchildren once pinned to their uniforms. The sight struck me as odd. Most of the people buying the Soviet paraphernalia were Americans and West Europeans. All would be sickened by the thought of wearing a swastika. None objected, however, to wearing the hammer and sickle on a T-shirt or a hat. It was a minor observation, but sometimes, it is through just such minor observations that a cultural mood is best observed. For here, the lesson could not have been clearer: while the symbol of one mass murder fills us with horror, the symbol of another mass murder makes us laugh.

Once in an art gallery, I came upon a painting of the Madonna holding her toddler in one arm and an open book in her opposite hand. Her eyes are turned toward her child as if she has just been torn from her reading. Heavily lidded, they exude a look of sweet adoring, but they also carry a wistful expression, the sigh of interruption, the veiled craving for her book pages. It was like observing a conflict at the hub of my existence. Baby or book. Children or writing. Motherhood or career. I bought the painting and hung it prominently in the living room. In secret, I sympathized with the self-actualizing side of the Madonna, feeling her perturbation at the child’s demands.

And still, still, there is more to describe- we paint because drawing breath is an agony and exhaling an ecstasy and somewhere in the space in-between we think we once found a truth; and the eternal part of us desires to share this truth at all costs only it's never quite how we pictured it, and it's never quite received the way we want and the paint drips with our own blood the handles of our brushes are our own bones our own tears become the words to our most beautiful love songs and we know we'll never get it right before we die- getting up every morning and facing our own limited truth is a courage so divine most men quell and women stay enslaved in silence.

Regardless, what Tristan needed most emergently was to believe in something; to stop staring at the pieces and finally grasp the whole. He wanted to revel in his magic, not wrestle with it. He wanted something, somewhere, that he could understand. He was pacing the painted room while he postured, furiously boring a path from the apse of the dome to the door. Movement didn’t help the blur of things he only half saw, but sitting still was not an option. He closed his eyes and reached out for something solid, feeling strands in the air. The wards of the house under Nico and Libby’s design were gridlike, difficult to disturb, like bars. He paused and tried something different: to be part of them, participant instead of observer.

This new marketplace for drugs proved profitable for all involved. Drug industry revenues topped $1 billion in 1957, the pharmaceutical companies enjoying earnings that made them “the darlings of Wall Street,” one writer observed.19 Now that physicians controlled access to antibiotics and all other prescription drugs, their incomes began to climb rapidly, doubling from 1950 to 1970 (after adjusting for inflation). The AMA’s revenues from drug advertisements in its journals rose from $2.5 million in 1950 to $10 million in 1960, and not surprisingly, these advertisements painted a rosy picture. A 1959 review of drugs in six major medical journals found that 89 percent of the ads provided no information about the drugs’ side effects.20

Day 1,309 of My Captivity YOU HUMANS LOVE COOKIES. I ASSUME YOU KNOW WHICH food I mean? Circular, about the size of a common clamshell. Some are flecked with dark bits, others are painted or dusted with powder. Cookies can be soft and quiet, moving soundlessly on their journey through human jaws. Cookies can be loud and messy, bits breaking off at the bite, crumbs tumbling down a chin, adding to the flotsam on the floor that the elderly female called Tova must sweep. I have observed many cookies during my captivity here. They are sold in the packaged food machine near the front entrance. Imagine my confusion, then, at the remark made by Dr. Santiago earlier this evening. “What can I say, Terry?” Dr. Santiago raised her shoulders and held her hands up. “I’ve seen a lot of octopuses, but you’ve got a smart cookie here.

