Paint Brushes Quotes

Every artist dips his brush in his own soul, and paints his own nature into his pictures.

I am the force of creation, I am the end and the beginning. The world is a painting and I hold the brush. I am a god.

You have your brush, you have your colors, you paint the paradise, then in you go.

Time is the brush of God, as he paints his masterpiece on the heart of humanity.

Life will break you. Nobody can protect you from that, and being alone won't either, for solitude will also break you with its yearning. You have to love. You have to feel. It is the reason you are here on earth. You have to risk your heart. You are here to be swallowed up. And when it happens that you are broken, or betrayed, or left, or hurt, or death brushes too near, let yourself sit by an apple tree and listen to the apples falling all around you in heaps, wasting their sweetness. Tell yourself that you tasted as many as you could.

I'm often painted as the bad guy, and the artistic part of me wants to hand out the brush.

wash the brush, just beats the devil out of it

And when it happens that you are broken, or betrayed, or left, or hurt, or death brushes near, let yourself sit by an apple tree and listen to the apples falling all around you in heaps, wasting their sweetness. Tell yourself that you tasted as many as you could.

We Christian writers must paint evil with the blackest of brushes, not to sow fear, but to call out the monsters to be scattered by our light. If Satan cloaks himself as an angel of white, intent on deceiving the world, any attempt on our parts to minimize evil is only complicit with his strategy... Turn to the light; don’t fear the shadows it creates.

I dreamed I saw my maternal grandmother sitting by the bank of a swimming pool, that was also a river. In real life, she had been a victim of Alzheimer’s disease, and had regressed, before her death, to a semi-conscious state. In the dream, as well, she had lost her capacity for self-control. Her genital region was exposed, dimly; it had the appearance of a thick mat of hair. She was stroking herself, absent-mindedly. She walked over to me, with a handful of pubic hair, compacted into something resembling a large artist’s paint-brush. She pushed this at my face. I raised my arm, several times, to deflect her hand; finally, unwilling to hurt her, or interfere with her any farther, I let her have her way. She stroked my face with the brush, gently, and said, like a child, “isn’t it soft?” I looked at her ruined face and said, “yes, Grandma, it’s soft.

It's as if a child with a brush and too much enthusiasm has been set free with a tin of black paint inside me.

We carry around in our heads these pictures of what our lives are supposed to look like, painted by the brush of out intentions. It's the great, deep secret of humanity that in the end none of our lives look the way we thought they would. As much as we wish to believe otherwise, most of life is a reaction to circumstances.

I guess no one can be painted with just one brush. There is light and shade in all of us, pain and hardship, and some of us rise from it while others are darkened by it.

Ever since I was very young, as far back as I can remember, I have loved making pictures. I knew even as a child that, when I grew up, I would be an artist of some kind. The lovely feeling of my pencil touching paper, a crayon making a star shape in my sketchbook, or my brush dipping into bright and colorful paints — these things affect me as joyfully today as they did all those years ago.

This is your bravery test. You worked so hard and then a crazy-haired guy tells you to throw in a big ol' tree on top of it all. Take a two-inch brush...

So you want to know all about me, Who I am What chance meeting of brush and canvas painted the face you see? what made me despise the girl in the mirror enough to transform her, turn her into a stranger, only not.

—except for the fact that your scars mean you’ve been hurting, I am one-hundred-percent cool with having them in the painting. Some models, especially the professional ones, it’s like painting air-brushed people. Give me something raw any day.

What are you doing here?” All right, he was standing in front of an easel, holding a paint palette and brush. “Taxidermy?” he responded with just a touch of his own sarcasm.

So you want to know all about me. Who I am. What chance meeting of brush and canvas painted the face you see? What made me despise the girl in the mirror enough to transform her,turn her to into a stranger, only not. So you want to hear the whole story. Why I swerved off the high road, hard left to nowhere, recklessly indifferent to those coughing my dust, picked up speed no limits,no top end, just a high velocity rush to madness.

Negative people will always be there to stain your pure image with their dirty tongues and brushes, but you'll always remain as white as snow, no matter how high the quality of paint they use.

But Jace", Clary said. "Valentine taught him more than just fighting. He taught him languages, and how to play the piano" "That was Jocelyn's influence." Sebastian said her name unwillingly, as if he hated the sound of it. "She thought Valentine ought to be able to talk about books, art, music...not just killing things. He passed that on to Jace." A wrought iron blue gate rose to their left. Sebastian ducked under it and beckoned Clary to follow him. She didn't have to duck but went after him, her hands stuffed into her pockets. "What about you?" she asked. He held up his hands. They were unmistakably her mother's hands - dexterous, long-fingered, meant for holding a brush or a pen. "I learned to play the instruments of war, " he said, "and paint in blood. I am not like Jace.

If the boy who draws lets you look over his shoulder. If the poet smiles and shows you her words. If the girl who sings for the shower only, hums a song in front of you. Know that you’re no longer a person but the air and dust that fills their lungs. When the world perishes, and all things cease to exist, you’ll remain inside an ink stain, a paint brush, a song. Poem N. 8

The tools are real. The viewer is real, you, the artist, is real and a part of everything you paint. You connect yourself to the viewer by sharing something that is inside of you that connects with something inside of him. All you have as your guide is that you know what moves you. All you have to do it with is a brush, some chemical and canvas, and technique.

I look into your eyes and I’m sure that some divine artist dipped her brush in the same soul and used it to paint us both.

Your life is your artwork and you are to paint life as a beautiful struggle. With your brush, paint the colors of joy in vibrant shades of red. Color the sky a baby blue, a color as free as your heart. With rich, earthy tones shade the valleys that run deep into the ground where heaven meets hell. Life is as chaotic as the color black, a blend of all colors, and this makes life a beautiful struggle. Be grateful for the green that makes up the beautiful canvas, for nature has given you everything that you need to be happy. Most of all, don’t ever feel the need to fill the entire canvas with paint, for the places left blank are the most honest expressions of who you are.

Must you know that yours will be the “better” picture before you pick up the brush and paint? Can it not simply be another picture? Another expression of beauty? Must a rose be “better” than an iris in order to justify it’s existence? I tell you this: you are all flowers in the Garden of the Gods.

London The Institute Year of Our Lord 1878 “Mother, Father, my chwaer fach, It’s my seventeenth birthday today. I know that to write to you is to break the law, I know that I will likely tear this letter into pieces when it is finished. As I have done on all my birthdays past since I was twelve. But I write anyway, to commemorate the occasion - the way some make yearly pilgrimages to a grave, to remember the death of a loved one. For are we not dead to each other? I wonder if when you woke this morning you remembered that today, seventeen years ago, you had a son? I wonder if you think of me and imagine my life here in the Institute in London? I doubt you could imagine it. It is so very different from our house surrounded by mountains, and the great clear blue sky and the endless green. Here, everything is black and gray and brown, and the sunsets are painted in smoke and blood. I wonder if you worry that I am lonely or, as Mother always used to, that I am cold, that I have gone out into the rain again without a hat? No one here worries about those details. There are so many things that could kill us at any moment; catching a chill hardly seems important. I wonder if you knew that I could hear you that day you came for me, when I was twelve. I crawled under the bed to block out the sound of you crying my name, but I heard you. I heard mother call for her fach, her little one. I bit my hands until they bled but I did not come down. And, eventually, Charlotte convinced you to go away. I thought you might come again but you never did. Herondales are stubborn like that. I remember the great sighs of relief you would both give each time the Council came to ask me if I wished to join the Nephilim and leave my family, and each time I said no and I send them away. I wonder if you knew I was tempted by the idea of a life of glory, of fighting, of killing to protect as a man should. It is in our blood - the call to the seraph and the stele, to marks and to monsters. I wonder why you left the Nephilim, Father? I wonder why Mother chose not to Ascend and to become a Shadowhunter? Is it because you found them cruel or cold? I have no fathom side. Charlotte, especially, is kind to me, little knowing how much I do not deserve it. Henry is mad as a brush, but a good man. He would have made Ella laugh. There is little good to be said about Jessamine, but she is harmless. As little as there is good to say about her, there is as much good to say about Jem: He is the brother Father always thought I should have. Blood of my blood - though we are no relation. Though I might have lost everything else, at least I have gained one thing in his friendship. And we have a new addition to our household too. Her name is Tessa. A pretty name, is it not? When the clouds used to roll over the mountains from the ocean? That gray is the color of her eyes. And now I will tell you a terrible truth, since I never intend to send this letter. I came here to the Institute because I had nowhere else to go. I did not expect it to ever be home, but in the time I have been here I have discovered that I am a true Shadowhunter. In some way my blood tells me that this is what I was born to do.If only I had known before and gone with the Clave the first time they asked me, perhaps I could have saved Ella’s life. Perhaps I could have saved my own. Your Son, Will

A Queen is many things, but alone is never one of them.” She held the brush, poised right above the canvas as if she meant to paint, but she didn’t. “I don’t need love or a man to complete me, and someday, you’ll find that’s true for yourself. Suitors will come and go, but you will remain.

Why do you only paint what other people have already painted? Declan Lynch had asked. Because her brush had already come pre-loaded with someone else's palette.

The iris of his good eye was a curious pale grey, almost silver; the edges were darker, as if tarnished like a coin, and the artist made a brave attempt to paint the other eye to match. The eyebrow had been finely painted, with the most miniature of brushes, the most delicate of strokes, but it was a shade too yellow. The blank eye gazed beyond her.

Our house is old, and noisy, and full. when we moved into it we had two children and about five thousand books; I expect that when we finally overflow and move out again we will have perhaps twenty children and easily half a million books; we also own assorted beds and tables and chairs and rocking horses and lamps and doll dresses and ship models and paint brushes and literally thousands of socks.

Picasso said he'd paint with his own wet tongue on the dusty floor of a jail cell if he had to. We have to create. It is the only thing louder than destruction. It's the only chance the bard are gonna break, our hands full of color reaching towards the sky, a brush stroke in the dark. It is not too late. That starry night is not yet dry.

