Ochre Quotes

The evening blessed us with a sunset to rival a painting by Carpaccio in its colours. The sky mutated from shades of ultramarine and azure to vermilion and ochre, then strips of violet and finally indigo.

Autumnal -- nothing to do with leaves. It is to do with a certain brownness at the edges of the day ... Brown is creeping up on us, take my word for it ... Russets and tangerine shades of old gold flushing the very outside edge of the senses... deep shining ochres, burnt umber and parchments of baked earth -- reflecting on itself and through itself, filtering the light. At such times, perhaps, coincidentally, the leaves might fall, somewhere, by repute. Yesterday was blue, like smoke.

I see them standing at the formal gates of their colleges, I see my father strolling out under the ochre sandstone arch, the red tiles glinting like bent plates of blood behind his head, I see my mother with a few light books at her hip standing at the pillar made of tiny bricks with the wrought-iron gate still open behind her, its sword-tips black in the May air, they are about to graduate, they are about to get married, they are kids, they are dumb, all they know is they are innocent, they would never hurt anybody. I want to go up to them and say Stop, don't do it--she's the wrong woman, he's the wrong man, you are going to do things you cannot imagine you would ever do, you are going to do bad things to children, you are going to suffer in ways you never heard of, you are going to want to die. I want to go up to them there in the late May sunlight and say it, her hungry pretty blank face turning to me, her pitiful beautiful untouched body, his arrogant handsome blind face turning to me, his pitiful beautiful untouched body, but I don't do it. I want to live. I take them up like the male and female paper dolls and bang them together at the hips like chips of flint as if to strike sparks from them, I say Do what you are going to do, and I will tell about it

Autumn is here and I am in love. My heart has taken residence in my mind. I pick the crisp ochre leaves and put them in my pocket. I am in love.

Where is it written that houses must be beige? Any dun colored house would look better if painted pineapple, cream, ochre, or even a smart sage.

Like I said, basements usually smell like surrealism. But kitchens and gardens almost always smell like impressionism. Because our kitchen is part of a basement apartment, it smells like the early impressionism of Vincent Van Gogh - all big strokes of umber and ochre - a peppery greasy I-love-you smell.

The ochre-yellow linoleum floor hasn't been scrubbed for some time; splotches of dirt bloom on it like grey pressed flowers.

My ex calls the ochre winter 'autumn' as we queue to hear dock boys play jazz fugues in velvet dark.— Broken Verses

The story of Zenia ought to begin when Zenia began. It must have been someplace long ago and distant in space, thinks Tony; someplace bruised, and very tangled. A European print, hand-tinted, ochre-coloured, with dusty sunlight and a lot of bushes in it- bushes with thick leaves and ancient twisted roots, behind which, out of sight in the undergrowth and hinted at only by a boot protruding, or a slack hand, something ordinary but horrifying is taking place.

But drunkenly, or secretly, we swore, Disciples of that astigmatic saint, That we would never leave the island Until we had put down, in paint, in words, As palmists learn the network of a hand, All of its sunken, leaf-choked ravines, Every neglected, self-pitying inlet Muttering in brackish dialect, the ropes of mangroves From which old soldier crabs slipped Surrendering to slush, Each ochre track seeking some hilltop and Losing itself in an unfinished phrase, Under sand shipyards where the burnt-out palms Inverted the design of unrigged schooners, Entering forests, boiling with life, Goyave, corrosol, bois-canot, sapotille. Days! The sun drumming, drumming, Past the defeated pennons of the palms, Roads limp from sunstroke, Past green flutes of the grass The ocean cannonading, come! Wonder that opened like the fan Of the dividing fronds On some noon-struck sahara, Where my heart from its rib cage yelped like a pup After clouds of sanderlings rustily wheeling The world on its ancient, Invisible axis, The breakers slow-dolphining over more breakers, To swivel our easels down, as firm As conquerors who had discovered home.

But that day's not now. And even if this horror becomes an accent color - a smudge of lead white to highlight a cheekbone, a bit of yellow ochre the glint on a sword - sometimes those are the pigments that change one's perecption of an entire work of art.

Perhaps we painted on our own skin, with ochre and charcoal, long before we painted on stone.

The world vanished inside a shrieking, whirling ochre haze. Stones and gravel pelted them, drawing flinches from the stallion and grunts of pain from Kalam.

She began to scroll through her Pinterest board. Flowers blossomed on the screen. The golds and ochres first. Golden peonies, apricot honeysuckle, saffron, poppies the color of amber.

A man can be beautiful, I see that now. It's not just a woman's term, not a word reserved for romantic, virtuous, elegant things. I don't think beauty is neat any more. It's unordered. It's unbrushed hair and a torn back pocket. It's bright and strange and lovely, and if I were to paint him, I'd use all the warm colours - ochre, gold, plum, terracotta, scarlet, burnt orange.

Time stood still in a swelling moment where my curiosity drew me to be still in thought as the breaking speed of sound caused my heart to ascend to where my ears did know. An almost desperate attempt is made to catch my breath. Conservatively sitting down near behind the door reading, I make note of the incredible lines that veer beyond the vantage of what beauty I can absorb. She is a woman, if whose flaws were to unveil would only make her even more distinctly unique with beauty. Her ivory-colored complexion bears the brilliance of champagne balanced by a hint of ochre. Ringlets of black thread and pearl lay gracefully alongside her charming features. Her lips look as if they speak of love often, but only to herself. Her style, grace, elegance, and posture display the pure determination that she has made clear in her mind. The slight indent on the bridge of her adorable nose complements her slender face and endearing qualities. Her elegance alone surpasses any expression I’ve ever encountered.

Vienna’s leaves burst from green into a riot of color—flame red, mustard yellow, warm gold, and honeyed ochre—before falling from the branches and carpeting the imperial boulevards with their used remnants.

To the one in the skies, this city must look like a scintillating pattern of speckled glows in all directions, like a firecracker going off amid thick darkness. Right now the urban pattern glowing here is in hues of orange, ginger, and ochre. It is a configuration of sparkles, each dot a light lit by someone awake at this hour. From where the Celestial Gaze is situated, from that high above, all these sporadically lit bulbs must seem in perfect harmony, constantly flickering, as if coding a cryptic message to God.

It was as if there were no names here, as if there were no words. The desert cleansed everything in its wind, wiped everything away. The men had the freedom of the open spaces in their eyes, their skin was like metal. Sunlight blazed everywhere. The ochre, yellow, gray, white sand, the fine sand shifted, showing the direction of the wind. It covered all traces, all bones. It repelled light, drove away water, life, far from a center that no one could recognize. The men knew perfectly well that the desert wanted nothing to do with them: so they walked on without stopping, following the paths that other feet had already traveled in search of something else.

Perhaps what I liked far more was the evening. Everything about it thrilled me. Every glance that crossed my own came like a compliment, or like an asking and a promise that simply lingered in midair between me and the world around me. I was electrified — by the chaffing, the irony, the glances, the smiles that seemed pleased I existed, by the buoyant air in the shop that graced everything from the glass door to the petits fours, to the golden ochre spell of plastic glasses filled with scotch whiskey, to Mr. Venga's rolled up sleeves, to the poet himself, down to the spiral staircase where we had congregated with the babe sisters — all seemed to glow with a luster at once spellbound and aroused.