Do you condemn the kids for not having been blessed with I.Q.s of 120? Can you condemn the kids? Can you condemn anyone? Can you condemn the colleges that give all you need to pass a board of education examination? Do you condemn the board of education for not making the exams stiffer, for not boosting the requirements, for not raising salaries, for not trying to attract better teachers, for not making sure their teachers are better equipped to teach? Or do you condemn the meatheads all over the world who drift into the teaching profession drift into it because it offers a certain amount of paycheck every month security ,vacation-every summer luxury, or a certain amount of power , or a certain easy road when the other more difficult roads are full of ruts? Oh he’d seen the meatheads, all right; he’d seen them in every education class he’d ever attended. The simpering female idiots who smiled and agreed with the instructor, who imparted vast knowledge gleaned from profound observations made while sitting at the back of the classroom in some ideal high school in some ideal neighborhood while an ideal teacher taught ideal students. Or the men who were perhaps the worst, the men who sometimes seemed a little embarrassed, over having chosen the easy road, the road the security, the men who sometimes made a joke about the women not realizing they themselves were poured from the same streaming cauldron of horse manure. Had Rick been one of these men? He did not believe so…. He had wanted to teach, had honestly wanted to teach. He had not considered the security or the two-month vacation, or the short tours. He had simply wanted to teach, and he had considred taeaching a worth-while profession. He had, in fact, considered it the worthiest profession. He had held no illusions about his own capabilities. He could not paint, or write, or compose, or sculpt, or philopshize deeply, or design tall buildings. He could contribute nothing to the world creatively and this had been a disappointment to him until he’d realized he could be a big creator by teaching. For here were minds to be sculptured, here were ideas to be painted, here were lives to shape. To spend his allotted time on earth as a bank teller or an insurance salesman would have seemed an utter waste to Rick. Women, he had reflected had no such problem. Creation had been given to them as a gift and a woman was self-sufficient within her own creative shell. A man needed more which perhaps was one reason why a woman could never understand a man’s concern for the job he had to do.

Witnessing the panoply of beauty in all of nature takes us out of our shell of self-absorption and makes us realize that we are merely bit players in the game of life. Witnessing the majesty of beauty confirms that the real show lies outside us to observe and appreciate and not inside us to transfix us. True beauty charms us into seeing the grandeur of goodness that surrounds us and by doing so, the pristine splendor of nature releases us from wallowing in the poverty of our self-idealization. The bewitching spell cast by the exquisiteness of nature levitates our souls and transforms our psyche. When we see, hear, taste, smell, or touch what is beautiful, we cannot suppress the urge to replicate its baffling texture by singing, dancing, painting, or writing. Opening our eye to the loveliness of a single flower is how we stay in touch with the glorious pageantry of living.

If you leave off looking at books about beasts and men, if you begin to look at beasts and men then (if you have any humour or imagination, any sense of the frantic or the farcical) you will observe that the startling thing is not how like man is to the brutes, but how unlike he is. It is the monstrous scale of his divergence that requires an explanation. That man and brute are like is, in a sense, a truism; but that being so like they should then be so insanely unlike, that is the shock and the enigma. That an ape has hands is far less interesting to the philosopher than the fact that having hands he does next to nothing with them; does not play knuckle-bones or the violin; does not carve marble or carve mutton. People talk of barbaric architecture and debased art. But elephants do not build colossal temples of ivory even in a roccoco style; camels do not paint even bad pictures, though equipped with the material of many camel's-hair brushes. Certain modern dreamers say that ants and bees have a society superior to ours. They have, indeed, a civilization; but that very truth only reminds us that it is an inferior civilization. Who ever found an ant-hill decorated with the statues of celebrated ants? Who has seen a bee-hive carved with the images of gorgeous queens of old? No; the chasm between man and other creatures may have a natural explanation, but it is a chasm. We talk of wild animals; but man is the only wild animal. It is man that has broken out. All other animals are tame animals; following the rugged respectability of the tribe or type. All other animals are domestic animals; man alone is ever undomestic, either as a profligate or a monk. So that this first superficial reason for materialism is, if anything, a reason for its opposite; it is exactly where biology leaves off that all religion begins.

John Berger’s observation on the historic depictions of women’s bodies in photography and painting from his book Ways of Seeing: To be born a woman has been to be born, within an allotted and confined space, into the keeping of men. The social presence of women has developed as a result of their ingenuity in living under such tutelage within such a limited space. But this has been at the cost of a woman’s self being split into two. A woman must continually watch herself. She is almost continually accompanied by her own image of herself. Whilst she is walking across a room or whilst she is weeping at the death of her father, she can scarcely avoid envisaging herself walking or weeping. From earliest childhood she has been taught and persuaded to survey herself continually… One might simplify this by saying: men act and women appear. Men look at women. Women watch themselves being looked at…Thus she turns herself into an object—and most particularly an object of vision: a sight.

Self-consciousness is the enemy of all art, be it acting, writing, painting, or living itself, which is the greatest art of all. Here’s how my theory goes. We writers are up to the following: We build tensions toward laughter, then give permission, and laughter comes. We build tensions toward sorrow, and at last say cry, and hope to see our audience in tears. We build tensions toward violence, light the fuse, and run. We build the strange tensions of love, where so many of the other tensions mix to be modified and transcended, and allow that fruition in the mind of the audience. We build tensions, especially today, toward sickness and then, if we are good enough, talented enough, observant enough, allow our audiences to be sick. Each tension seeks its own proper end, release, and relaxation. No tension, it follows, aesthetically as well as practically, must be built which remains unreleased. Without this, any art ends incomplete, halfway to its goal. And in real life, as we know, the failure to relax a particular tension can lead to madness.