After Bajju delivered a few beaming salutations, we walked northward up the makeshift, winding path through protruding brush, not much but a few stones placed here and there for balance and leverage upon ascending or descending. Having advanced about hundred steps from the street below, a sharp left leads to Bajju’s property, which begins with his family’s miniature garden – at the time any signs of fertility were mangled by dried roots which flailed like wheat straw, but within the day Bajju’s children vehemently delivered blows with miniature hoes in preparation for transforming such a plot into a no-longer-neglected vegetable garden. A few steps through the produce, or preferably circumventing all of it by taking a few extra steps around the perimeter, leads to the sky-blue painted home. Twisting left, hundreds of miles of rolling hills and the occasional home peeps out, bound below by demarcated farming steppes. If you’re lucky on a clear day and twist to the right, the monstrous, perpetually snow-capped Chaukhamba mountain monopolizes the distance just fifteen miles toward the direction of Tibet in the north.

I must try to enjoy all the graces that God has given me today. Grace cannot be hoarded. There are no banks where it can be deposited to be used when I feel more at peace with myself. If I do not make full use of these blessings, I will lose them forever. God knows that we are all artists of life. One day, he gives us a hammer with which to make sculptures, another day he gives us brushes and paints with which to make a picture, or paper and a pencil to write with. But you cannot make a painting with a hammer, or a sculpture with a paintbrush. Therefore, however difficult it may be, I must accept today's small blessings, even if they seem like curses because I am suffering and it's a beautiful day, the sun is shining, and the children are singing in the street. This is the only way I will manage to leave my pain behind and rebuild my life.

... something was not right... almost as if something were hiding amongst the paint... squeezed in between the brush strokes... a kind of presence bringing it alive...

When Eleanor's arm touched his he felt his hands grow cold with deadly fear lest he should lose the shadow brush with which his imagination was painting wonders of her. He watched her from the corners of his eyes as ever he did when he walked with her-- she was a feast and a folly and he wished it had been his destiny to sit forever on a haystack and see life through her green eyes.

But I couldn’t. It was real; I knew it, even in the dark. Raised yellow streak of paint on the wing and feathers scratched in with the butt of the brush. One chip on the upper left edge that hadn’t been there before, tiny mar less than two millimeters, but otherwise: perfect. I was different, but it wasn’t. And as the light flickered over it in bands, I had the queasy sense of my own life, in comparison, as a patternless and transient burst of energy, a fizz of biological static just as random as the street lamps flashing past.

It's with my brush that I make love.

People say that Kashmir was crafted by God’s own hand. He molded the high mountains and hills that stretch as far as the eye can see, purified the crystal blue rivers and lakes, and painted the grass with His brush. He’s kept its beauty fresh ever since, a slice of heaven on earth. I don’t believe that. I think God forgot about us a long time ago. The aesthetic countryside is nothing but a facade, an illusion. Underneath the land’s mirage of beauty lies the truth, and this truth is the one thing the people of Kashmir understand above all else: suffering.

So build yourself as beautiful as you want your world to be. Wrap yourself in light then give yourself away with your heart, your brush, your march, your art, your poetry, your play. And for every day you paint the war, take a week and paint the beauty, the color, the shape of the landscape you’re marching towards. Everyone knows what you’re against; show them what you’re for.

Their poses are all different but the face is the same. Painted from memory in scene after scene is the fresh-faced beauty. Kate. It's the bargain I've made with myself. If I can't caress her body with my hands, I paint it with my brushes. Use my fingers to trace her lines.

No one can say if you are that person who, given good paint, good brushes, and a fine canvas, can produce something better than the factory man. That is, and has always been, beyond the realm of science. You do have the attitude of the dreamer about you. For that reason, I haven't the heart to argue anymore about this - it is a hopeless talk. And for a simple factory man like me, an effort must be abandoned once its hopelessness is exposed. Only the artist perseveres in such circumstances.

I am the force of creation,” Rin murmured as she stared at the ceiling and watched it spin. Vaisra’s sorghum wine burned sweet and sour on her tongue; she wanted to swig more of it, just to feel her insides blaze. “I am the end and the beginning. The world is a painting and I hold the brush. I am a god.

I was lying on my bed, contemplating Mason's death when Amy strolled into our cabin. "Hey, what are you doing?" "Wondering what would cause more damage, a paint-brush in the eye or a putty knife shoved up someone's nostril," I answered, scowling at the ceiling.

Peeta doesn't need a brush to paint images from the Games. He works just as well in words.

The impact hit her like a physical blow. He was..."Beautiful." Eyes of such pure undiluted blue it was as if some heavenly artist had crushed sapphires into his paints and then colored in the irises with the finest of brushes.

This is the swamp as I see it, but what I can’t capture on canvas is you as I see you. No brush or paint will ever show the hero that you are. It will never be able to portray the sound of your voice when you whisper my name. The way my skin tingles when you touch me. The passion of you inside me. I love you, Talon. I know that I can’t keep you. No one can ever tame a wild beast. You have a job to do and so do I. I only hope that when you think of me, it’ll bring a smile to your face. Love always, Sunshine. (Sunshine's note)

The most visible creators are those artists whose medium is life itself. The ones who express the inexpressible ~ without brush, hammer, clay, or guitar. They neither paint nor sculpt. Their medium is simply being. Whatever their presence touches has increased life. They see, but don't have to draw... Because they are the artists of being alive... :) ~ ☆ ~ Donna J. Stone

With a starry brush, paint the dusk Venetian blue

There is a love that equals in its power the love of man for woman and reaches inwards as deeply. It is the love of a man or a woman for their world. For the world of their center where their lives burn genuinely and with a free flame. The love of the diver for his world of wavering light. His world of pearls and tendrils and his breath at his breast. Born as a plunger into the deeps he is at one with every swarm of lime-green fish, with every colored sponge. As he holds himself to the ocean's faery floor, one hand clasped to a bedded whale's rib, he is complete and infinite. Pulse, power and universe sway in his body. He is in love. The love of the painter standing alone and staring, staring at the great colored surface he is making. Standing with him in the room the rearing canvas stares back with tentative shapes halted in their growth, moving in a new rhythm from floor to ceiling. The twisted tubes, the fresh paint squeezed and smeared across the dry on his palette. The dust beneath the easel. The paint has edged along the brushes' handles. The white light in a northern sky is silent. The window gapes as he inhales his world. His world: a rented room, and turpentine. He moves towards his half-born. He is in Love. The rich soil crumbles through the yeoman's fingers. As the pearl diver murmurs, 'I am home' as he moves dimly in strange water-lights, and as the painter mutters, 'I am me' on his lone raft of floorboards, so the slow landsman on his acre'd marl - says with dark Fuchsia on her twisting staircase, 'I am home.

They all call me "Excuse me," even though my nametag clearly says "Jordan." It's like people don't actually exist while they're working. Workers are just tools who aren't supposed to have feelings or personalities. You don't become human until your shift is over. Until then, we're all just zombies. We're dead to the world: infected people who need to be avoided, unless, of course, someone needs to know where the paintbrushes are located.

This is the way I think I should always paint you- with a size twenty-four round brush in my hand as you coat the bristles

You are the creator. Get out that old box of paints and brushes and start drawing love into your life.

Good and evil are wide brushes that can't always paint the fine details of real life.

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.

Every brush stroke on the canvas, every dab of color introduced, the fine textures impressed in the paint—this accumulation of many small acts combines to shape a final work of art.  And so it is with life; each step, each deed, each brief choice builds gradually, day by day, to shape both character and destiny.

I love crafting. Knitting, decoupage, scrapbooking, any "lady-ish" art form, I'm a fan. For about six months each. Then I shove all the supplies in a closet, alongside the skeletons of long dead New Year's resolutions, like saber fencing, playing the ukulele, and Japanese brush painting.

Addie, please." More tears dripped down her cheeks. "Don't be so hard." "Oh, please," I muttered...and that was as far as I got. 'You broke my heart' were the words that had risen to my mouth, but I couldn't say them. That was what you said to a boyfriend, a lover, not your best friend. She'd laugh. And I'd had enough of being laughed at. I'd worked hard to get to a place where it didn't happen anymore, where I didn't move through life like a walking target, where it was just me and my paints and brushes and my big empty bed every night. "You weren't a good friend," I said instead.

Had she been born 500 years sooner, Raphael would have chosen her as a model for his cherubs. Tendrils of bright red hair framed her face, a spray of freckles powdered her nose, and she was as plump as a perfectly ripened peach. Raphael probably would have painted out the freckles, and that would have been a mistake. Like brushing cinnamon off cinnamon toast.

The key to faking deaths is a fine appreciation of arterial spray patterns. I have found that blood bags work very well at simulating spray with a strategically poked hole; apply pressure to the bottom of the bag, practice a bit, and before long you will be able to write stories of carnage and odes to gore. A small fan brush-the sort that one dude used to paint happy little trees-can paint a picture of blunt force spatters if you flick the surface properly. You could even talk to yourself, as that painter did, while you flick blood around: "And maybe over here we have a nice stab wound. And, I don't know, maybe there's a few more back over here. Multiple stab wounds. It doesn't matter, whatever you feel like.

painted in weather-colors now. With brushes dipped in nature’s palette. Mossgreen. Earth-brown. Crumbleblack

You hear the phrase all the time: a brush with death. What they don’t tell you is that the brush has paint on it. And once it touches you, you can’t get it off.

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

...So the next time you hear that voice telling you, 'you cannot paint', just see that you pick up that brush and paint alright! Creativity is all about making mistakes, and a true artist knows which blotches to keep and which ones to veil in layers of paint.

Some paintings become famous because, being durable, they are viewed by successive generations, in each of which are likely to be found a few appreciative eyes. I know a painting so evanescent that it is seldom viewed at all, except by some wandering deer. It is a river who wields the brush, and it is the same river who, before I can bring my friends to view his work, erases it forever from human view. After that it exists only in my mind's eye. Like other artists, my river is temperamental; there is no predicting when the mood to paint will come upon him, or how long it will last. But in midsummer, when the great white fleets cruise the sky for day after flawless day, it is worth strolling down to the sandbars just to see whether he has been at work.

I'm sure you were mistaken," Yaicha says to her brush. My ears pin back - "MISTAKEN? I know who Angie is, Yaicha. I know who our father is, Yaicha. He hurts people, he hurts you, you never do anything!" My claws scrape the wall paint. She turns with soft rabbit eyes. "He'll kill me." "He's already doing that!" I am growling, grabbing her sleeve, "Every day, every day he rips you open, chips off pieces week by week, till a few years from now you are not even a mouthful of sawdust. A drawn-out killing. Well, I'm tired of all of us doing nothing. He has to be stopped." Yaicha's eyes have flinched a few times but soften again. "Nobody can stop him." My teeth show. "Nobody can stop him? Good. To him I have always been Nobody.