I still dream in pictures and color, always the world of my childhood. I see the purple Judas trees at Easter lighting up the roadsides and terraces of the town. Ochre cliffs made of cinnamon powder. Autumn clouds rolling along the ground of the hills, and the patchwork of wet oak leaves on the grass. The shape of a rose petal. And my parents' faces, which will never grow any older. "But it is strange how scent brings it all back too. I only have to smell certain aromas, and I am back in a certain place with a certain feeling." The comforting past smelled of heliotrope and cherry and sweet almond biscuits: close-up smells, flowers you had to put your nose to as the sight faded from your eyes. The scents of that childhood past had already begun to slip away: Maman's apron with blotches of game stew; linen pressed with faded lavender; the sheep in the barn. The present, or what had so very recently been the present, was orange blossom infused with hope.

Yorkshire's autumn was as great a gift as Yorkshire's summer. I loved watching the rusting of the leaves while the dales mellowed to shades of ochre, and rose hips and blackberries grew deliciously fat on their branches. The morning mists were mystical and magical to me, and the rose-glow of the evening sun lent the sky a hypnotic light that matched any Cape Town sunset.

Fifteen sunflowers, some in bloom and some turning. Yellow on yellow pigment that darkened to ochre. Yellow earthenware vase decorated by a complementary blue line that cut across its middle. The original was painted by one of the loneliest men on earth. But painted in a frenzy of optimism and gratitude and hope. A celebration of the transcendent power of the color yellow.

No one need shave his head or wear special headgear or ochre robes or run away from all that one holds dear. No Sir! You may live in this world and do your duties, earn your livelihood, look after those that need your help, spread the fragrance of love and service, and yet remember to keep in touch with your true Self, the spark from the great fire, the drop from the great ocean, by meditating regularly, so that, in the spotless clear mirror of your heart, Divinity’s reflection glows. From your heart, then, will the serene rays of the spirit proceed and fill other hearts with bliss.

I stood transfixed, the silence ringing in my ears. From the field of wild grasses; cocksfoot, tufted hair, wild oat, tall fescue, reed canary and perennial rye, their subtle shades of green, ochre and pink softly patching and blending in rustling movement, suddenly rose a small flock of starlings that had been feeding quietly unseen among the tall waving stems, the swish of their glossy wings startlingly loud in the stillness of midday. Heat held me captive.

He was looking at Mr. Nancy, an old black man with a pencil moustache, in his check sports jacket and his lemon yellow gloves, riding a carousel lion as it rose and lowered, high in the air; and, at the same time, in the same place, he saw a jeweled spider as high as a horse, its eyes an emerald nebula, strutting, staring down at him; and simultaneously he was looking at an extraordinarily tall man with teak colored skin and three sets of arms, wearing a flowing ostrich-feather headdress, his face painted with red stripes, riding an irritated golden lion, two of his six hands holding on tightly to the beast’s mane; and he was also seeing a young black boy, dressed in rags, his left foot all swollen and crawling with black flies; and last of all, and behind all these things, Shadow was looking at a tiny brown spider, hiding under a withered ochre leaf. Shadow saw all these things, and he knew they were the same thing.

Autumn comes like a buyer of cloth, her long fingers touching, turning orange, yellow, brown. taking what she wants, stretching the bone taut air. Her skin crackles beneath our feet. I didn't think anyone wanted me, bruises pulled like a sweater around my neck. We talk in the pore tightening air, branches bare, about the girl buried in the chill of prewinter. We show each other our mutilated children in the guise of women as autumn plucks at our lips. Each color, blue, black, ochre popping like kisses on the rib lined flesh, the puberty soft things. And we muse how women keep bruises hidden beneath dead leaves.

There will come a day, when this horror is not the only color on your palette. But that day's not now. And even if this horror becomes an accent color- a smudge of lead white to highlight a cheekbone, a bit of yellow ochre the glint on a sword- sometimes those are the pigments that change one's perception of an entire work of art.

the twelfth century. The clay was a warm ochre color

Below us stretched a landscape only slightly more hospitable than Mars. (I mean the planet, not the god, though I suppose neither is much of a host.) Sun-blasted ochre mountains ringed a valley patchworked with unnaturally green golf courses, dusty barren flats and sprawling neighbourhoods of white stucco walls, red-tiled roofs and blue swimming pools. Lining the streets, rows of listless palm trees stuck up like raggedy seams. Asphalt parking lots shimmered in the heat. A brown haze hung in the air, filling the valley like watery gravy. ‘Palm Springs,

Pilgrims Tuscan reds and ochre hues Olive greens and skies of blue Sunlit valleys full of charm Secluded homestead and hilltop farm Over hills skim birds in flight Aromas whet the appetite Autumn rustle fills the air Revealing grace of trees laid bare Pathways meander through the vale Inviting travelers its height to scale Sunset rewards as evening ends And pilgrims to the night descend

Maple leaves in autumn do not suddenly transform into stained glass pendants...in order to satisfy a human longing for beauty. Their scarlet, ochre, and golden colors emerge as chlorophyll production shuts down, in preparation for sacrificing the leaves that are vulnerable to winter cold, and ensuring the survival of the tree. But the tree survives, WHILE our vision is ravished. The peacock's display attracts a hen, AND it nourishes the human eye. The flower's fragrance entices a pollinator, BUT IT ALSO intoxicates the gardener. In that "while," in that "and," in that "but it also," we find the giftedness of life.

He had used drugs and nanonic supplements to compensate at first, then supplements became replacements, with bones exchanged for carbon-fibre struts. Electrical consumption supplanted food intake. The final transition was his skin, replacing the eczema-ridden epidermis with a smooth ochre silicon membrane. Warlow didn’t need a spacesuit to work in the vacuum, he could survive for over three weeks without a power and oxygen recharge. His facial features had become purely cosmetic, a crude mannequin-like caricature of human physiognomy, although there was an inlet valve at the back of his throat for fluid intake. There was no hair, and he certainly didn’t bother with clothes. Sex was something he lost in his fifties.

I flew straight out of heaven, a mad bird full of secrets. I came into being as I came into being. I grew as I grew. I changed as I change. My mind is fire, my soul fire. The cobra wakes and spits fire in my eyes. I rise through ochre smoke into black air enclosed in a shower of stars. I am what I have made. I am the seed of every god, beautiful as evening, hard as light. I am the last four days of yesterday, four screams from the edges of earth—beauty, terror, truth, madness—the phoenix on his pyre.

Perhaps we painted on our own skin, with ochre and charcoal, long before we painted on stone. In any case, forty thousand years ago, we left painted handprints on the cave walls of Lascaux, Ardennes, Chauvet. The black pigment used to paint the animals at Lascaux was made of manganese dioxide and ground quartz; and almost half the mixture was calcium phosphate. Calcium phosphate is produced by heating bone four hundred degrees Celsius, then grinding it. We made our paints from bones of the animals we painted. No image forgets this origin.