The fear had precedent. Toward the end of the Civil War, having witnessed the effectiveness of the Union's 'colored troops,' a flailing Confederacy began considering an attempt to recruit blacks into its army. But in the nineteenth century, the idea of the soldier was heavily entwined with the notion of masculinity and citizenship. How could an army constituted to defend slavery, with all of its assumptions about black inferiority, turn around and declare that blacks were worthy of being invited into Confederate ranks? As it happened, they could not. 'The day you make a soldier of them is the beginning of the end of our revolution,' observed Georgia politician Howell Cobb. 'And if slaves seem good soldiers, then our whole theory of slavery is wrong.' There could be no win for white supremacy here. If blacks proved to be the cowards that 'the whole theory of slavery' painted them as, the battle would be lost. But much worse, should they fight effectively--and prove themselves capable of 'good Negro government'--then the larger war could never be won.

Another challenge we face is describing something commonly thought of as ugly,imperfect or disgusting. Again, we’re likely to jump to conclusions. Rather than considering our subject firsthand and describing what we observe, we label it. Because we’ve already established, for instance, that slugs are disgusting, we go on to describe them as “slimy” creatures that leave “gooey trails.” Cliché upon cliché. But when we engage our all-accepting eye, when we look beyond surface prejudices and preconceptions into the actual nature of our subject, clichés disappear. In her poem “The Connoisseuse of Slugs,” Sharon Olds transforms her subject with descriptive phrases like “naked jelly of those gold bodies,/translucent strangers glistening among the/stones” and “glimmering umber horns/rising like telescopes.” Her description forces us to see an old subject in a new way. We no longer have to choose between ugliness and beauty; they have realigned themselves, each side illuminating the other. When we engage our all-accepting eye, we discover the flaw that makes surface beauty interesting as well as the arresting detail that redeems a seemingly ugly image. THE

I find it hard to talk about myself. I’m always tripped up by the eternal who am I? paradox. Sure, no one knows as much pure data about me as me. But when I talk about myself, all sorts of other factors—values, standards, my own limitations as an observer—make me, the narrator, select and eliminate things about me, the narratee. I’ve always been disturbed by the thought that I’m not painting a very objective picture of myself. This kind of thing doesn’t seem to bother most people. Given the chance, people are surprisingly frank when they talk about themselves. “I’m honest and open to a ridiculous degree,” they’ll say, or “I’m thin-skinned and not the type who gets along easily in the world.” Or “I am very good at sensing others’ true feelings.” But any number of times I’ve seen people who say they’re easily hurt hurt other people for no apparent reason. Self-styled honest and open people, without realizing what they’re doing, blithely use some self-serving excuse to get what they want. And those “good at sensing others’ true feelings” are duped by the most transparent flattery. It’s enough to make me ask the question: How well do we really know ourselves?

I find it hard to talk about myself. I'm always tripped up by the eternal who am I? paradox. Sure, no one knows as much pure data about me as me. But when I talk about myself, all sorts of other factors - values, standards, my own limitations as an observer - make me, the narrator, select and eliminate things about me, the narratee. I've always been disturbed by the thought that I'm not painting a very objective picture of myself. This kind of things doesn't seem to bother most people. Given the chance, people are surprisingly frank when they talk about themselves. "I'm honest and open to a ridiculous degree," they'll say, or "I'm thin-skinned and not the type who gets along easily in the world." Or "I'm very good at sensing others' true feelings." But any number of times I've seen people who say they're easily hurt or hurt other people for no apparent reason. Self-styled honest and open people, without realizing what they're doing, blithely use some self-serving excuse to get what they want. And those "good at sensing others' true feelings" are taken in by the most transparent flattery. It's enough to make me ask the question: how well do really know ourselves? The more I think about it, the more I'd like to take a rain check on the topic of me. What I'd like to know more about is the objective reality of things outside myself. How important the world outside is to me, how I maintain a sense of equilibrium by coming to terms with it. That's how I'd grasp a clearer sense of who I am. These are the kind of ideas I had running through my head when I was a teenager. Like a master builder stretches taut his string and lays one brick after another, I constructed this viewpoint - or philosophy of life, to put a bigger spin on it. Logic and speculation played a part in formulating this viewpoint, but for the most part it was based on my own experiences. And speaking of experience, a number of painful episodes taught me that getting this viewpoint of mine across to other people wasn't the easiest thing in the world. The upshot of all this is that when I was young I began to draw an invisible boundary between myself and other people. No matter who I was dealing with, I maintained a set distance, carefully monitoring the person's attitude so that they wouldn't get any closer. I didn't easily swallow what other people told me. My only passions were books and music. As you might guess, I led a lonely life.