You want me to explain myself! give me a brush, not a pen

Not everyone with a painting brush is an artist, likewise not everyone with a camera is a photographer

Hearts shall dance once again; when canvas of ice is painted with the brush of skates.

An artist paints his picture not in a few hours but in all the years of experience before he takes up the brush, and it is the same with failure.

I guess we’re all guilty at some point of failing to appreciate the small things, because when we use a broad brush to paint our exemplary lives, we splatter ourselves with ignorance.

Welcome Morning" There is joy in all: in the hair I brush each morning, in the Cannon towel, newly washed, that I rub my body with each morning, in the chapel of eggs I cook each morning, in the outcry from the kettle that heats my coffee each morning, in the spoon and the chair that cry "hello there, Anne" each morning, in the godhead of the table that I set my silver, plate, cup upon each morning. All this is God, right here in my pea-green house each morning and I mean, though often forget, to give thanks, to faint down by the kitchen table in a prayer of rejoicing as the holy birds at the kitchen window peck into their marriage of seeds. So while I think of it, let me paint a thank-you on my palm for this God, this laughter of the morning, lest it go unspoken. The Joy that isn't shared, I've heard, dies young.

And one cried wee, wee, wee, all the way—" Jessica breaking down in a giggle as he reaches for the spot along her sweatered flank he knows she can't bear to be tickled in. She hunches, squirming, out of the way as he rolls past, bouncing off the back of the sofa but making a nice recovery, and by now she's ticklish all over, he can grab an ankle, elbow— But a rocket has suddenly struck. A terrific blast quite close beyond the village: the entire fabric of the air, the time, is changed—the casement window blown inward, rebounding with a wood squeak to slam again as all the house still shudders. Their hearts pound. Eardrums brushed taut by the overpressure ring in pain. The invisible train rushes away close over the rooftop.... They sit still as the painted dogs now, silent, oddly unable to touch. Death has come in the pantry door: stands watching them, iron and patient, with a look that says try to tickle me.

The sun is bursting through my chest, breaking past my lips. It's my life, I think with amazement, and it's beautiful, and I can paint it any color I want to. Right now it's drenched in the brighest shade of gold. I have the brush in my hands, and the canvas is mine. It's all mine.

Jebi was torn between saying 'You are embarrassing me' and 'I am going to take up my brush and make a painting of you that they will talk about for the next 10,000 years'. They said neither.

Is there any forgiveness? If somebody does something wrong, we now have copped this "off with the head" attitude, which, I confess, feels great sometimes, but come on. Why do we paint everyone with the same brush? Why does it seem more & more we want people ruined rather than rehabilitated?

Your words on the screen are my color palette I dip my brush into your words and paint you On the sky, on the ceiling, on the snow; on the tablet Of things eternal : love truth beauty happiness

I would ask my teacher a question," Yehonala said. "Ask," Lady Miao replied. She was brushing fine quick strokes upon a large sheet of paper spread upon a square table which the eunuch had brought to her side. "When may I paint a picture of my own?" Yehonala asked. Her teacher held her hand poised for an instant and cast a sidelong look from her narrowed eyes. "When I can no longer command you.

Jobs was a strong-willed, elitist artist who didn't want his creations mutated inauspiciously by unworthy programmers. To him it would be as if someone off the street added some brush strokes to a Picasso painting or changed the lyrics to a Dylan song.

If you are an artist, may no love of wealth or fame or admiration and no fear of blame or misunderstanding make you ever paint, with pen or brush, an ideal of external life otherwise than as you see it.

There's a hurried intensity in the strokes--you can see where he scratched into the wet paint with the end of the brush. It's as if he knew there wasn't much time left. And yet, there's a serenity in his face, a sense of something that's survived its own ruin.

No art takes places without inspiration. Every artist also needs effective knowledge of his or her tools (e.g., does a certain brush function well with a particular kind of paint?). What’s more, artists need effective techniques for using those tools. Likewise, to express ourselves skillfully with maximum efficiency and minimum effort, we need to investigate the most effective ways of using the mind and body since, in the end, they are the only “tools” we truly possess in life.

This is not (as you have charged) to paint religion with a broad brush. I am very quick to distinguish gradations of bad ideas; some clearly have no consequences at all (or at least not yet); some put civilization itself in peril. The problem with dogmatism, however, is that one can never quite predict how terrible its costs will be. To use one of my favorite examples, consider the Christian dogma that human life begins at the moment of conception: On its face, this belief seems likely to only improve our world. After all, it is the very quintessence of a life-affirming doctrine. Enter embryonic stem-cell research. Suddenly, this “life begins at the moment of conception” business becomes the chief impediment to medical progress. Who would have thought that such an innocuous idea could unnecessarily prolong the agony of tens of millions of people? This is the problem with dogmatism, no matter how seemingly benign: it is unresponsive to reality. Dogmatism is a failure of cognition (as well as a commitment to such failure); it is the state of being closed to new evidence and new arguments. And this frame of mind is rightly despised in every area of culture, on every subject, except where it goes by the name of “religious faith.” In this guise, parading its most grotesque faults as virtues, it is granted a special dispensation, even in the pages of Nature.

Imagination is tapping into the subconscious in a form of open play. That is why art or music therapy, which encourages a person to take up brushes and paint or an instrument, and just express themselves, is so powerful.

On his death bed, the eighteenth-century haiku poet Shisui had finally responded to requests for a death poem by grabbing his brush, painting his poem, and dying. On the paper Shisui’s shocked followers saw he had painted a circle.

Despite my incessant desperation, I simply cannot paint the perfect picture within which I would wish to live out my life. And because I cannot, God picked up the brush of love, positioned the canvas of history and painted a manger.

He’s… There are no perfect words for what I feel. For what I see. It’s staring at a Michelangelo painting and being intimate with the subject beneath the brush strokes. It’s falling to your knees and looking up at a god, who belongs to you.

Ben Says: The good news is...nothing ever is permanent. You are the artist of your life...so take your brush & paint it bright! Timothy Pina Bullying Ben

I have stopped painting. I stand in front of the easel, brush in hand, but my mind is blank. It is as if I have been struck by a strange kind of blindness.

Every writer dips his brush into his own soul, and paints his own nature into his pictures.

Why not paint your own sky, and not leave it to others to add colour to your canvas? Why not take the brush, Point it at the canvas, and create your own Masterpiece.

Paul. Look at me. You need to understand this. The worst thing that could have happened to me already happened." He looks up. She swallows, knowing that these are the words that stall; that may simply refuse to emerge. "Four years ago David and I went to bed like it was any other night, brushing our teeth reading our books, chatting about a restaurant we were going to the next day...and when I woke up the next morning he was there beside me, cold. Blue. I didn't...I didn't feel him go. I didn't even get to say..." There is a short silence. "Can you imagine knowing you slept through the person you love most dying next to you ? Knowing that there might have been something you could have done to help him ? To save him ? Not knowing if he was looking at you, silently begging you to..." The words fail, her breath catches, a familiar tide threatens to wash over her He reaches out his hands slowly, enfolds hers within them until she can speak again. "I thought the world had actually ended. I thought nothing good could ever happen again. I thought any thing might happen if I wasn't vigilant. I didn't eat. I didn't go out. I didn't want to see anyone. But I survived, Paul. Much to my own surprise, I got through it. And life...well, life gradually became liveable again." She leans closer to him. "So this...the painting, the house...It hit me when I heard what happened to Sophie. It's just stuff. They could take all of it, frankly. the only thing that matters is people." She looks down at his hands, and her voice cracks. "All that really matters is who you love.

Pain. You overwhelm me," he said quietly. "And every time I see you or think of you, I can't grab a brush fast enough. I thought I couldn't paint you, but it turns out I've been painting you all along, from the beginning, before I even knew you.

For a while there was no other sound than the liquid whisper of my brush across paper, and as I painted,I thought about how the truth can sometimes sound like a lie because we're too afraid to believe it.

He disregarded everything, he gave everything to art. He tirelessly visited galleries, spent whole hours standing before the works of great masters, grasped and pursued a wondrous brush. He never finished anything without testing himself several times by these great teachers and reading wordless but eloquent advice for himself in their paintings.

It is like a beautiful sunset you see once in your life, one you swear you will never forget as long as you live. And you never do forget, but you never have a reason to restore the memory—so it remains hidden inside. Until one day, for no apparent reason, you remember that sunset. You recall the way your skin felt as the sun brushed across it, the way the colors painted the sky. You wonder why it took you so long to go back to that place again, swearing you won't take so long next time. Only you do forget the memory and you may or may not ever relive it again.

We should pick our battles carefully, while simultaneously attempting to empathize a bit with the so-called enemy. We should approach the news and media with a healthy dose of skepticism and avoid painting those who disagree with us with a broad brush. We should prioritize values of being honest, fostering transparency, and welcoming doubt over the values of being right, feeling good, and getting revenge. These “democratic” values are harder to maintain amidst the constant noise of a networked world. But we must accept the responsibility and nurture them regardless. The future stability of our political systems may depend on it. There

His singing made me want to fall to the ground and kiss it, as a son to a mother, grateful that someone could love it so keenly. For the first time in my life something new awoke within me, something irresistible: I still cannot explain it. It was a need to express myself, yes, to express myself, not only to see and sense the world, but to bring to others my vision, my thoughts and sensations, to describe the beauty of the earth as inspiringly as Daniyar could sing. I caught my breath for fear and joy of the unknown. At that time, however, I had not yet realized the need to take up brush and paints.

Our lips now conjoin like the glittery coils of a wet snake dancing in the amazon. Kissing Nadia sends me into a savoring affair for that which is most delectable, always tasting the delicate layers that exist in her myriad of emotion. Always, Nadia’s opulent lips gratify and subdue by easing my sensitivity as she drags her fingers down my stomach like a tree scattering its roots. I now brush my lips over Nadia’s, dipping into her mouth like a brush that falls into a bucket of paint, osculating under this euphoric form of affection.