Usually, we think of an apple as being red. This is not the same red as that of a cherry or tomato. A lemon is yellow and an orange like that of its name. Bricks vary from beige to yellow to orange, and from ochre to brown to deep violet. Foliage appears in innumerable shades of green. In all these cases the colors named are surface colors. In a very different was, distant mountains appear uniformly blue, no matter whether covered with green trees or consisting of earth and rocks. The sun is glaring white in daytime, but it is full red at sunset. The white ceiling of houses surrounded by lawns or the white-painted eaves of a roof on a sunny day appear in bright green, which is reflected from the grass on the ground. All these cases present film colors. They appear as a thin, transparent, translucent layer between the eye and an object, independent of the object's surface color.

No silver seagrass or salt pans, no soldier crabs or sea tides to read, no seaweed necklaces to wear, and no skies filled with ghostly wisps of virga, warning of storms out at sea. On either side of the flat highway the land was thirsty, dry as a cracked tongue. Somehow, though, the strange landscape teemed with life. It hummed in Alice's ears, the clicking buzz of cicadas, the occasional wild cackle of kookaburras. There was the occasional blur of color where wildflowers grew at the base of gum trees. Some had trunks as white as fairytale snow while others we're an ochre color, as glossy as if covered in a slick of wet paint.

A man can be beautiful, I see that now. It’s not just a woman’s term, not a word reserved for romantic, virtuous, elegant things. I don’t think beauty is neat anymore. It’s unordered. It’s unbrushed hair and a torn back pocket. It’s bright and strange and lovely, and if I were to paint him, I’d use all the warm colours - ochre, gold, plum, terracotta, scarlet, burnt orange. I want him to see me as I saw him then, I want him to find me alone at the end of the day with the sun in my hair. I want his heart to buckle, too. I want him to stop someone out in the square and say, who’s that? Do you know her? Where is she from?” — - from Eve Green’s mother’s account. “It is written on a piece of thin, yellow paper, and is folded in half. I like this account. I like it because it’s true, she’s right. We all want out lovers to see us that way - unaware, natural, serene. We want to change their world with one glance, to stop their breath at the sight of us.

Shrill flaring gas-jets, dulled and distorted in the fly-blown mirrors that faced them, were ranged round the walls. Greasy reflectors of ribbed tin backed them, making quivering disks of light. The floor was covered with ochre-coloured sawdust, trampled here and there into mud, and stained with dark rings of spilled liquor. Some

Firmly planted. Not fallen from on high: sprung up from below. Ochre, the color of burnt honey. The color of a sun buried a thousand years ago and dug up only yesterday. Fresh green and orange stripes running across its still-warm body. Circles, Greek frets: scattered traces of a lost alphabet? The belly of a woman heavy with child, the neck of a bird. If you cover and uncover its mouth with the palm of your hand, it answers you with a deep murmur, the sound of bubbling water welling up from its depths; if you tap its sides with your knuckles, it gives a tinkling laugh of little silver coins falling on stones. It has many tongues: it speaks of the language of clay and minerals, of air currents flowing between canyon walls, of washerwomen as they scrub, of angry skies, of rain. A vessel of baked clay: do not put it in a glass case alongside rare precious objects. It would look quite out of place. Its beauty is related to the liquid that it contains and to the thirst that it quenches. Its beauty is corporal: I see it, I touch it, I smell it, I hear it. If it is empty, It must be filled; if it is full, it must be emptied. I take it by the shaped handle as I would take a woman by the arm, I lift it up, I tip over a pitcher into which I pour milk or pulque - lunar liquids that open and close the doors of dawn and dark, waking a sleeping.

The dancer...knows it takes Ten sacred years to learn one gesture Of the wind’s caress on the skin of water. Tonight, in the shadows of our dance, I tell my soul to grow quiet, Become lake, reflect unbroken moon. On the deepest part of the lake, A solitary fisher paddles his oars. At the shore, a woman in red sarong Sings: their longing walks on water.

This paper is a crane. When its wings unfold, The paper will be pure and empty.

A disproportionate number of retailers, I noted, offered nothing but translucent ochre trinkets: back in the Königsberg centuries, the city made its millions from amber – a substance whose precious allure I have never fully grasped, and which to my mind was very fortunate to have retained its prized aesthetic appeal following the invention of barley sugar. But

Around them, the willowy needles of desert oak trees swayed in the pale orange light. Wafts of yellow butterflies fluttered low over acacia and mulga bushes. The crater wall slowly changed color as the sun sank, from flat ochre to blazing red to chocolate-purple. The sun slipped under the dark line of the horizon, glowing like an ember as it threw its last light up into the sky.

Coming along the road towards me on his way to the covert, his head high, his body smeared all breast-deep in clay that stained the lower half of him copper ochre, came a fox hound, a pale hound. He was alone which was wrong. But being alone made him the type of all hounds that ever existed. He was running as if he'd been running all day, and he was running as if he would never stop, tongue out and eyes fixed. He was running to be with the rest of the hounds and the sound was drawing him along the rainy roads as if he were underwater and swimming up to the light to breathe. I was transfixed. I'd never seen a hound be a hound before. He was doing exactly what he needed to be doing. He was tired but joyful. He was late but getting there. Lost but catching up.

The sun still beats down warmly over the Sienese countryside in September, and the stubble left by harvest covers the fields with a sort of animal fur. It is one of the most beautiful countrysides in the world: God has drawn the curve of its hills with an exquisite freedom, and has given it a rich and varied vegetation among which the cypresses stand out like lords. Man has worked this earth to advantage and has spread his dwellings over it; but from the most princely villa to the humbles cottage they all have a similar grace and harmony with their ochre walls and curved tiles. The road is never monotonous; it winds and rises, only to descend into another valley between terraced fields and age-old olive groves. Both God and man have shown their genius at Siena.

WHAT IS A POEM? Such slight changes in air pressure, Tongue and palate, And the difference in teeth. Transparent words. Why do I want to say ochre, Or what is green-yellow? The sisters of those leaves on the ground Still lisp on the branches. Why do I want to imitate them? Having come this far With a handful of alphabet, I am forced, With these few blocks, To invent the universe.

I find sanctuaries when looking up and when looking down. A humble ochre leaf swimming in a puddle elicits as much awe from me as a soaring cathedral. One was built to evoke reverence; the other is quiet and humble, yet to me, both are achingly beautiful. In them, I see the divine light of warmth and love. I feel lifted, comforted. I appreciate their presence in my life, reminders that I am home everywhere I go.

Save for the accident of her low birth, Peg might have been a person of fashion; a vibrant beauty, painted by an academician in oils. Intending to make a quick end to it, I started mixing the lily green I had made especially from crushed flowers, hoping exactly to tint her eyes, rattling my tiny brush in the jar. Then I subjected her to my closest gaze. "Your eyes," I said, musingly. "They are a very unusual green; in different lights they reflect brown and blue. Do they perhaps reflect whatever light falls on them?" Peg replied that she couldn't say. "Do, please, sit very still." I looked very hard, then used my green with a wash of yellow ochre to tint the iris, and a ring of burnt umber. A pinprick of white titanium gave them startling life. I was happy with them; surely even Peg would admire her lively cat-like eyes.

We drove east back down to Santa Fe in the splendid evening air, all roses and ochres and greens, with the tree-covered folds in the mountains behind the town lying like a gigantic crumpled velvet rug; a limpid and cloudless winter sky above, a light no camera has ever captured… I have never quite understood why some places exert this deep personal attraction, why at them one’s past seems in some mysterious way to meet one’s future, one that was somehow always to be there as well as being there in reality

There is a season to this ripening, the way sap of tree rises to fulfill fruit of the topmost branch, or the motion of jasmine climbing trellises to show off a single blossom to a new moon tide. ...Yes, there is reason for this ripening. You are goldened by my tongue.