I’ll go myself,” the sergeant said tersely. He was getting annoyed. The stairway went down underneath the ground floor to a depth of about eight feet. A short paved corridor ran in front of the boiler room at right angles to the stairs, where each end was closed off by unpainted panelled doors. Both the stairs and the corridor felt like loose gravel underfoot, but otherwise they were clean. Splotches of blood were more in evidence in the corridor and a bloody hand mark showed clearly on the unpainted door to the rear. “Let’s not touch anything,” the sergeant cautioned, taking out a clean white handkerchief to handle the doorknob. “I better call the fingerprint crew,” the photographer said. “No, Joe will call them; I’ll need you. And you local fellows better wait outside, we’re so crowded in here we’ll destroy the evidence.” “Ed and I won’t move,” Grave Digger said. Coffin Ed grunted. Taking no further notice of them, the sergeant pushed open the door. It was black and dark inside. First he shone his light over the wall alongside the door and all over the corridor looking for electric light switches. One was located to the right of each door. Taking care to avoid stepping in any of the blood splotches, the sergeant moved from one switch to another, but none worked. “Blown fuse,” he muttered, picking his way back to the open room. Without having to move, Grave Digger and Coffin Ed could see all they wanted through the open door. Originally made to accommodate a part-time janitor or any type of laborer who would fire the boiler for a place to sleep, the room had been converted into a pad. All that remained of the original was a partitioned-off toilet in one corner and a washbasin in the other. An opening enclosed by heavy wire mesh opened into the boiler room, serving for both ventilation and heat. Otherwise the room was furnished like a boudoir. There was a dressing-table with a triple mirror, three-quarter bed with chenille spread, numerous foam-rubber pillows in a variety of shapes, three round yellow scatter rugs. On the whitewashed walls an obscene mural had been painted in watercolors depicting black and white silhouettes in a variety of perverted sex acts, some of which could only be performed by male contortionists. And everything was splattered with blood, the walls, the bed, the rugs. The furnishings were not so much disarrayed, as though a violent struggle had taken place, but just bloodied. “Mother-raper stood still and let his throat be cut,” Grave Digger observed. “Wasn’t that,” Coffin Ed corrected. “He just didn’t believe it is all.

She looked thoughtful. “Who knows? Perhaps now is the time to see through the habit. Accidents, illness, healing, they’re all more mysterious than any of us ever imagined. I believe that we have an undiscovered ability to influence what happens to us in the future, including whether we are healthy—although, again, the power has to remain with the individual patient. “There was a reason that I didn’t offer an opinion concerning how badly you were hurt. We in the medical establishment have learned that medical opinions have to be offered very carefully. Over the years the public has developed almost a worship of doctors, and when a physician says something, patients have tended to take these opinions totally to heart. The country doctors of a hundred years ago knew this, and would use this principle to actually paint an overly optimistic picture of any health situation. If the doctor said that the patient would get better, very often the patient would internalize this idea in his or her mind and actually defy all odds to recover. In later years, however, ethical considerations have prevented such distortions, and the establishment has felt that the patient is entitled to a cold scientific assessment of his or her situation. “Unfortunately when this was given, sometimes patients dropped dead right before our eyes, just because they were told their condition was terminal. We know now that we have to be very careful with these assessments, because of the power of our minds. We want to focus this power in a positive direction. The body is capable of miraculous regeneration. Body parts thought of in the past as solid forms are actually energy systems that can transform overnight. Have you read the latest research on prayer? The simple fact that this kind of spiritual visualization is being scientifically proven to work totally undermines our old physical model of healing. We’re having to work out a new model.” She paused and poured more water on the towel around my ankle, then continued, “I believe the first step in the process is to identify the fear with which the medical problem seems to be connected; this opens up the energy block in your body to conscious healing. The next step is to pull in as much energy as possible and focus it at the exact location of the block.” I was about to ask how this was done, but she stopped me. “Go ahead and raise your energy level as much as you can.” Accepting her guidance, I began to observe the beauty around me and to concentrate on a spiritual connection within, evoking a heightened sensation of love. Gradually the colors became more vivid and everything in my awareness increased in presence. I could tell that she was raising her own energy at the same time. When I felt as though my vibration had increased as much as possible, I looked at her. She smiled back at me. “Okay, now you can focus the energy on the block.” “How do I do that?” I asked. “You use the pain. That’s why it’s there, to help you focus.