Magnolias don't look like that," Ignatius said, thrusting his cutlass at the offending pastel magnolia. "You ladies need a course in botany. And perhaps geometry, too." "You don't have to look at our work," an offended voice said from the group, the voice of the lady who had drawn the magnolia in question. "Yes, I do!" Ignatius screamed. "You ladies need a critic with some taste and decency. Good heavens! Which one of you did this camellia? Speak up. The water in this bowl looks like motor oil." "Let us alone," a shrill voice said. "You women had better stop giving teas and brunches and settle down to the bustiness of learning how to draw," Ignatius thundered. "First, you must learn how to handle a brush. I would suggest that you all get together and paint someone's house for a start." "Go away." "Had you 'artists' had a part in the decoration of the Sistine Chapel, it would have ended up looking like a particularly vulgar train terminal," Ignatius snorted.

She lifts her eyes, and there is Death in the corner, but not like a king with his iron crown, as the epics claimed. Why, it is a giant brush loaded with white paint. It descends upon her with gentle suddenness, obliterating the shape of the world.

Now I wonder if he taught me that because he resented magic. That’s one of the worst casualties of being hurt by someone who was never supposed to hurt you: you start to question all the beautiful things that led up to the ugliness, start to wonder if some of the moments you thought were perfect were actually painted with a dirty brush.

No matter what challenge you may be facing, you must remember that while the canvas of your life is painted with daily experiences, behaviors, reactions, and emotions, you’re the one controlling the brush. If I had known this at 21, I could have saved myself a lot of heartache and self-doubt. It would have been a revelation to understand that we are all the artists of our own lives—and that we can use as many colors and brushstrokes as we like.

SOME PAINTINGS become famous because, being durable, they are viewed by successive generations, in each of which are likely to be found a few appreciative eyes. I know a painting so evanescent that it is seldom viewed at all, except by some wandering deer. It is a river who wields the brush, and it is the same river who, before I can bring my friends to view his work, erases it forever from human view. After that it exists only in the mind's eye.

Like dust brushed from an old painting, as we journey beneath the surface layers of life, another landscape is revealed.

When our expectations are uncertain and the data are noisy, the best bet is to paint with a broad brush

A battlefield; the canvas. The paint; blood. The brush; your sword. The painter; you.

I'm often painted as the bad kid, The other side of me wants to hand out the brush

To paint a battle requires those mighty artists with chaos in their brush

Rahel thought of the someone who had taken the trouble to go up there with cans of paint, white for the clouds, blue for the sky, silver for the jets, and brushes, and thinner.

I have seen the paintings from the air brushed by the hand of God.

But I had no patience with this convent chatter. I had felt the brush take life in my hand that afternoon; I had had my finger in the great, succulent pie of creation. I was a man of the Renaissance that evening- of Browning's renaissance. I, who had walked the streets of Rome in Genoa velvet and had seen the stars through Galileo's tube, spurned the friars, with their dusty tomes, and their sunken, jealous eyes and their crabbed hair-splitting speech.

And yes—scholars might care about the innovative brushwork and use of light, the historical influence and the unique significance in Dutch art. But not me. As my mother said all those years ago, my mother who loved the painting only from seeing it in a book she borrowed from the Comanche County Library as a child: the significance doesn’t matter. The historical significance deadens it. Across those unbridgeable distances—between bird and painter, painting and viewer—I hear only too well what’s being said to me, a psst from an alleyway as Hobie put it, across four hundred years of time, and it’s really very personal and specific. It’s there in the light-rinsed atmosphere, the brush strokes he permits us to see, up close, for exactly what they are—hand worked flashes of pigment, the very passage of the bristles visible—and then, at a distance, the miracle, or the joke as Horst called it, although really it’s both, the slide of transubstantiation where paint is paint and yet also feather and bone. It’s the place where reality strikes the ideal, where a joke becomes serious and anything serious is a joke. The magic point where every idea and its opposite are equally true.

My hands are flowing like sunlight. The shapes and colors are astounding. I don't understand these images that are empowering me. My brush touches the canvas like photons to the earth, and a new world develops, free from my control, yet intrinsically dependent upon me. I am sweating with elation. I have no idea what I am doing, or what it is my hands are trying to see. There is so much strength in this clarity I am overpowered by the independence of it.

I was confused by this sudden glare of attention; it was as if the characters in a favorite painting, absorbed in their own concerns, had looked up out of the canvas and spoken to me. Only the day before Francis, in a swish of black cashmere and cigarette smoke, had brushed past me in a corridor. For a moment, as his arm touched mine, he was a creature of flesh and blood, but the next he was a hallucination again, a figment of the imagination stalking down the hallway as heedless of me as ghosts, in their shadowy rounds, are said to be heedless of the living.

She tries to move toward him, but the path is covered with gravel, which slows her down. Then he turns his head and sees her. He puts down his brush and comes closer, and the closer he comes, the closer he comes, the happier she is she didn't put on mascara, she doesn't want to cry but she can't help it, she can hardly see him through the welling tears. She quickly wipes her eyes. She looks at him. He's standing two steps away. She could stretch out her hand, he'd come even closer, she could touch him. He's the same, thinner, the most beautiful man in the world, with the eyes Germain Pire described to her, a very pale blue, almost gray, quiet and gentle, with something struggling in their depths, a child, a soul of agony. His voice hasn't changed. The first thing she hears him say--it's terrible--he asks her, "You can't walk?" She shakes her head. He sighs, goes back to his painting. She pushes the wheels, moves toward the shed. He looks over at her again, he smiles. "You want to see what I'm doing?" She nods her head. "I'll show you in a little bit," he says. "But not right now, it's not finished." So while she waits, she sits up straight in her scooter, she crosses her hands in her lap, she looks at him. Yes, she looks at him, she looks at him, life is long and can still carry a great deal more on its back. She looks at him.

Artists are terminally dissatisfied. With life. With love. With their work. You like being tortured, don’t you, little Luna? Sadness has a bittersweet aftertaste. Keeps us going.” He lit up his joint. “Being an artist is a miserable job. You’re pregnant with your work, only to give the baby away. An entire year of careful strokes of a brush, just to have someone else buy the painting.

And so, Navani painted a prayer onto the stones themselves, sending her attendants for more ink. She paced off the size of the glyph as she continued its border, making it enormous, spreading her ink onto the tan rocks. Soldiers gathered around, Sadeas stepping from his canopy, watching her paint, her back to the sun as she crawled on the ground and furiously dipped her brushpen into the ink jars. What was a prayer, if not creation? Making something where nothing existed. Creating a wish out of despair, a plea out of anguish. Bowing one's back before the Almighty, and forming humility from the empty pride of a human life. Something from nothing. True creation. Her tears mixed with the the ink. She went through four jars. She crawled, holding her safehand to the ground, brushing the stones and smearing ink on her cheeks when she wiped the tears. When she finally finished, she knelt back before a glyph twenty paces long, emblazoned as if in blood. The wet ink reflected sunlight, and she fired it with a candle; the ink was made to burn whether wet or dry. The flames burned across the length of the prayer, killing it and sending its soul to the Almighty.

The love of the painter standing alone and staring, staring at the great coloured surface he is making. Standing with him in the room the rearing canvas stares back with tentative shapes halted in their growth, moving in a new rhythm from floor to ceiling. The twisted tubes, the fresh paint squeezed and smeared across the dry upon his palette. The dust beneath the easel. The paint has edged along the brushes' handles. The white light in a northern sky is silent. The window gapes as he inhales his world. His world: a rented room, and turpentine. He moves towards his half-born. He is in love.

There are many artists who’ve not yet gotten a good foothold or who are old war-horses at developing their creative lives, and yet and still, every time they reach for the pen, the brush, the ribbons, the script, they hear, “You’re nothing but trouble, your work is marginal or completely unacceptable—because you yourself are marginal and unacceptable.” So what is the solution? Do as the duckling does. Go ahead, struggle through it. Pick up the pen already and put it to the page and stop whining. Write. Pick up the brush and be mean to yourself for a change, paint. Dancers, put on the loose chemise, tie the ribbons in your hair, at your waist, or on your ankles and tell the body to take it from there. Dance. Actress, playwright, poet, musician, or any other. Generally, just stop talking. Don’t say one more word unless you’re a singer. Shut yourself in a room with a ceiling or in a clearing under the sky. Do your art. Generally, a thing cannot freeze if it is moving. So move. Keep moving.

When Earth's last picture is painted And the tubes are twisted and dried When the oldest colors have faded And the youngest critic has died We shall rest, and faith, we shall need it Lie down for an aeon or two 'Till the Master of all good workmen Shall put us to work anew And those that were good shall be happy They'll sit in a golden chair They'll splash at a ten league canvas With brushes of comet's hair They'll find real saints to draw from Magdalene, Peter, and Paul They'll work for an age at a sitting And never be tired at all. And only the Master shall praise us. And only the Master shall blame. And no one will work for the money. No one will work for the fame. But each for the joy of the working, And each, in his separate star, Will draw the thing as he sees it. For the God of things as they are!

Then beneath the colour [of the paint] was the shape. She could see it all so clearly, so commandingly, when she looked: it was when she took her brush in hand that the whole thing changed. It was in that moment's flight between the picture and her canvas that the demons set on her who often brought her to the verge of tears and made this passage from conception to work as dreadful as any down a dark passage for a child.

They put the brush to their lips…dipped it in the radium…and painted the dials. It was a “lip, dip, paint routine”7: all the girls copied each other, mirror images that lipped and dipped and painted all day long.

When man was being made, the Creator was a schoolmaster— His bag full of commandments and principles; but when He came to woman, He resigned His headmastership and turned artist, with only His brush and paint-box.

I will admit that I wanted to shout for standing on the top of a scaffold in front of a good new wall always goes to my head. It is a sensation something between that of an angel let out of his cage into a new sky and a drunkard turned loose in a royal cellar. And after all, what nobler elevation could you find in this world than the scaffold of a wall painter? No admiral on the bridge of a new battleship designed by the old navy, could feel more pleased with himself than Gulley, on two planks, forty feet above dirt level, with his palette table beside him, his brush in his hand, and the draught blowing up his trousers; cleared for action.

In my yellow room, Sunflowers with purple eyes stands out on a yellow background. They bath their stems in a yellow pot, on a yellow table. In a corner of the painting, the signature of the painter: Vincent. And the yellow sun that passes through the yellow curtains of my room floods all this fluorescence with gold. And in the morning upon awakening, from my bed, I imagin that all this smells very good. Oh yes! He loved yellow, this good Vincent, this painter from holland. Those glimmers of sunlight rekindled his soul That abhorred the fog, that needed the warmth. When two of us were together in arles, both of us mad and at constant war over the beauty of color, me, i loved the color red, Where to find a perfect vermilion? He traced with his most yellow brush on the wall, Suddenly turned violet. Je suis saint esprit Je suis sain d'espri. Paul gauguin, 1894.