I’m here because, for the past ten years, I have been haunted by a murder that took place a few steps away. It was told to me my junior year of college like a ghost story: A young woman, a Harvard graduate student of archaeology, was bludgeoned to death in her off-campus apartment in January 1969. Her body was covered with fur blankets and the killer threw red ochre on her body, a perfect re-creation of a burial ritual. No one heard any screams; nothing was stolen. Decades passed, and her case remained unsolved. Unsolved, that is, until yesterday.

And just as the first one steps off the cliff, onto air, the forever nothing below, they ignite into the ochre-red sparks of monarchs. Thousands of monarchs pour over the edge, fan into the white air, like a bloodier hitting water. I race through the field as if my cliff was never written into this story, as if I was no heavier than the words in my name. And like a word, I hold no weight in this world yet still carry my own life. And I throw it ahead of me until what I left behind becomes exactly what I'm running toward--like I'm part of a family.

Julian presented the food. A fillet of sea bass with perfect griddle marks and a scattering of fennel picked from a nearby hedgerow. There were caramelized carrots, baby la ratte potatoes and a garnish of roasted tomatoes that had made a brief appearance in a painting that afternoon.

We remember the old world as it had been for a thousand years, so beautiful and diverse, and which, in only thirty years, has crumbled away. When we were young every country still had its own architecture and customs and food. Can you ever forget the first sight of Italy? Those ochre houses, all different, each with such character, with their trompe l'oeil paintings on the stucco? Queer and fascinating and strange, even to a Provencal like me? Now the dreariness! The suburbs of every town uniform all over the world, while perhaps in the very centre a few old monuments sadly survive as though in a glass case.

Oh queen of the gods.' She breathes. 'You were mighty once. Before the poems were rewritten at Zeus's command, before the past was all...made up human things...I remember. You rode with Tabiti and Inanna of the east and the world quivered beneath you. The mortals looked up from their caves with hands painted in ochre and blood and called 'Mother, Mother, Mother.' You tore down the sky upon your enemies, and bade the seas part for the ones you loved. But you trusted Zeus. You swore your brother would never betray you. And look at you now, skulking from the eye of heaven lest he see the footprints you leave upon the earth.

Unclean. They were to disguise themselves as outcasts, untouchables, and so get away. She knew all about these wretched outcasts. They handled the dead and were unclean. They were supposed to be possessed by devils, and anyone coming in contact with them was also bedeviled. They were not allowed to touch food and had to eat what was thrown to them from the ground like dogs. They must enter no house and speak to neither man nor woman of the clean. They were dressed in rags and daubed from head to foot with a red paint made from stinking shark oil and red ochre mixed, red being the funereal color. If they were not insane to start with, they soon became so.

From Sister by ROSAMUND LUPTON    The rain hammered down onto your coffin, pitter-patter; ‘Pitter-patter, pitter-patter, I hear raindrops’; I was five and singing it to you, just born. Your coffin reached the bottom of the monstrous hole. And a part of me went down into the muddy earth with you and lay down next to you and died with you. Then Mum stepped forwards and took a wooden spoon from her coat pocket. She loosened her fingers and it fell on top of your coffin. Your magic wand. And I threw the emails I sign ‘lol’. And the title of older sister. And the nickname Bee. Not grand or important to anyone else, I thought, this bond that we had. Small things. Tiny things. You knew that I didn’t make words out of my alphabetti spaghetti but I gave you my vowels so you could make more words out of yours. I knew that your favourite colour used to be purple but then became bright yellow; (‘Ochre’s the arty word, Bee’) and you knew mine was orange, until I discovered that taupe was more sophisticated and you teased me for that. You knew that my first whimsy china animal was a cat (you lent me 50p of your pocket money to buy it) and that I once took all my clothes out of my school trunk and hurled them around the room and that was the only time I had something close to a tantrum. I knew that when you were five you climbed into bed with me every night for a year. I threw everything we had together - the strong roots and stems and leaves and beautiful soft blossoms of sisterhood - into the earth with you. And I was left standing on the edge, so diminished by the loss, that I thought I could no longer be there. All I was allowed to keep for myself was missing you. Which is what? The tears that pricked the inside of my face, the emotion catching at the top of my throat, the cavity in my chest that was larger than I am. Was that all I had now? Nothing else from twenty-one years of loving you. Was the feeling that all is right with the world, my world, because you were its foundations, formed in childhood and with me grown into adulthood - was that to be replaced by nothing? The ghastliness of nothing. Because I was nobody’s sister now. I saw Dad had been given a handful of earth. But as he held out his hand above your coffin he couldn’t unprise his fingers. Instead, he put his hand into his pocket, letting the earth fall there and not onto you. He watched as Father Peter threw the first clod of earth instead and broke apart, splintering with the pain of it. I went to him and took his earth-stained hand in mine, the earth gritty between our soft palms. He looked at me with love. A selfish person can still love someone else, can’t they? Even when they’ve hurt them and let them down. I, of all people, should understand that. Mum was silent as they put earth over your coffin. An explosion in space makes no sound at all.

He recounted how, after the last of Charlemagne's forty-seven victorious campaigns, when he was returning from Saxony, a comet flashed across the sky and the Emperor's horse shied and threw him to the ground. The great Frankish Emperor had fallen so violently that his sword belt had been torn off him and the Spear, which he was clasping in his left hand, had been hurled some twenty feet away from him. At the same time there were earth tremors in the Royal Palace at Aachen, and the word "Princeps" had mysteriously faded from the red ochre inscription high up on a central beam in the Cathedral, which had formerly read 'Karolus Princeps.' Charlemagne himself had taken little notice of these portents, which his courtiers had taken to be a prophecy of his imminent death. In Einhard's own words: 'He refused to admit that any of these events could have any connection ith his own personal affairs.' Yet the 70-year-old Emperor drew up his last will and testament just in case these portents were correct. And they were!

In the water-thickets, the path wound tortuously between umber iron-bogs, albescent quicksands of aluminum and magnesium oxides, and sumps of cuprous blue or permanganate mauve fed by slow, gelid streams and fringed by silver reeds and tall black grasses. The twisted, smooth-barked boles of the trees were yellow-ochre and burnt orange; through their tightly woven foliage filtered a gloomy, tinted light. At their roots grew great clumps of multifaceted translucent crystal like alien fungi. Charcoal grey frogs with viridescent eyes croaked as the column floundered between the pools. Beneath the greasy surface of the water unidentifiable reptiles moved slowly and sinuously. Dragonflies whose webby wings spanned a foot or more hummed and hovered between the sedges: their long, wicked bodies glittered bold green and ultramarine; they took their prey on the wing, pouncing with an audible snap of jaws on whining, ephemeral mosquitoes and fluttering moths of april blue and chevrolet cerise. Over everything hung the heavy, oppressive stench of rotting metal. After an hour, Cromis’ mouth was coated with a bitter deposit, and he tasted acids. He found it difficult to speak. While his horse stumbled and slithered beneath him, he gazed about in wonder, and poetry moved in his skull, swift as the jewelled mosquito-hawks over a dark slow current of ancient decay.