Many people approach Tolstoy with mixed feelings. They love the artist in him and are intensely bored by the preacher; but at the same time it is rather difficult to separate Tolstoy the preacher from Tolstoy the artist—it is the same deep slow voice, the same robust shoulder pushing up a cloud of visions or a load of ideas. What one would like to do, would be to kick the glorified soapbox from under his sandalled feet and then lock him up in a stone house on a desert island with gallons of ink and reams of paper—far away from the things, ethical and pedagogical, that diverted his attention from observing the way the dark hair curled above Anna's white neck. But the thing cannot be done : Tolstoy is homogeneous, is one, and the struggle which, especially in the later years, went on between the man who gloated over the beauty of black earth, white flesh, blue snow, green fields, purple thunderclouds, and the man who maintained that fiction is sinful and art immoral—this struggle was still confined within the same man. Whether painting or preaching, Tolstoy was striving, in spite of all obstacles, to get at the truth. As the author of Anna Karenin, he used one method of discovering truth; in his sermons, he used another; but somehow, no matter how subtle his art was and no matter how dull some of his other attitudes were, truth which he was ponderously groping for or magically finding just around the corner, was always the same truth — this truth was he and this he was an art. What troubles one, is merely that he did not always recognize his own self when confronted with truth. I like the story of his picking up a book one dreary day in his old age, many years after he had stopped writing novels, and starting to read in the middle, and getting interested and very much pleased, and then looking at the title—and seeing: Anna Karenin by Leo Tolstoy. What obsessed Tolstoy, what obscured his genius, what now distresses the good reader, was that, somehow, the process of seeking the Truth seemed more important to him than the easy, vivid, brilliant discovery of the illusion of truth through the medium of his artistic genius. Old Russian Truth was never a comfortable companion; it had a violent temper and a heavy tread. It was not simply truth, not merely everyday pravda but immortal istina—not truth but the inner light of truth. When Tolstoy did happen to find it in himself, in the splendor of his creative imagination, then, almost unconsciously, he was on the right path. What does his tussle with the ruling Greek-Catholic Church matter, what importance do his ethical opinions have, in the light of this or that imaginative passage in any of his novels? Essential truth, istina, is one of the few words in the Russian language that cannot be rhymed. It has no verbal mate, no verbal associations, it stands alone and aloof, with only a vague suggestion of the root "to stand" in the dark brilliancy of its immemorial rock. Most Russian writers have been tremendously interested in Truth's exact whereabouts and essential properties. To Pushkin it was of marble under a noble sun ; Dostoevski, a much inferior artist, saw it as a thing of blood and tears and hysterical and topical politics and sweat; and Chekhov kept a quizzical eye upon it, while seemingly engrossed in the hazy scenery all around. Tolstoy marched straight at it, head bent and fists clenched, and found the place where the cross had once stood, or found—the image of his own self.

He closes his eyes. What does God see? Cromwell in the fifty-fourth year of his age, in all his weight and gravitas, his bulk wrapped in wool and fur? Or a mere flicker, an illusion, a spark beneath a shoe, a spit in the ocean, a feather in a desert, a wisp, a phantom, a needle in a haystack? If Henry is the mirror, he is the pale actor who sheds no lustre of his own, but spins in a reflected light. If the light moves he is gone. When I was in Italy, he thinks, I saw Virgins painted on every wall, I saw in every fresco the sponged blood-colour of Christ's robe. I saw the sinuous tempter that winds from a branch, and Adam's face as he was tempted. I saw that the serpent was a woman, and about her face were curls of silver-gilt; I saw her writhe about the green bough, saw it sway under her coils. I saw the lamentation of Heaven over Christ crucified, angels flying and crying at the same time. I saw torturers nimble as dancers hurling stones at St Stephen, and I saw the martyr's bored face as he waited for death. I saw a dead child cast in bronze, standing over its own corpse: and all these pictures, images, I took into myself, as some kind of prophecy or sign. But I have known men and women, better than me and closer to grace, who have meditated on every splinter of the cross, till they forget who and what they are, and observe the Saviour's blood, running in the soaked fibres of the wood. Till they believe themselves no longer captive to misfortune nor crime, nor in thrall to a useless sacrifice in an alien land. Till they see Christ's cross is the tree of life, and the truth breaks inside them, and they are saved. He sands his paper. Puts down his pen. I believe, but I do not believe enough. I said to Lambert, my prayers are with you, but in the end I only prayed for myself, that I might not suffer the same death.