As he went about to the other workrooms he realised that every painting was a self-portrait even when it was a still life or a scene over the roofs of Paris; for no man ever pictured anything but himself, his core, the things that he was basically. With every brush stroke the artist was mercilessly exposed: he could not conceal nothing, he could pretend to be another person, to believe in other values, but in the end he would fool no one.

I used to flirt with fundamentalism, and I had this idea that creation was something that happened. Now I see creation as something that is happening. Hundreds of millions of stars are still being born every day. Creation is an ongoing process. The Artist has not yet cleaned out the brushes. The paint is still wet. Human beings are the small clumps of clay and breath, and we have been handed brushes of our own, like young artist apprentices. The brushes aren't ours, nor the paint or canvas, but here they are in our hands, on loan. What shall we make?

She painted what appeared to be portraits, but that was only on the surface. The beautifully rendered flesh stretched, and sometimes sagged, over wounds, over celebrations. Over chasms of loss and rushes of joy. She painted peace and despair. All in one portrait. With brush and canvas and oils, Clara both captured and freed her subject.

I feel completely embarrassed and remember the lock on the door and think: He knows, he knows, it shows, shows completely. “He’s out back,” Mr. Garret tells me mildly, “unpacking shipments.” Then he returns to the papers. I feel compelled to explain myself. “I just thought I’d come by. Before babysitting. You, know, at your house. Just to say hi. So . . . I’m going to do that now. Jase’s in back, then? I’ll just say hi.” I’m so suave. I can hear the ripping sound of the box cutter before I even open the rear door to find Jase with a huge stack of cardboard boxes. His back’s to me and suddenly I’m as shy with him as I was with his father. This is silly. Brushing through my embarrassment, I walk up, put my hand on his shoulder. He straightens up with a wide grin. “Am I glad to see you!” “Oh, really?” “Really. I thought you were Dad telling me I was messing up again. I’ve been a disaster all day. Kept knocking things over. Paint cans, our garden display. He finally sent me out here when I knocked over a ladder. I think I’m a little preoccupied.” “Maybe you should have gotten more sleep,” I offer. “No way,” he says. Then we just gaze at each other for a long moment. For some reason, I expect him to look different, the way I expected I would myself in the mirror this morning . . . I thought I would come across richer, fuller, as happy outside as I was inside, but the only thing that showed was my lips puffy from kisses. Jase is the same as ever also. “That was the best study session I ever had,” I tell him. “Locked in my memory too,” he says, then glances away as though embarrassed, bending to tear open another box. “Even though thinking about it made me hit my thumb with a hammer putting up a wall display.” “This thumb?” I reach for one of his callused hands, kiss the thumb. “It was the left one.” Jase’s face creases into a smile as I pick up his other hand. “I broke my collarbone once,” he tells me, indicating which side. I kiss that. “Also some ribs during a scrimmage freshman year.” I do not pull his shirt up to where his finger points now. I am not that bold. But I do lean in to kiss him through the soft material of his shirt. “Feeling better?” His eyes twinkle. “In eighth grade, I got into a fight with this kid who was picking on Duff and he gave me a black eye.” My mouth moves to his right eye, then the left. He cups the back of my neck in his warm hands, settling me into the V of his legs, whispering into my ear, “I think there was a split lip involved too.” Then we are just kissing and everything else drops away. Mr. Garret could come out at any moment, a truck full of supplies could drive right on up, a fleet of alien spaceships could darken the sky, I’m not sure I’d notice.

I never carried a rifle on my shoulder, Nor did I pull a trigger. All I have is a flute’s melody. A brush to paint my dreams, A bottle of ink. All I have is unshakeable faith, And an infinite love for my people in pain. Mahmoud Darwish

I inspect everything more closely, and there is about every surface—the river, the forest, the bark of the trees, the underbrush between them, even my own skin—there is about it all the unmistakable texture of linen stretched and framed. And this is when I feel the camel’s hair brush and the oil paint dabbing tenderly, meticulously, at the space below my navel.

Writing is like painting with words, the paper is the canvas, the pen is the brush, the words are the colors and the verbs, nouns and adjectives are the blending of the hues that add depth to the picture you are creating. -Reed Abbitt Moore-

It was exciting to feel so much spite for somebody. It inspired me; I almost felt like dancing. If I was an artist, I thought, I would paint a huge black-and-red canvas, stabbing with my brush in a frenzy until I fell down on the floor in a heap, sweating and dizzy, the world spinning above me. I wished I could be breathless like that, and for so long I'd believed I couldn't.

Why would she ever want to behold anything else, when she could be taking in the sight of Susanna’s ears, like the pale folds of roses, the winglike sweep of her tiny eyebrows, the dark hair, which clings to her crown as if painted there with a brush? There is nothing more exquisite to her than her child: the world could not possibly contain a more perfect being, anywhere, ever.

Oh, to be a Chinaman, wished Francie, and have such a pretty toy to count on; oh, to eat all the lichee nuts she wanted and to know the mystery of the iron that was ever hot and yet never stood on a stove. Oh, to paint those symbols with a slight brush and a quick turn of the wrist and to make a clear black mark as fragile as a piece of a butterfly wing! That was the mystery of the Orient in Brooklyn.

When the Taliban had found the paintings, Tariq said, they'd taken offence at the birds' long bare legs. After they'd tied the cousin's feet and flogged his soles bloody, they had presented him with a choice: Either destroy the paintings or make the flamingos decent. So the cousin had picked up his brush and painted trousers on every last bird. "And there you have it, Islamic flamingos," - "But he'll have the last laugh, the cousin," Tariq said. " He painted those trousers with watercolour. When the Taliban are gone he'll just wash them off.

Watch and clock faces, fingernails, military instrument panels, gun sights and even children’s toys glowed with radium, hand-painted in factories by young women working for the United States Radium Corporation. The unsuspecting artisans would lick their brushes - ingesting radium particles each time - to keep the tips pointed during the precision work, but years later their teeth and skulls began to disintegrate.

I wish I had a brush that could paint the whole sky and turn every morning into night. I wish I could always sleep next to you in the never ending night and hold your hand, watching the reflection of all the stars in your eyes, while you smile and watch them in the sky with wonder.

One afternoon while driving back from the beach, Hugh pointed out a McDonald's bag vomiting its contents onto the pavement. "I say that any company whose products are found on the ground automatically has to go out of business," he said. This is how we talk nowadays, as if our pronouncements hold actual weight and can be implemented at our discretion, like we're kings or warlocks. "That means no more McDonald's, no more Coke - none of it." "That wouldn't affect you any,"I told him. Hugh doesn't drink soda or eat Big Macs. "But what if it was something you needed, like paint? I find buckets of it in the woods all the time." "Fine," he said. "Get rid of it. I'll make my own." If anyone could make his own paint, it would be Hugh. "What about brushes?" "Please," he said, and he shifted into a higher gear. "I could make those in my sleep.

Just four or five hours later we begin to see a country whose beauty penetrates our bones. I say beauty I mean beauty. Oftentimes in America you could go stark mad from the ugliness of things. Grass that goes for a thousand miles and never a hill to break it. I ain't saying there ain't beauty on the plains when well there is. But you ain't long travelling on the plains when you begin to feel clear loco. You can rise up out of your saddle and sort of look down on yourself riding, it's as if the stern and relentless monotony makes you die, come back to life, and die again. Your brain is molten in its bowl of bones and you just seeing atrocious wonders everywhere. The mosquitoes have your hide for supper and you are one hallucinating lunatic then. But now in the far distance we see a land begin to be suggested as if maybe a man was out there painting with a huge brush.

I got the feeling that if I moved the frames to the side, I'd see the artists watching me, as though through a two-way mirror, cracking their arthritic knuckles and rubbing their stubbled chins, wondering what I was wondering about them, if I saw their brilliance, or if their lives had been pointless, if only God could judge them after all. Did they want more? Was there more genius to be wrung out of the turpentine rags at their feet? Could they have painted better? Could they have painted more generously? More clearly? Could they have dropped more fruit from their windows? Did they know that glory was mundane? Did they wish they'd crushed those withered grapes between their fingers and spent their days walking through fields of grass or being in love or confessing their delusions to a priest or starving like the hungry souls they were, begging for alms in the city square with some honesty for once? Maybe they'd lived wrongly. (...) Or maybe not. Maybe, in the morning, they were aloof and happy to distract themselves with their brushes and oils, to mix their colors and smoke their pipes and go back to their fresh still lives without having to swat away any more flies.

Words today burn at my lips to speak and smolder in ink on the page as I write. For I have captured our love in every shade. The sweet stroke of brush upon canvas, the exquisite memory of us. I long to paint you again and know you yet more with every new glance until no part of you is foreign to me.

Vincent van Gogh committed suicide when he was only thirty-three. It was impossible to live; he could not earn a single cent. His brother used to give him money, but just enough to exist, to survive. He needed money to paint—for the canvas and the colors and the brushes. So this was his arrangement: He used to get money every Sunday for one week, so every week for three days he would eat and for four days he would fast, so that money could be saved to purchase canvases, colors, and other things that he needed. To me, van Gogh’s fasting is far more significant than all the fasts that have been done by your so-called saints. This fasting has something beautiful in it, something spiritual in it. When your so-called saints go on a fast, it is a means; they are fasting so that they can reach heaven and enjoy all the heavenly joys. But van Gogh’s fasting has a totally different quality to it: It is his love to create. And

Yes, a poem, a painting, can draw the sting of troubles from a troubled world and lay in its place a blessed realm before our grateful eyes. Music and sculpture will do likewise. Yet strictly speaking, in fact, there is no need to present this world in art. You have only to conjure the world up before you, and there you will find a living poem, a fount of song. No need to commit your thoughts to paper—the heart will already sing with a sweet inner euphony. No need to stand before your easel and limn with brush and paint—the world’s vast array of forms and colors already sparkles within the inner eye. It is enough simply to be able thus to view the place we live, and to garner with the camera of the sentient heart these pure, limpid images from the midst of our sullied world. And so even if no verse ever emerges from the mute poet, even if the painter never sets brush to canvas, he is happier than the wealthiest of men, happier than any strong-armed emperor or pampered child of this vulgar world of ours—for he can view human life with an artist’s eye; he is released from the world’s illusory sufferings; he is able to come and go at ease in a realm of transcendent purity, to construct a unique universe of art, and thereby to destroy the binding fetters of self-interest and desire.