The stormy black sky had faded to dark gray, and in the distance white, billowing clouds blew across the prairie. They began racing one another, tossed by the wind, and the sun shining on them made them appear a brilliant white against the evening sky. Memories crowded about her:a French trader with laughing eyes; a long ride into Fort Kearney; and somewhere, far back,a little mound of stones receding into the wide plain as a wagon rumbled away.Then he came, a Lakota brave, one with his snow white pony. They bounded together across the sky,and with each leap Jesse's heart fluttered.She stood on the prairie,her long red braides decorated with feathers, the part dusted with ochre. She raised a trembling hand in greeting, but he was gone. Her hand fell back against the quilt, and Jesse saw the clouds again and realized it had only been a memory. She was an old woman,too tired to help with the supper,perhaps even too tired to be of use to Lisbeth. The clouds outside came closer,and the old heart fluttered at the memory of a man who rode on the wind long ago.Now it seemed that the rode again across the sky,into the room.He raised one hand in greeting. "I will ask the Father," he had said, "and I will come for you." Jesse sat up in bed,her face alive with a new light.Rides the Wind smiled and reached out to sweep her up behind him. And the Father said, "Come home. The lines are fallen unto me in pleasant places; yes,I have a goodly heritage. Psalm 16:6

Cendrillon specialized in seafood, so we had four fish stations: one for poaching, one for roasting, one for sautéing, and one for sauce. I was the chef de partie for the latter two, which also included making our restaurant's signature soups. O'Shea planned his menu seasonally- depending on what was available at the market. It was fall, my favorite time of the year, bursting with all the savory ingredients I craved like a culinary hedonist, the ingredients that turned my light on. All those varieties of beautiful squashes and root vegetables- the explosion of colors, the ochre yellows, lush greens, vivid reds, and a kaleidoscope of oranges- were just a few of the ingredients that fueled my cooking fantasies. In the summer, on those hot cooking days and nights in New York with rivulets of thick sweat coating my forehead, I'd fantasize about what we'd create in the fall, closing my eyes and cooking in my head. Soon, the waitstaff would arrive to taste tonight's specials, which would be followed by our family meal. I eyed the board on the wall and licked my lips. The amuse-bouche consisted of a pan-seared foie gras served with caramelized pears; the entrée, a boar carpaccio with eggplant caviar, apples, and ginger; the two plats principaux, a cognac-flambéed seared sea scallop and shrimp plate served with deep-fried goat cheese and garnished with licorice-perfumed fennel leaves, which fell under my responsibility, and the chief's version of a beef Wellington served with a celeriac mash, baby carrots, and thin French green beans.

After the Grand Perhaps” After vespers, after the first snow has fallen to its squalls, after New Wave, after the anorexics have curled into their geometric forms, after the man with the apparition in his one bad eye has done red things behind the curtain of the lid & sleeps, after the fallout shelter in the elementary school has been packed with tins & other tangibles, after the barn boys have woken, startled by foxes & fire, warm in their hay, every part of them blithe & smooth & touchable, after the little vandals have tilted toward the impossible seduction to smash glass in the dark, getting away with the most lethal pieces, leaving the shards which travel most easily through flesh as message on the bathroom floor, the parking lots, the irresistible debris of the neighbor’s yard where he’s been constructing all winter long. After the pain has become an old known friend, repeating itself, you can hold on to it. The power of fright, I think, is as much as magnetic heat or gravity. After what is boundless: wind chimes, fertile patches of the land, the ochre symmetry of fields in fall, the end of breath, the beginning of shadow, the shadow of heat as it moves the way the night heads west, I take this road to arrive at its end where the toll taker passes the night, reading. I feel the cupped heat of his left hand as he inherits change; on the road that is not his road anymore I belong to whatever it is which will happen to me. When I left this city I gave back the metallic waking in the night, the signals of barges moving coal up a slow river north, the movement of trains, each whistle like a woodwind song of another age passing, each ambulance would split a night in two, lying in bed as a little girl, a fear of being taken with the sirens as they lit the neighborhood in neon, quick as the fire as it takes fire & our house goes up in night. After what is arbitrary: the hand grazing something too sharp or fine, the word spoken out of sleep, the buckling of the knees to cold, the melting of the parts to want, the design of the moon to cast unfriendly light, the dazed shadow of the self as it follows the self, the toll taker’s sorrow that we couldn’t have been more intimate. Which leads me back to the land, the old wolves which used to roam on it, the one light left on the small far hill where someone must be living still. After life there must be life.

The picture of human life in the market-place, though its general tint was the sad gray, brown, or black of the English emigrants, was yet enlivened by some diversity of hue. A party of Indians—in their savage finery of curiously embroidered deerskin robes, wampum-belts, red and yellow ochre, and feathers, and armed with the bow and arrow and stone-headed spear—stood apart with countenances of inflexible gravity, beyond what even the Puritan aspect could attain. Nor, wild as were these painted barbarians, were they the wildest feature of the scene. This distinction could more justly be claimed by some mariners—a part of the crew of the vessel from the Spanish Main—who had come ashore to see the humours of Election Day. They were rough-looking desperadoes, with sun-blackened faces, and an immensity of beard; their wide short trousers were confined about the waist by belts, often clasped with a rough plate of gold, and sustaining always a long knife, and in some instances, a sword. From beneath their broad-brimmed hats of palm-leaf, gleamed eyes which, even in good-nature and merriment, had a kind of animal ferocity. They transgressed without fear or scruple, the rules of behaviour that were binding on all others: smoking tobacco under the beadle's very nose, although each whiff would have cost a townsman a shilling; and quaffing at their pleasure, draughts of wine or aqua-vitae from pocket flasks, which they freely tendered to the gaping crowd around them. It remarkably characterised the incomplete morality of the age, rigid as we call it, that a licence was allowed the seafaring class, not merely for their freaks on shore, but for far more desperate deeds on their proper element. The sailor of that day would go near to be arraigned as a pirate in our own. There could be little doubt, for instance, that this very ship's crew, though no unfavourable specimens of the nautical brotherhood, had been guilty, as we should phrase it, of depredations on the Spanish commerce, such as would have perilled all their necks in a modern court of justice. But the sea in those old times heaved, swelled, and foamed very much at its own will, or subject only to the tempestuous wind, with hardly any attempts at regulation by human law. The buccaneer on the wave might relinquish his calling and become at once if he chose, a man of probity and piety on land; nor, even in the full career of his reckless life, was he regarded as a personage with whom it was disreputable to traffic or casually associate. Thus the Puritan elders in their black cloaks, starched bands, and steeple-crowned hats, smiled not unbenignantly at the clamour and rude deportment of these jolly seafaring men; and it excited neither surprise nor animadversion when so reputable a citizen as old Roger Chillingworth, the physician, was seen to enter the market-place in close and familiar talk with the commander of the questionable vessel.