Generally speaking a view of the available economic systems that have been tested historically must acknowledge the immense power of capitalism to generate living standards food housing education the amenities to a degree unprecedented in human civilization. The benefits of such a system while occasionally random and unpredictable with periods of undeniable stress and misery depression starvation and degradation are inevitably distributed to a greater and greater percentage of the population. The periods of economic stability also ensure a greater degree of popular political freedom and among the industrial Western democracies today despite occasional suppression of free speech quashing of dissent corruption of public officials and despite the tendency of legislation to serve the interests of the ruling business oligarchy the poisoning of the air water the chemical adulteration of food the obscene development of hideous weaponry the increased costs of simple survival the waste of human resources the ruin of cities the servitude of backward foreign populations the standards of life under capitalism by any criterion are far greater than under state socialism in whatever forms it is found British Swedish Cuban Soviet or Chinese. Thus the good that fierce advocacy of personal wealth accomplishes in the historical run of things outweighs the bad. And while we may not admire always the personal motives of our business leaders we can appreciate the inevitable percolation of the good life as it comes down through our native American soil. You cannot observe the bounteous beauty of our county nor take pleasure in its most ordinary institutions in peace and safety without acknowledging the extraordinary achievement of American civilization. There are no Japanese bandits lying in wait on the Tokaidoways after all. Drive down the turnpike past the pretty painted pipes of the oil refineries and no one will hurt you.

Better cut them down.” Roshar took his turn. “The wood’s undergrowth might be enough to screen us if we lie low.” Kestrel clicked her teeth; an eastern, irritated sort of sound. “You learned that from me,” the prince said, pleased. “Now tell the truth. Did you mark the cards?” Coolly, she said, “I never cheat.” “We can’t cut the trees down,” Arin said. “Concentrate,” Kestrel told the prince, sweeping up the card he’d tossed down. “To be clear, I’m letting you win. I let you win all the time.” “Obviously we can’t cut them down,” she said. “My father will notice a sudden swath of felled trees. We might as well paint a sign telling him we’re there.” “Or…” Arin said. She glanced at him. “What are you thinking?” “How much rope do we have?” “Two hundred and twelve lengths.” Roshar said, “You’ve been going over our supplies?” “Yes,” she said. “Could you rattle off the units by heart?” “Yes.” “How many sacks of grain for horses?” “Sixty-two. Play your card. You might as well. You’re going to lose regardless.” “Attempts to distract her usually don’t work,” Arin told him. “You play the winner, then,” Roshar said, “so that I may observe your technique.” Arin checked the rabbit again, pulled it off the fire. “No.” A surprised disappointment twitched, insect-like, inside Kestrel’s chest. Roshar said, “Why not?” Arin sliced meat off the bone onto a tin plate. Kestrel, who wasn’t entirely sure she wanted to hear Arin’s answer, said, “Why do you want rope?” “Let Arin surprise us,” Roshar said. “That’s how we do things. He comes up with something brilliant and I take the credit.” “Tell me,” Kestrel said. Arin set down the plate. “I won’t play you because even when I win, I lose. It’s never been just a game between us.” Roshar, who was stretched out on his side on the grass, elbow crooked, cheek pilowed on his palm, raised his brows at Kestrel. “I meant about the rope,” she muttered. Roshar’s gaze slid between her and Arin. “Yes, the rope. Why don’t we talk about that after all, shall we?