She paints for a long time, standing back from the tavola, leaning in close. She progresses from bowl to honey to the pleats and wrinkles in the cloth. She navigates her course through the arrangement of objects, how they interact with each other, the spaces and conversations between them, shrinking herself to the size of a beetle so that she may wander through the crannies between peaches, along the interlocking hexagons of the honeycomb. She feels her way around the corresponding painting, using her brushes like feet or antennae, seeking a route through the unfamiliar terrain of the items, hacking her way through the undergrowth of the work.

Trust me. What a phrase. Is it a phrase or an idiom? I was never a wordsmith and I was too far along in life to even attempt to tackle a problem as complicated as words. Do writers struggle as much with words as a painter does with his paint and his brush? “Okay,” it is impossible not to trust a beautiful woman. Even macho noir anti-heroes who talk about staying out of trouble and doin’ nothin’ for nobody always get sucked into intricate snares set for them by beautiful women… I would not be an exception.

Not soon, as late as the approach of my ninetieth year, I felt a door opening in me and I entered the clarity of early morning. One after another my former lives were departing, like ships, together with their sorrow. And the countries, cities, gardens, the bays of seas assigned to my brush came closer, ready now to be described better than they were before. I was not separated from people, grief and pity joined us. We forget—I kept saying—that we are all children of the King. For where we come from there is no division into Yes and No, into is, was, and will be. We were miserable, we used no more than a hundredth part of the gift we received for our long journey. Moments from yesterday and from centuries ago— a sword blow, the painting of eyelashes before a mirror of polished metal, a lethal musket shot, a caravel staving its hull against a reef—they dwell in us, waiting for a fulfillment. I knew, always, that I would be a worker in the vineyard, as are all men and women living at the same time, whether they are aware of it or not.

A small brazier glowed near the monk's left hand. On a lecturn before him lay pots of paints, brushes, a quill, a pen, a knife, a sizeable handbell, the tooth of some animal--and a piece of parchment. It was the parchment that commanded the room. Until he saw it Len didn't realize how starved he had been of colour. Villagers dressed in various shades of brown and beige, like their furniture and fields and now, here, was an irruption of the rainbow, as if a charm of goldfinches had landed on the manuscript and been transfixed.

Jack took me to the Christmas Dance. It snowed the day of the dance, making the Meier Farmhouse and Dance Hall look like something out of a painting, the lights on the roof glowing under sheets of white. And when Jack led me onto the dance floor and grasped one of my hands and tugged it up behind his neck, then placed his arm around my back, soft and low, I thought life couldn't get better. He pulled me close against him, our hands clasped next to his chest.The cedar from the farmhouse mingled with Jack's aftershave,making a sweet, rustic scent. "Becks,remember the first time we met?" he asked,his lips grazing my ear. Of course I remembered. The events of that day were permanently etched into my brain. "You mean,the time you nearly beheaded me with a baseball?" "I had to do something to get the new girl's attention." "A simple 'hello' would have worked." He pulled me in tighter, as if that were possible. "Why did we wait so long to do this?" "Um, because you were making your way through the entire cheerleading squad?" He looked at me for a few moments, then shook his head and leaned in to brush his lips along my shoulder. I closed my eyes. If this was what I could expect for the rest of my high school years,I never wanted to graduate. Ever.

Why didn't someone hand those newly sighted people paints and brushes from the start, when they still didn't know what anything was? Then maybe we all could see color-patches too, the world unraveled from reason, Eden before Adam gave names. The scales would drop from my eyes; I'd see trees like men walking; I'd run down the road against all orders, allowing and leaping.

My eyelids drooped, but I didn’t want to miss any of it—the way his fingertips were tracing the outline of my lips, the way his beautifully proportioned body felt against mine, the flecks of harvest gold in his sky-blue eyes. “Remember this.” He brushed the hair off my neck and breathed a kiss there. “When you’re curled up with your books on a rainy afternoon in England, remember how you painted my world with your colors. Remember your rainbow halo.” “I will.” A hot ache grew in my throat. He was already saying goodbye. “I’ll remember. For the rest of my life.

The growl that permeated the room was loud enough to rattle the mirror on the wall next to Qhuinn’s head—as well as the silver brush set on the bureau and the crystals on the sconces by the door. At first he was sure it was Phury…except then the Brother’s brows came down hard and the male looked over his shoulder. Layla was out of bed and closing in on the pair of them—and holy fucking shit, the look in her eyes was enough to melt paint off a car door: In spite of the fact that she was not well, her fangs were bared, and her fingers were curled into claws…and the icy draft that preceded her made the back of Qhuinn’s neck prickle in warning. That growl was nothing that should have come out of a male…much less a delicate female of Chosen status. And if anything, her nasty tone of voice was worse: “Let. Him. Go.” She was looking up at Phury as if she were fully prepared to rip the Brother’s arms out of their sockets and beat him with the stumps if he didn’t do exactly what she said. Pronto

A fire burns in the evening sky Breaking like an egg in a pan A sea of yellowish orange spreads In accordance with divine plan.  Vibrant paint drips to the edge Of ashen clouds drifting past The sun is a messy painter Every brush stroke massive and vast. The clouds are like matches Starting as fiery flame Then fading to ashes  A burning passion, tamed.  The red, orange, yellow leaves On the ground in this season Reflect the colors of the sky, and The sunlight that used to feed them.  A September sunset beaming  Down as a sailor's last call A herald for the coming winter A message, enjoy the fleeting fall. 

May you, son, daughter, image of the very Creator God, fearfully and wonderfully made, knit together in your mother’s womb, fully seen, fully known, and fully loved, see with eyes that are open wide. Hear the Voice that speaks from inside of you with ears attuned and mind unshackled. Taste and see the goodness of the One who shall be all and in all. May your heart be opened to the love that formed you and everything else, the love that holds all things together and shall make all things new in the end, and may that love that was broken and poured out for you impel you into the world to break your own self open to be poured out for the world that God so loves. Poured out in acts of justice and mercy, poured out in good and hard work that brings order rather than disorder. Poured out in songs and liturgies, business plans and water colors, child-rearing and policy-making. May your life be a brush in the very hand of God—painting new creation into every nook and cranny of reality that your shadow graces. Be courageous. Be free. Prune that which needs pruning, and water that which thirsts for righteousness. You are the body of Christ, the light of the world. Pick up your hammer. Your brush. Your trumpet. Your skillet. Your pen. Lift up your head. And walk. Run. Dance. Fly. The great Artist, the future God, calls you into being. So go into your world, your valley, your garden, and create with His grace and in His peace. Amen. ________________________

But to him, it expressed everything about what he hoped this series would be: it was a love letter, it was a documentation, it was a saga, it was his. When he worked on this painting, he felt sometimes as if he were flying, as if the world of galleries and parties and other artists and ambitions had shrunk to a pinpoint beneath him, something so small he could kick it away from himself like a soccer ball, watch it spin off into some distant orbit that had nothing to do with him. It was almost six. The light would change soon. For now, the space was still quiet around him, although distantly, he could hear the train rumbling by on its tracks. Before him, his canvas waited. And so he picked up his brush and began.

For an artist to be interesting to us he must have been interesting to himself. He must have been capable of intense feeling, and capable of profound contemplation. He who has contemplated has met with himself, is in a state to see into the realities beyond the surfaces of his subject. Nature reveals to him, and, seeing and feeling intensely, he paints, and whether he wills it or not each brush stroke is an exact record of such as he was at the exact moment the stroke was made.

With these words, Max Planck, the father of quantum theory, described a universal field of energy that connects everything in creation: the Divine Matrix. The Divine Matrix is our world. It is also everything in our world. It is us and all that we love, hate, create, and experience. Living in the Divine Matrix, we are as artists expressing our innermost passions, fears, dreams, and desires through the essence of a mysterious quantum canvas. But we are the canvas, as well as the images upon the canvas. We are the paints, as well as the brushes. In the Divine Matrix, we are the container within which all things exist, the bridge between the creations of our inner and outer worlds, and the mirror that shows us what we have created.

Alas! what are you, after all, my written and painted thoughts! Not long ago you were so variegated, young and malicious, so full of thorns and secret spices, that you made me sneeze and laugh — and now? You have already doffed your novelty, and some of you, I fear, are ready to become truths, so immortal do they look, so pathetically honest, so tedious! And was it ever otherwise? What then do we write and paint, we mandarins with Chinese brush, we immortalizers of things which lend themselves to writing, what are we alone capable of painting? Alas, only that which is just about to fade and begins to lose its odour! Alas, only exhausted and departing storms and belated yellow sentiments! Alas, only birds strayed and fatigued by flight, which now let themselves be captured with the hand — with our hand! We immortalize what cannot live and fly much longer, things only which are exhausted and mellow! And it is only for your afternoon, you, my written and painted thoughts, for which alone I have colours, many colours, perhaps, many variegated softenings, and fifty yellows and browns and greens and reds; — but nobody will divine thereby how ye looked in your morning, you sudden sparks and marvels of my solitude, you, my old, beloved — evil thoughts!

Moses?” I said softly. “Yeah?” His eyes lifted from the canvas briefly. “There’s a new law in Georgia.” “Does it directly contradict one of the laws of Moses?” “Yes. Yes it does,” I confessed. “Hmm. Let’s hear it.” He set his brush down, wiped his hands on a cloth and approached the bed where I was positioned, draped in a sheet like a Rubenesque Madonna. I learned the term from him, and he seemed to think it was a good thing. “Thou shall not paint,” I commanded sternly. He leaned over me, one knee on the bed, his strong arms bracketing my head, and I turned slightly, looking up at him. “Ever?” He smiled. I watched his head descend and his lips brushed mine. But his golden-green eyes stayed open, watching me as he kissed me. My toes curled and my eyes fluttered, the sensation of lips tasting lips pulling me under. “No. Not ever, just sometimes,” I sighed. “Just when I’m in Georgia?