To paint after nature is to transfer three-dimensional corporeality to a two-dimensional surface. This you can do if you are in good health and not colorblind. Oil paint, canvas, and brush are material and tools. It is possible by expedient distribution of oil paint on canvas to copy natural impressions; under favorable conditions you can do it so accurately that the picture cannot be distinguished from the model. You start, let us say, with a white canvas primed for oil painting and sketch in with charcoal the most discernible lines of the natural form you have chosen. Only the first line may be drawn more or less arbitrarily, all the others must form with the first the angle prescribed by the natural model. By constant comparison of the sketch with the model, the lines can be so adjusted that the lines of the sketch will correspond to those of the model. Lines are now drawn by feeling, the accuracy of the feeling is checked and measured by comparison of the estimated angle of the line with the perpendicular in nature and in the sketch. Then, according to the apparent proportions between the parts of the model, you sketch in the proportions between parts on the canvas, preferably by means of broken lines delimiting these parts. The size of the first part is arbitrary, unless your plan is to represent a part, such as the head, in 'life size.' In that case you measure with a compass an imaginary line running parallel to a plane on the natural object conceived as a plane on the picture, and use this measurement in representing the first part. You adjust all the remaining parts to the first through feeling, according to the corresponding parts of the model, and check your feeling by measurement; to do this, you place the picture so far away form you that the first part appears as large in the painting as the model, and then you compare. In order to check a given proportion, you hold out the handle of your paintbrush at arm's length towards this proportion in such a way that the end of the thumbnail on the handle coincides with the other end of the proportion. If then you hold the paintbrush out towards the picture, again at arm's length, you can, by the measurement thus obtained, determine with photographic accuracy whether your feeling has deceived you. If the sketch is correct, you fill in the parts of the picture with color, according to nature. The most expedient method is to begin with a clearly recognizable color of large area, perhaps with a somewhat broken blue. You estimate the degree of matness and break the luminosity with a complimentary color, ultramarine, for example, with light ochre. By addition of white you can make the color light, by addition of black dark. All this can be learned. The best way of checking for accuracy is to place the picture directly beside the projected picture surface in nature, return to your old place and compare the color in your picture with the natural color. By breaking those tones that are too bright and adding those that are still lacking, you will achieve a color tonality as close as possible to that in nature. If one tone is correct, you can put the picture back in its place and adjust the other colors to the first by feeling. You can check your feeling by comparing every tone directly with nature, after setting the picture back beside the model. If you have patience and adjust all large and small lines, all forms and color tones according to nature, you will have an exact reproduction of nature. This can be learned. This can be taught. And in addition, you can avoid making too many mistakes in 'feeling' by studying nature itself through anatomy and perspective and your medium through color theory. That is academy.

The colonists took advantage of the Aboriginal cultural beliefs to further their own gains. The Nyungar people who once walked tall and proud, now hung their head in sorrow. They had become dispossessed; these teachers and keepers of the traditional Law were prevented from practising it. They had to fight to find ways to return to their secret and sacred sites to perform their dances and other ceremonies that were crucial to their culture and whole way of life. Their pain and suffering remained hidden and repressed, silent and deep. They remembered the corroborrees and songs that they were forbidden to dance and sing unless commanded by government officials. No longer would the corroborrees be shared and danced by scores of feet, kicking up the dust in the moonlight around the glowing fires. Warriors with painted bodies and plumes of feathers on their ochre-covered heads would become faded images, buried in the past. The important dates on their seasonal calendars would be forgotten.

But here, summer died out in a long, blazing victory dance. Sunburst gold and persimmon orange, witch’s scarlet and deep, bronzed ochre. The colors bragged and jostled loudly under cloudless skies, so bright, it almost hurt to look.

Starling, I haven’t stopped thinking of you--I can’t. I know that you are engaged and want to do right by your family, but you and I belong together. Call it fate if you like. I prefer to think of it as the natural order of things. Just as mixing ochre and sapphire produces the most vibrant green, you and I, when combined, become more alive. I’ve stopped doing business with Angelo de Gradi. I’ve left that life behind. I’m working as an artist in residence for a wealthy patron now. The work she has me do is a bit pedestrian, but perhaps it will lead to bigger projects. I meant what I said. One day I will paint whole chapels for you. I spend every waking minute becoming a better artist, a better man. One day I will offer you the life you deserve, the life we both desire. One day I’ll be good enough, or I’ll die trying…

Cool Dust" A heave of afternoon light pulls a tulip from the turf, a bower for locusts, a cup of shells. The farmhouse tilts, a bent shadow on wheels. In cedar rooms a family is molded, silent, wrapped in the wire of steel eyes and stopped voice, romantic ash. This is not my house, my ghost, my uninvited guest, my lost labor of love, my thicket or grease, my JPEG gessoed or rawhide suit. The yellow light throbs like an internal organ — soft body of an overture to insect sounds — sapling of a new world — whose future awaits me at the tilting window of my own domestic hut. Perhaps this is my mesh of hours, my muscular ache, my guardian sash, twist of rope carved around an old maple trunk, my rod of power red with anticipatory friction at the edge of an emerging set of planetary rings. Stained ochre by the air I pitch forward, a vanilla-scented pear that floats or falls. In the rattan chair on the front porch by the blistered boards of the front door a figure of tar watches. Cool dust sparkles and settles. Shadows have made me visible. An empty wagon flares on the hillside.

Building with Its Face Blown Off How suddenly the private is revealed in a bombed-out city, how the blue and white striped wallpaper of a second story bedroom is now exposed to the lightly falling snow as if the room had answered the explosion wearing only its striped pajamas. Some neighbors and soldiers poke around in the rubble below and stare up at the hanging staircase, the portrait of a grandfather, a door dangling from a single hinge. And the bathroom looks almost embarrassed by its uncovered ochre walls, the twisted mess of its plumbing, the sink sinking to its knees, the ripped shower curtain, the torn goldfish trailing bubbles. It's like a dollhouse view as if a child on its knees could reach in and pick up the bureau, straighten a picture. Or it might be a room on a stage in a play with no characters, no dialogue or audience, no beginning, middle, and end– just the broken furniture in the street, a shoe among the cinder blocks, a light snow still falling on a distant steeple, and people crossing a bridge that still stands. And beyong that–crows in a tree, the statue of a leader on a horse, and clouds that look like smoke, and even farther on, in another country on a blanket under a shade tree, a man pouring wine into two glasses and a woman sliding out the wooden pegs of a wicker hamper filled with bread, cheese, and several kinds of olives.

[...] Black is the absence of colour and light. White is purity, it is undivided light - light not broken down into colours. Red is the epitome of colour, its zenith and its point of greatest intensity. This ordering of things becomes even more evident if, between white and red, a whole series of intermediate colours, such as lemon-yellow, yellow-ochre, and bright red, is inserted, or again, if one speaks of a 'peacock's tail' of gradually unfolding colours. In this case royal purple is always the seal of each series.

The curve of the roof as the pitch flattens put towards the eaves is deliciously sensual. The colors are exquisite, a palette of reds and yellows and pinks that reflect the mood of the day, fresh light pink in the dawn, ruddy and strong at midday, ochre and subdued in the afternoon, ripe and luscious in the evening. In the setting sun they glow with their own inner light like iron in a furnace. We laid out under the stars the old battle scars of marriage, the grudges and wounds, compromises and disillusionments, frustrations and disappointments that two people share when they make one life together. Relationships are built on trust and openness, self-sacrifice and kindness, but they also need envy and competition, selfishness and malice to give them spice and interest. Not forgetting lust.