I now principally allude to Rousseau, for his character of Sophia is, undoubtedly, a captivating one, though it appears to me grossly unnatural; however, it is not the superstructure, but the foundation of her character, the principles on which her education was built, that I mean to attack; nay, warmly as I admire the genius of that able writer, whose opinions I shall often have occasion to cite, indignation always takes place of admiration, and the rigid frown of insulted virtue effaces the smile of complacency, which his eloquent periods are wont to raise, when I read his voluptuous reveries. Is this the man, who, in his ardour for virtue, would banish all the soft arts of peace, and almost carry us back to Spartan discipline? Is this the man who delights to paint the useful struggles of passion, the triumphs of good dispositions, and the heroic flights which carry the glowing soul out of itself? How are these mighty sentiments lowered when he describes the prettyfoot and enticing airs of his little favourite! But, for the present, I waive the subject, and, instead of severely reprehending the transient effusions of overweening sensibility, I shall only observe, that whoever has cast a benevolent eye on society, must often have been gratified by the sight of humble mutual love, not dignified by sentiment, nor strengthened by a union in intellectual pursuits. The domestic trifles of the day have afforded matter for cheerful converse, and innocent caresses have softened toils which did not require great exercise of mind, or stretch of thought: yet, has not the sight of this moderate felicity excited more tenderness than respect? An emotion similar to what we feel when children are playing, or animals sporting, whilst the contemplation of the noble struggles of suffering merit has raised admiration, and carried our thoughts to that world where sensation will give place to reason. Women are, therefore, to be considered either as moral beings, or so weak that they must be entirely subjected to the superior faculties of men.

If you pass on through the meadows with their thousand flowers of every color imaginable, from bright red to yellow and purple, and their bright green grass washed clean by last night’s rain, rich and verdant—again without a single movement of the machinery of thought—then you will know what love is. To look at the blue sky, the high full-blown clouds, the green hills with their clear lines against the sky, the rich grass and the fading flower—to look without a word of yesterday; then, when the mind is completely quiet, silent, undisturbed by any thought, when the observer is completely absent—then there is unity. Not that you are united with the flower, or with the cloud, or with those sweeping hills; rather there is a feeling of complete non-being in which the division between you and another ceases. The woman carrying those provisions which she bought in the market, the big black Alsatian dog, the two children playing with the ball—if you can look at all these without a word, without a measure, without any association, then the quarrel between you and another ceases. This state, without the word, without thought, is the expanse of mind that has no boundaries, no frontiers within which the I and the not-I can exist. Don’t think this is imagination, or some flight of fancy, or some desired mystical experience; it is not. It is as actual as the bee on that flower or the little girl on her bicycle or the man going up a ladder to paint the house—the whole conflict of the mind in its separation has come to an end. You look without the look of the observer, you look without the value of the word and the measurement of yesterday. The look of love is different from the look of thought. The one leads in a direction where thought cannot follow, and the other leads to separation, conflict, and sorrow. From this sorrow, you cannot go to the other. The distance between the two is made by thought, and thought cannot by any stride reach the other. As you walk back by the little farmhouses, the meadows, and the railway line, you will see that yesterday has come to an end: life begins where thought ends.

The translucent, golden punch tastes velvety, voluptuous and not off-puttingly milky. Under its influence, I stage a party for my heroines in my imagination, and in my flat. It's less like the glowering encounter I imagined between Cathy Earnshaw and Flora Poste, and more like the riotous bash in Breakfast at Tiffany's. Not everyone is going to like milk punch. So there are also dirty martinis, and bagels and baklava, and my mother's masafan, Iraqi marzipan. The Little Mermaid is in the bath, with her tail still on, singing because she never did give up her soaring voice. Anne Shirley and Jo March are having a furious argument about plot versus character, gesticulating with ink-stained hands. Scarlett is in the living room, her skirts taking up half the space, trying to show Lizzy how to bat her eyelashes. Lizzy is laughing her head off ut Scarlett has acquired a sense of humour, and doesn't mind a bit. Melanie is talking book with Esther Greenwood, who has brought her baby and also the proofs of her first poetry collection. Franny and Zooey have rolled back the rug and are doing a soft shoe shuffle in rhinestone hats. Lucy Honeychurch is hammering out some Beethoven (in this scenario I have a piano. A ground piano. Well, why not?) Marjorie Morningstar is gossiping about directors with Pauline and Posy Fossil. They've come straight from the shows they're in, till in stage make-up and full of stories. Petrova, in a leather aviator jacket, goggles pushed back, a chic scarf knotted around her neck, is telling the thrilling story of her latest flight and how she fixed an engine fault in mid-air. Mira, in her paint-stained jeans and poncho, is listening, fascinated, asking a thousand questions. Mildred has been persuaded to drink a tiny glass of sherry, then another tiny glass, then another and now she and Lolly are doing a wild, strange dance in the hallway, stamping their feet, their hair flying wild and electric. Lolly's cakes, in the shape of patriarchs she hates, are going down a treat. The Dolls from the Valley are telling Flora some truly scandalous and unrepeatable stories, and she is firmly advising them to get rid of their men and find worthier paramours. Celie is modelling trousers of her own design and taking orders from the Lace women; Judy is giving her a ten-point plan on how to expand her business to an international market. She is quite drunk but nevertheless the plan seems quite coherent, even if it is punctuated by her bellowing 'More leopard print, more leopard print!' Cathy looks tumultuous and on the edge of violent weeping and just as I think she's going to storm out or trash my flat, Jane arrives, late, with an unexpected guest. Cathy turns in anticipation: is it Heathcliff? Once I would have joined her but now I'm glad it isn't him. It's a better surprise. It's Emily's hawk. Hero or Nero. Jane's found him at last, and has him on her arm, perched on her glove; small for a bird of prey, he is dashing and patrician looking, brown and white, observing the room with dark, flinty eyes. When Cathy sees him, she looks at Jane and smiles. And in the kitchen is a heroine I probably should have had when I was four and sitting on my parents' carpet, wishing it would fly. In the kitchen is Scheherazade.