There’s twenty-six letters in the alphabet that can be arranged to express an infinity of emotions.” I shake my head. “But not mine, not for you. There are no words to express the way my whole world falls at your feet, staring up in awe at my best friend, my lover … my forever. The river of love for you that runs through me is deep and all consuming. I came alive for you. With the soft stroke of your brush, you painted my life a million shades of amazing and now my heart finds its rhythm from your love … our love … forever. So be my husband, Trick. Let our story be the only one that matters.

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.

Are these black cats like the hare?" "No. They're smaller; they only want me to play with them. Fly away with them to a place on the other side of the moon. There's a garden there, all silvery-gold, and the cats and hares dance and jump round and round. They can jump so much farther than they can on earth; it's like flying, and they love it so. Sometimes I've felt as if I'd like to dance and jump through the air too, they looked so happy, and I've thought maybe if I did I wouldn't be afraid any more, but when I look they're all dancing round a Figure that sits still in the middle of the garden. A big black Figure with a hood on. And It hasn't got any face. Its face is so awful that It keeps it covered. And then I get so terribly afraid. And everything stops." "And you see all that in the picture?" "I don't know." She hesitated again. "I think it's partly dreams. After I've thought they were at the windows - the cats and the big hare. They sit there and watch, you see, after I've gone to sleep. But they don't come often. I don't usually know what's there." She came closer and whispered, her blue eyes earnest and weird, "I don't think it's an animal hare. I think it's Aunt Sarai's hare, that maybe it came from hell. It isn't swearing to say that word just as the name of a place, is it? That's why people used to be so scared of witches' black cats, isn't it, because they thought they weren't earth-cats, they were from the devil? Mother says there isn't any hell or any witches. But Aunt Sarai was a witch; that's why she can come back. I think they've all been witches here; the house is mad because mother wouldn't be; that's why it wants me now." Carew said, "It was all dreams, Betty. There is no hell. There is no garden on the other side of the moon. It's a dead world, full of volcanic craters, with no air for anything to grow in or breathe. A hare frightened you and, being nervous, you've had nightmares about it - pictures that fear paints on your mind just as an artist would on canvas, with paints and brushes. "Every dream is now a movie we make for ourselves in our sleep...

Monet Refuses the Operation" Doctor, you say that there are no halos around the streetlights in Paris and what I see is an aberration caused by old age, an affliction. I tell you it has taken me all my life to arrive at the vision of gas lamps as angels, to soften and blur and finally banish the edges you regret I don’t see, to learn that the line I called the horizon does not exist and sky and water, so long apart, are the same state of being. Fifty-four years before I could see Rouen cathedral is built of parallel shafts of sun, and now you want to restore my youthful errors: fixed notions of top and bottom, the illusion of three-dimensional space, wisteria separate from the bridge it covers. What can I say to convince you the Houses of Parliament dissolve night after night to become the fluid dream of the Thames? I will not return to a universe of objects that don’t know each other, as if islands were not the lost children of one great continent. The world is flux, and light becomes what it touches, becomes water, lilies on water, above and below water, becomes lilac and mauve and yellow and white and cerulean lamps, small fists passing sunlight so quickly to one another that it would take long, streaming hair inside my brush to catch it. To paint the speed of light! Our weighted shapes, these verticals, burn to mix with air and changes our bones, skin, clothes to gases. Doctor, if only you could see how heaven pulls earth into its arms and how infinitely the heart expands to claim this world, blue vapor without end.

The model stripped down naked and stood with her arms out to her sides while genderless cohorts sprayed her body with large silver canisters of foundation. They wore masks over there faces and sprayed her from head to toe like they were putting out a fire. They airbrushed her into a mono-toned six-foot-two column of a human being with no visible veins, nipples, nails, lips, or eyelashes. When every single thing that was real about the model was gone, the make up artist fug through a suite case of brushes and plowed through hundreds of tubes of flesh colored colors and began to draw human features onto her face. At the same time, the hair stylist meticulously sewed with a needle and thread strand after strand of long blond hairs onto her thin light brown locks, creating a thick full mane of shimmering gold. The model had brought her own chef, who cooked her spinach soup from scratch. The soup was fed to her by one of her lackeys, who existed solely for this purpose. The blond boy stood in front of her, blowing on the soup and then feeding it to her from a small silver child's spoon, just big enough to fit between her lips. the model's mouth was barely open, maybe a quarter of an inch wide, so that she would not crack the flesh colored paint.

Christ paints the Father in the most beautiful of hues!  According to Jesus, He is a God who is delighted at the sight of little children, goes out of His way to converse with the marginalized, turns water into wine to keep the party going, and who brushes aside religious laws in the name of showing mercy to sinners.  He pardons the adulterous without being asked, takes tax collectors as His disciples, and dines with scam artists and traitors.  He places His disciples’ wellbeing above the sacred nature of the Sabbath, brings healing to His nation’s foreign occupiers, and assures us that violence is never the way that God solves His problems. 

When Leonardo was painting The Last Supper (fig. 74), spectators would visit and sit quietly just so they could watch him work. The creation of art, like the discussion of science, had become at times a public event. According to the account of a priest, Leonardo would “come here in the early hours of the morning and mount the scaffolding,” and then “remain there brush in hand from sunrise to sunset, forgetting to eat or drink, painting continually.” On other days, however, nothing would be painted. “He would remain in front of it for one or two hours and contemplate it in solitude, examining and criticizing to himself the figures he had created.” Then there were dramatic days that combined his obsessiveness and his penchant for procrastination. As if caught by whim or passion, he would arrive suddenly in the middle of the day, “climb the scaffolding, seize a brush, apply a brush stroke or two to one of the figures, and suddenly depart.”1 Leonardo’s quirky work habits may have fascinated the public, but they eventually began to worry Ludovico Sforza. Upon the death of his nephew, he had become the official Duke of Milan in early 1494, and he set about enhancing his stature in a time-honored way, through art patronage and public commissions. He also wanted to create a holy mausoleum for himself and his family, choosing a small but elegant church and monastery in the heart of Milan, Santa Maria delle Grazie, which he had Leonardo’s friend Donato Bramante reconstruct. For the north wall of the new dining hall, or refectory, he had commissioned Leonardo to paint a Last Supper, one of the most popular scenes in religious art. At first Leonardo’s procrastination led to amusing tales, such as the time the church prior became frustrated and complained to Ludovico. “He wanted him never to lay down his brush, as if he were a laborer hoeing the Prior’s garden,” Vasari wrote. When Leonardo was summoned by the duke, they ended up having a discussion of how creativity occurs. Sometimes it requires going slowly, pausing, even procrastinating. That allows ideas to marinate, Leonardo explained. Intuition needs nurturing. “Men of lofty genius sometimes accomplish the most when they work least,” he told the duke, “for their minds are occupied with their ideas and the perfection of their conceptions, to which they afterwards give form.

I'll Paint You A Rainbow I'll paint you a rainbow to hang on the wall, to brighten your heart When the gray shadows fall, On the canvas of joy outlasting the years, with a soft brush of sweetness To dry all your tears. I'll paint you a rainbow with colors of smiles That glow with sincerity over the miles. On a palette of words I will tenderly blend Tones in treasures of sunlight and wind. I'll paint the rainbow that reaches so wide, Your sighs and your sorrows will vanish inside, And deep in the center of each different hue, A memory fashioned especially for you. So lift up your eyes, for suspended above, A rainbow designed by the fingers of love.

Skylar laughed a lot in these scenes. He was happy. He was always helping people too—a whole section depicted him playing hero to the art majors as they gazed at him adoringly, and Xander glowered jealously on the sidelines. That made Skylar laugh in real life. There were so many scenes of him helping people. He was Mr. Friendly, according to Xander. This was such a better painting. This was how Xander saw him? This was beautiful. This is who I want to be instead. “I love this,” Skylar said as Xander cleaned his brush. “Oh, I’m not done.” Xander got out a small round brush and reached for the pink. He began to paint delicate, beautiful cherry blossoms all over Skylar’s body. There was writing too—Xander explained each kanji to him, that they meant he was magnificent, sensitive, sensual, artistic, charming, loyal, steadfast—he lost track of the words because while they were wonderful and the script breathtaking, it was the blossoms that did him in. He sees me as a cherry tree. A blooming, beautiful cherry tree. Skylar sobbed. “I love you,” Skylar cried, trying not to spill tears because Xander was painting cherry blossoms across his face. “I love you too, my sakura.

Because radium can be mixed with other elements to make them glow in the dark, clock makers used it to create fluorescent numbers on watch faces and hired young women to perform the delicate task of painting them. In the watch factories of New Jersey, Connecticut, and Illinois, the Radium Girls were trained to lick the tips of their brushes into a fine point before dipping them into pots of radium paint. When the jaws and skeletons of the first girls began to rot and disintegrate, their employers suggested they were suffering from syphilis. A successful lawsuit revealed that their managers had understood the risks of working with radium and get done everything they could to conceal the truth from their employees. It was the first time the public learned the hazards of ingesting radioactive material. The

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.

There were some hours to spare before his ship sailed, and having deposited his luggage, including a locked leather despatch-case, on board, he lunched at the Cafe Tewfik near the quay. There was a garden in front of it with palm trees and trellises gaily clad in bougainvillias: a low wooden rail separated it from the street, and Morris had a table close to this. As he ate he watched the polychromatic pageant of Eastern life passing by: there were Egyptian officials in broad-cloth frock coats and red fezzes; barefooted splay-toed fellahin in blue gabardines; veiled women in white making stealthy eyes at passers-by; half-naked gutter-snipe, one with a sprig of scarlet hibiscus behind his ear; travellers from India with solar tepees and an air of aloof British Superiority; dishevelled sons of the Prophet in green turbans, a stately sheik in a white burnous; French painted ladies of a professional class with lace-rimmed parasols and provocative glances; a wild-eyed dervish in an accordion-pleated skirt, chewing betel-nut and slightly foaming at the mouth. A Greek boot-black with box adorned with brass plaques tapped his brushes on it to encourage customers, an Egyptian girl squatted in the gutter beside a gramophone, steamers passing into the Canal hooted on their syrens. ("Monkeys")

Home is where I take up such a tiny portion of the memory foam; home is a splintered word. His pillow is a sweat-stained map of an escape plot, also a map of love’s dear abandon. (When did he give way, at which breath?) Forgiveness may mean retrospectively abandoning the pillow and abandoning the photograph of someone with curious eyes, kissing my toes, poolside. I paint my toes Big Apple Red. I don’t know what to do about the shock of red nails on clean, white tiles except get used to it. (And when he gave way, was there room for feelings or the words for feeling?) While I brush my teeth, I can see him in my periphery at the other sink. The outline of him lulls and stings. (And when he gave way, was it the end of the beginning of suffering?) I draw his profile near, I make him brush his teeth with me, he spits and makes a mess. I could love another face, but why?