And then around 5,000 years ago, another major wave of easterners arrive. The Yamnaya came from the Russian Steppes, driving sheep, riding wagons, making bronze jewelry, and covering their dead in ochre as part of ritual burials. They came and rapidly their way of life spread into middle Europe, bringing their culture and genes, and their fair skin. Farming came to dominate and eventually entirely replace hunting and gathering. Pale skin came to replace dark skin, and we will see more of that later in this chapter.

My objection is supported by the fact that archaeological evidence about the origins of human culture shows that self-decoration with coloured ochre, and simple shell necklaces, only started occurring around 100,000 years ago, but even this is not symbolic behaviour. (What, for example, is the symbolic meaning of a woman’s lipstick?—nothing whatever.) The first clear evidence for symbolic culture comes from Europe about 40,000 years ago

The parrot is risen and pays in red, for the ochre Empress.

Elysian Way by Stewart Stafford An eviction deadline decree, A woodpecker broadcast, Winter, the incoming actor, About to enter a clean stage. The powder blue sky framed, Fall's aurum, russet and ochre, Dripping opalescent raindrops, A red wedding's spangled confetti. Leaves shushed and shimmered, In moving vertical waves of surf, Trees shrugged slowly to begin, The organic haircut of the ages. Leaves plunged, spun and floated, Fallen comrades littered the grass, Half-assed, surprise resurrections, As swirling spectral mini vortexes. © Stewart Stafford, 2022. All rights reserved

Even knowing the danger, and remembering Ella's warnings, that single conjured spark had been enough to draw her back. The fire held her, trancelike, and was drawing her in. She was a single thread; the fabric of her being was a many-textured, spectrum-colored tapestry, unravelling a fiber at a time, unwinding on to a vast spool held by hands within the fire, one fine strand carefully wound in after another. As if that is where it starts, at the eyes, where the threads of the soul hang in their slackest stitch; stitches which can be hooked free of weft and warp, and pulled through, drawn out, spooled in. She was lost to it. She was coming apart. She knew the danger. The idea of resistance fashioned itself into a sword in her mind, a bright-edged sword, a way out. But the sword itself became smoke; and the thing she would slash free of became smoke. The effort to resist required too much, too mighty a cut, too great a mental stroke. Her mind was coming apart. Honora belonged to the fire. She was enslaved by the ritual dance of the aromatic flame. Fire, first and most martial of all elements, the hierarchical prince. She saw in the fire the tapered banners of his glorious armies, the swallowtail, pennants a-flutter, flags of crimson, ochre, sapphire, armies spilling into valleys and camped along the plains. They pinioned her and they held her. The flame engaged with her. She was fire. She was smoke. She was coming apart, like smoke.

It was so arrogant of the sun to dare shine on a November day, but well, that was the sun of Gurupi: it never asked for permission to shine. It followed its own palette and it didn’t seem to give a damn whether it was the type of sun people write poems about. But Jo knew that at the end of the day, the sun always apologized for its selfishness and offered everyone in Gurupi the most beautiful sunset, with astonishing combinations of colors. The striking sun painted days of Gurupi with hopelessness, forming ochre landscapes – but the sun would always end those days with a spectacle, and Jo would always forgive it.

The man was tall and thin, with ratty brown hair and pale skin. He had ochre eyes and a black clinical mask. What he didn't have was any taste in clothes, anyone with half a brain would know that purple and khaki green make an appalling combination, and those were the colours on his combat jacket with its feather boa-style collar. Even more weirdly he'd gone for a black dress shirt and silver tie beneath. Okay maybe now wasn't the time for Bakugou to judge the guy's dress sense. But it was fucking shitty.

Rising after a few moments onto my elbows, I looked, for the first - and probably last - time in my life, at something I'd never seriously imagined I'd cast my eyes upon: a hundred miles of sand in every direction, a hundred miles of absolutely gorgeous, unspoiled nothingness. I wiggled my bare toes in the sand and lay there for a long time, watching the sun drop slowly into the dunes like a deflating beach ball, the color of the desert quickly transforming from red to gold to yellow ochre to white, the sky changing, too. I was wondering how a miserable, manic-depressive, overage, undeserving hustler like myself - a utility chef from New York City with no particular distinction to be found in his long and egregiously checkered career - on the strength of one inexplicably large score, could find himself here, seeing this, living the dream. I am the luckiest son of a bitch in the world, I thought, contentedly staring out at all that silence and stillness, feeling, for the first time in a while, able to relax, to draw a breath unencumbered by scheming and calculating and worrying. I was happy just sitting there enjoying all that harsh and beautiful space. I felt comfortable in my skin, reassured that the world was indeed a big and marvelous place.

Damien arrived home after his usual Saturday afternoon visit to the Botolph Museum. He lay down on the living room couch before supper. Just as he was about to slip into a doze, a key rattled in the front door. He sat up, alert and eager, sleepiness gone, “What did the doctor say?” “More tests,” his wife Adita replied. “And more waiting,” Damien sighed as she stooped to embrace him. He lay back down afterwards. “We’ll get through it.” He had a few minutes before supper and went to the third floor study of the house they rented from his father when they moved to Botolph. Old Professor Higginbotham was now living in Florida, Damien ran a hand along a half-shelf of books his father wrote or edited about Prabashtan, an ancient mountainous country in Central Asia. His great-grandfather, a merchant trader, had many contacts there. Adita’s parents left the country for Canada after a war started. These family connections, along with the fact that he and Adita had spent a two week holiday there earlier in the year, inspired Damien to visit the Prabashtan galleries at Botolph’s art museum on Saturday afternoons and whenever he felt adrift. The only thing that came of his gallery-haunting so far was a hundred or so unformed notes he meant as a present for Adita that he based on items in the exhibits. He sat at his father’s old desk and wrote another: Winsome Lady Well-proportioned figure at rest. Leafy fan, lark headdress, A smile that’s fading. Green and ochre, brown. He watched, pleased, Deceived by scenes He imagined taking place In a distant court.

Enoch remembered the burial ceremony of the Sahandrians. They laid the body into a pit curled up in a sleeping posture. This expressed their belief that death was only a sleep from which they would one day awake. Around the body, they placed various mementos and souvenirs of the beloved’s life. They included fruits and vegetables because Adam had longed for the Garden to the very end. They had prepared the body by mixing red ochre powder with water to create a paste with which to cover the body. For them, it was a token of the red earth from which Adam himself had come. It was the red earth they all longed for in their souls. They had then covered the body with flowers of all kinds; yarrow, ragwort, hollyhock and others chosen for their medicinal purposes in life with hope for the afterlife.

The last rays of the setting sun were filtering through the orchard, weaving strange, shadowy patterns on the dusty ochre earth ... Here was one small reminder, if one were needed, that we were a long way from those frosty Scottish autumns that I knew so well. This was, indeed, the island of winter spring.

Je retrouve ma ville et je reste bouche bee. J'avais oublie sa beaute lascive, brunie par le soleil. Rome, ville superbe ou les hommes se deplacent avec la suavite des chats. Rome, aux murs ochre et aux statues d'eternite ou les bougainvilliers mangent avec harmonie les facades des palais. Rome, ou tout est patine par le temps et la douceur du ciel. Rome, ou cent mille esclaves s'echangent, jour et nuit, les odeurs de l'Empire. Rome, ville crasseuse de la puanteur de ses marches et luxueuse de l'or de ses conquetes.