In the early 1680s, at just about the time that Edmond Halley and his friends Christopher Wren and Robert Hooke were settling down in a London coffee house and embarking on the casual wager that would result eventually in Isaac Newton’s Principia, Hemy Cavendish’s weighing of the Earth, and many of the other inspired and commendable undertakings that have occupied us for much of the past four hundred pages, a rather less desirable milestone was being passed on the island of Mauritius, far out in the Indian Ocean some eight hundred miles off the east coast of Madagascar. There, some forgotten sailor or sailor’s pet was harrying to death the last of the dodos, the famously flightless bird whose dim but trusting nature and lack of leggy zip made it a rather irresistible target for bored young tars on shore leave. Millions of years of peaceful isolation had not prepared it for the erratic and deeply unnerving behavior of human beings. We don’t know precisely the circumstances, or even year, attending the last moments of the last dodo, so we don’t know which arrived first a world that contained a Principia or one that had no dodos, but we do know that they happened at more or less the same time. You would be hard pressed, I would submit to find a better pairing of occurrences to illustrate the divine and felonious nature of the human being-a species of organism that is capable of unpicking the deepest secrets of the heavens while at the same time pounding into extinction, for no purpose at all, a creature that never did us any harm and wasn’t even remotely capable of understanding what we were doing to it as we did it. Indeed, dodos were so spectacularly short on insight it is reported, that if you wished to find all the dodos in a vicinity you had only to catch one and set it to squawking, and all the others would waddle along to see what was up. The indignities to the poor dodo didn’t end quite there. In 1755, some seventy years after the last dodo’s death, the director of the Ashmolean Museum in Oxford decided that the institution’s stuffed dodo was becoming unpleasantly musty and ordered it tossed on a bonfire. This was a surprising decision as it was by this time the only dodo in existence, stuffed or otherwise. A passing employee, aghast tried to rescue the bird but could save only its head and part of one limb. As a result of this and other departures from common sense, we are not now entirely sure what a living dodo was like. We possess much less information than most people suppose-a handful of crude descriptions by "unscientific voyagers, three or four oil paintings, and a few scattered osseous fragments," in the somewhat aggrieved words of the nineteenth century naturalist H. E. Strickland. As Strickland wistfully observed, we have more physical evidence of some ancient sea monsters and lumbering saurapods than we do of a bird that lived into modern times and required nothing of us to survive except our absence. So what is known of the dodo is this: it lived on Mauritius, was plump but not tasty, and was the biggest-ever member of the pigeon family, though by quite what margin is unknown as its weight was never accurately recorded. Extrapolations from Strickland’s "osseous fragments" and the Ashmolean’s modest remains show that it was a little over two and a half feet tall and about the same distance from beak tip to backside. Being flightless, it nested on the ground, leaving its eggs and chicks tragically easy prey for pigs, dogs, and monkeys brought to the island by outsiders. It was probably extinct by 1683 and was most certainly gone by 1693. Beyond that we know almost nothing except of course that we will not see its like again. We know nothing of its reproductive habits and diet, where it ranged, what sounds it made in tranquility or alarm. We don’t possess a single dodo egg. From beginning to end our acquaintance with animate dodos lasted just seventy years.