One million arid acres stretch out in the afternoon sun. The mile-high crust, layers of umber, russet, charcoal, goldenrod, burn sienna, and ochre, exposes two billion years of geologic history. We stand awe-smacked. We're the newest things on earth. Everything at the rim—all of the particles that big-banged themselves through the universe to be alive in just these forms—has been set in motion. Our lives are the vestiges of these events, events that seem to happen ceaselessly. As tired and grief-stricken as I am, there's still a part of me that knows that Richard's loss of memory, the death of his identity, his coming back as a new man, it all has its place in the order of things, or perhaps the chaos of things—just like these ancient, awesome rock formations.

ochre sliver of paper from the Detroit Post. His story goes from

This was what it meant to live in Botswana; when the rest of the world might work itself into a frenzy of activity, one might still sit, in the space before a house with ochre walls, a mug of bush tea in one’s hand, and talk about very small things: headmen in wells, goats and jealousy.

NAT SAT ON the steps of her porch next to what was—according to the dictionary at least—a man. Currently this man was wearing yellow ochre tights, a quiver of corked arrows and latex Spock ears. The dictionary had a lot to answer for, Nat thought.

Even though [an ascetic] may wear white or ochre attire, yet vikalp (the belief that ‘I am Chandubhai’ and all the relative ‘I-ness’ that stems from it) does not go away. A householder will have false notions (vikalp) that, 'I am aquiring things,' whereas an ascetic will have false notions that 'I am renouncing.' Just imagine, there is nothing but vikalp, vikalp, and vikalp! In such a situation, how can one become nirvikalp (free from the belief that, ‘I am Chandubhai’ and with the right belief that, ‘I am pure Soul’)?

SEEING HER   Time stands still in a swelling moment where my curiosity draws me to be still in thought as the breaking speed of sound causes my heart to ascend to where I now know. An almost desperate attempt is made to catch my breath. In all I recognize that she is the first to seduce me with an absolute fascination. I make note of the incredible lines that veer beyond the vantage of what beauty I can absorb. It’s as if to say I’ve come upon an undiscovered passage at the center of nature’s secret that has led me to wonder. She is a woman, if whose flaws were to unveil would only make her even more distinctly unique with beauty. Her ivory-colored complexion bears the brilliance of champagne balanced by a hint of ochre. Ringlets of black thread and pearl lay gracefully alongside her charming features. Her lips look as if they speak of love often but only to herself. Her style, grace, elegance, and posture display the pure determination that she has made clear in her mind. The slight indent on the bridge of her adorable nose complements her slender face and endearing qualities. Her elegance alone surpasses any expression I’ve ever encountered. There she sits in long black dress pants with the perfect crease down the front. Her small feet show through her black sandal heels that wrap around her thin ankles. Her pants waistline reaches up passed her hips secured by a leather belt and designer buckle. She wears her grey-collared dress shirt tucked in, allowing only me to make note of those lines that press firmly and loosely against her body.

The plane touches down on very rough ground: its wheelbarrow wheels bounce and one set of wings rises alarmingly while the other dips. Now the Masai and the plane are converging. It's a magnificent shot: the Masai run, run, run, run; because of the optics it is dreamlike. The little plane bounces, shudders, slews and finally makes lasting contact with the ground. At exactly the right moment, as the plane comes to a halt, the Masai warriors, in a highly agitated state, reach the plane, and the camera closes on the pilot, whose face as he removes his leather flying helmet and goggles, appears just above the bobbing red ochre composition of plaited hair and fat-shone bodies. It is Mel Gibson, with a grave expression, which can't quite suppress his unruly Aussieness.

Dust billowed around us, creeping under our loose-tied handkerchiefs and into our noses and mouths. It was fine and silty, red as ochre or the brush-tailed fox,

the old and worn buildings held a theatrical magic to their fading façades. They were weathered almost by design; they almost looked like they had been lifted from some stage designer's idyllic dream for an opera setting. The dusty, powdery ochres, terracottas, pale blues and pine greens lit by that soft morning glow; the comforting sun's ascent to its daily station, high and shining above that glorious, sparkling old city.

There were two types of ads. Some were from parents eager to offer a shedload of merits to marry off their children up-color, such as this one: 21-yr female (R: 32.2%, Y: 12%), strong virtues. Handsome and helpful, with impressive feedback rating. Seeks Chromogentsia-plus family. Brings 4,125 merits and 47 sheep. Delivery negotiable, option to refuse retained. Viewing at Ochre-in-the-Vale, PO6 5AD. On the other side of the coin were parents willing to trade down-Spectrum in order to receive a shedload of merits, like this dodgy chap:

dotted here and there. The sun dipped low against the horizon, washing the landscape in misty rays of rich ochre as it made its final descent over the edge of the world. But he hardly noticed. His thoughts were far away as he watched the distant lights of a plane coming in to land, blazing a trail through the cloudless sky as it made its gradual descent into Florence. “It looks like an oil painting,” Anna said, from the doorway behind him. Ryan straightened up and turned to face her, hitching his hip onto the edge of the wall. He’d changed into casual chinos and a plain white cotton shirt rolled up at the sleeves, since it was a warm evening. Anna felt suddenly awkward. He was her husband, the man she shared a bed with each night, but Ryan seemed different here.

A Magic Hour’s Dreaming by Stewart Stafford Is there a sight more fair than wheaten fields, Awaiting the sun's ambush to potently ignite? Colour vibrates beyond the eye revealed, To live, dance and breathe in honeyed light. Nature’s palette, painted hues so bright, Invites the bees to sip and man to dream, Of engineered art, dazzling to the sight, Authored lightning in a celestial seam. The creator’s canvas, mint beyond decay, Invites the inner child to replenish at source, Where Nature’s staff casts shadows away, Friendships bond as a trickling stream's course. An eyeblink flash carved in history's tree, Treasured riches pooled of those by our side. For in sepia’s sunflower memory, We court the hand of an agreeable bride. Fading birdsong underscores this bottled time, In butterfly hearts, the hourglass stilled sublime. Autumn's leaves, ochre embers, curtsied fall, Farewell Summer, until roused in New Year's call. © 2024, Stewart Stafford. All rights reserved.

My canvas pale against her burnt ochre paint.

She stared across the muster field where the bulk of the 7th formed up alongside the ochre shields of Lord Strazna’s Knights Fellnore, and the ragtag array of banners and shields Lady Sarravin had assembled. What had begun as a sally looked more and more like Ahrad’s last hope . . . assuming she could bring order to the ranks. To depart the gate as a mob would only invite slaughter, and leave the citadel bereft

Zorn’s palette but in his self-portrait his palette holds the colors white, ochre, red, and black. A mix of ochre and black produces a green. The black can be mixed with white for a kind of blue. In both cases, the intensity of the green and blue appears more saturated by adjacent colors which trick the eye into perceiving more color than is actually there. This palette teaches great resourcefulness.

The trees were turning, nature’s own canvas; glorious ochres and russets and paprika, glowing in a sunburst against the grey of the rainclouds. I love Autumn.