Dawn arrived far too soon, dragging its light into the world with a cold, indifferent certainty. It slipped through the Shopping District, touching rooftops and shopfronts with soft, hesitant kisses of silver. The light crept across the trees, brushing their branches with a delicate touch, so gentle it felt like a lover's touch no one was meant to see. It didn’t explode or dazzle; it crept, shy and subtle, casting pale lines through the thinning branches, reaching for something just out of sight. The light hinted at promises not quite made, golden edges of a dawn still hidden beneath the horizon, teasing what might be. The world breathed with it, spaces between the leaves coming alive with shifting patterns, like it was painting possibilities across the ground. It was the kind of light that made you think of the road ahead—paths waiting to be walked, choices waiting to be made.

She held a scarlet sequin dress to her chest and posed in front of a mirror. Too hot. She put it back and took a black mini. Too dreary. Then a blue as pale as a whisper caught her eye. She took the dress. The material was silky and clinging. Perfect for a goddess. On the floor below the dress sat scrappy wraparound high-heeled sandals that matched the blue. She didn't understand why she needed to dress up to meet Stanton but the impulse to steal into the storage room had been rising in her since the sun set. She took the dress and sandals back to her room, then sat on the floor and painted her toenails and fingernails pale blue. She drew waves of eternal flames and spiral hearts in silver and blue around her ankles and up her legs with body paints. When she was done, she pressed a Q-tip into glitter eye shadow and spread sparkles on her lid and below her eye. With a sudden impulse she swirled the lines over her temple and into her hairline. She liked the look. She rolled blue mascara on her lashes, then brushed her hair and snapped crystals in the long blond strands. She squeezed glitter lotion into her palms and rubbed it on her shoulders and arms. Last she took the dress and stepped into it. She turned to the mirror on the closet door. A thrill ran through her. Her reflection astonished her. She looked otherworldly, a mystical creature... eyes large, skin glowing, eyelashes longer, thicker. Everything about her was more powerful and sleek and fairy tale. Surely this wasn't really happening. Maybe she would wake up and run to school and tell Catty about her crazy dreams. But another part of her knew this was real. She leaned to one side. The dress exposed too much thigh. "Good." Her audacity surprised her. Another time she would have changed her dress. But why should she?

There were charming ones as well as terrible ones, that I must admit. The painter was particularly entranced by Japanese masks: warriors', actors' and courtesans' masks. Some of them were frightfully contorted, the bronze cheeks creased by a thousand wrinkles, with vermilion weeping from the corners of the eyes and long trails of green at the corners of the mouths like splenetic beards. 'These are the masks of demons,' said the Englishman, caressing the long black swept-back tresses of one of them. 'The Samurai wore them in battle, to terrify the enemy. The one which is covered in green scales, with two opal pendants between the nostrils, is the mask of a sea-demon. This one, with the tufts of white fur for eyebrows and the two horsehair brushes beside the lips, is the mask of an old man. These others, of white porcelain - a material as smooth and fine as the cheeks of a Japanese maiden, and so gentle to the touch - are the masks of courtesans. See how alike they all are, with their delicate nostrils, their round faces and their heavy slanted eyelids; they are all effigies of the same goddess. The black of their wigs is rather beautiful, isn't it? Those which bubble over with laughter even in their immobility are the masks of comic actors.' That devil of a man pronounced the names of demons, gods and goddesses; his erudition cast a spell. Then: 'Bah! I have been down there too long!' Now he took up the light edifices of gauze and painted silk which were Venetian masks. 'Here is a Cockadrill, a Captain Fracasse, a Pantaloon and a Braggadocio. Only the noses are different - and the cut of their moustaches, if you look at them closely. Doesn't the white silk mask with enormous spectacles evoke a rather comical dread? It is Doctor Curucucu, an actual marionette featured in the Tales of Hoffmann. And what about that one, with all the black horsehair and the long spatulate nose like a stork's beak tipped with a spoon? Can you imagine anything more appalling? It's a duenna's mask; amorous young women were well-guarded when they had to go about flanked by old dragons dressed up in something like that. The whole carnival of Venice is put on parade before us beneath the cape and the domino, lying in ambush behind these masks... Would you like a gondola? Where shall we go, San Marco or the Lido?

They’d talk of the famous painters who took until their twenties or thirties to really get to grips with their talent, and then they’d say, “But Lenni Pettersson was only five years and three months old when she created this work—how is it even possible she was already that good?” In honor of my own vanity, at the bottom of my painted star, in yellow and using the thinnest brush I could find, I wrote Lenni, aged 17. Seeing this, Margot did the same. Margot, she wrote, 83. And then we put them side by side, the two stars against the dark. Numbers don’t mean a lot to me. I don’t care about long division or percentages. I don’t know my height or my weight and I can’t remember my dad’s phone number, though I know I used to know it. I prefer words. Delicious, glorious words. But there were two numbers in front of me that mattered, and would matter for the rest of my numbered days. “Between us,” I said quietly, “we’re a hundred years old.

I SEEK SOLACE IN THE CRIMSON SUNRISE, That splashes the east with beauty; I am captivated by the azure skies, Which follow with an air of serenity! I watch the color of the seas That paints the canvas of my heart; I brush my thoughts with the elegant breeze That translates my ideas to art! The dainty garden of beauteous flowers - Red, yellow, lilac and white - Toss and frolic in breezy hours Spreading the waves of lucid delight. The hills covered with foliage green, And the faded ones, blue and grey, Enthrall me as my eyes glean Their glimpses while I move away. Each speck of dust, each grain of rice, And the farms reflect life and mirth; Colors of nature, at ease, entice, Bringing the sweet scent of earth. I chase the mesmerizing butterflies Laden with hues of heaven, Solitude becomes a joyous exercise. When by beauty, I am madly driven! The world is filled with colors galore, Each day is a colorful festivity; Every moment you amass more and more, There is no end to beauty!

I don’t like stories. I like moments. I like night better than day, moon better than sun, and here-and-now better than any sometime-later. I also like birds, mushrooms, the blues, peacock feathers, black cats, blue-eyed people, heraldry, astrology, criminal stories with lots of blood, and ancient epic poems where human heads can hold conversations with former friends and generally have a great time for years after they’ve been cut off. I like good food and good drink, sitting in a hot bath and lounging in a snowbank, wearing everything I own at once, and having everything I need close at hand. I like speed and that special ache in the pit of the stomach when you accelerate to the point of no return. I like to frighten and to be frightened, to amuse and to confound. I like writing on the walls so that no one can guess who did it, and drawing so that no one can guess what it is. I like doing my writing using a ladder or not using it, with a spray can or squeezing the paint from a tube. I like painting with a brush, with a sponge, and with my fingers. I like drawing the outline first and then filling it in completely, so that there’s no empty space left. I like letters as big as myself, but I like very small ones as well. I like directing those who read them here and there by means of arrows, to other places where I also wrote something, but I also like to leave false trails and false signs. I like to tell fortunes with runes, bones, beans, lentils, and I Ching. Hot climates I like in the books and movies; in real life, rain and wind. Generally rain is what I like most of all. Spring rain, summer rain, autumn rain. Any rain, anytime. I like rereading things I’ve read a hundred times over. I like the sound of the harmonica, provided I’m the one playing it. I like lots of pockets, and clothes so worn that they become a kind of second skin instead of something that can be taken off. I like guardian amulets, but specific ones, so that each is responsible for something separate, not the all-inclusive kind. I like drying nettles and garlic and then adding them to anything and everything. I like covering my fingers with rubber cement and then peeling it off in front of everybody. I like sunglasses. Masks, umbrellas, old carved furniture, copper basins, checkered tablecloths, walnut shells, walnuts themselves, wicker chairs, yellowed postcards, gramophones, beads, the faces on triceratopses, yellow dandelions that are orange in the middle, melting snowmen whose carrot noses have fallen off, secret passages, fire-evacuation-route placards; I like fretting when in line at the doctor’s office, and screaming all of a sudden so that everyone around feels bad, and putting my arm or leg on someone when asleep, and scratching mosquito bites, and predicting the weather, keeping small objects behind my ears, receiving letters, playing solitaire, smoking someone else’s cigarettes, and rummaging in old papers and photographs. I like finding something lost so long ago that I’ve forgotten why I needed it in the first place. I like being really loved and being everyone’s last hope, I like my own hands—they are beautiful, I like driving somewhere in the dark using a flashlight, and turning something into something completely different, gluing and attaching things to each other and then being amazed that it actually worked. I like preparing things both edible and not, mixing drinks, tastes, and scents, curing friends of the hiccups by scaring them. There’s an awful lot of stuff I like.

Is the sky painted?” Isidore asked. “Are there really brush strokes that show up under magnification?” “Yes,” Mercer said. “I can’t see them.” “You’re too close,” Mercer said. “You have to be a long way off, the way the androids are. They have better perspective.” “Is that why they claim you’re a fraud?” “I am a fraud,” Mercer said. “They’re sincere; their research is genuine. From their standpoint I am an elderly retired bit player named Al Jarry. All of it, their disclosure, is true. They interviewed me at my home, as they claim; I told them whatever they wanted to know, which was everything.” “Including about the whisky?” Mercer smiled. “It was true. They did a good job and from their standpoint Buster Friendly’s disclosure was convincing. They will have trouble understanding why nothing has changed. Because you’re still here and I’m still here.” Mercer indicated with a sweep of his hand the barren, rising hillside, the familiar place. “I lifted you from the tomb world just now and I will continue to lift you until you lose interest and want to quit. But you will have to stop searching for me because I will never stop searching for you.” “I didn’t like that about the whisky,” Isidore said. “That’s lowering.” “That’s because you’re a highly moral person. I’m not. I don’t judge, not even myself.” Mercer held out a closed hand, palm up. “Before I forget it, I have something of yours here.” He opened his fingers. On his hand rested the mutilated spider, but with its snipped-off legs restored. “Thanks.” Isidore accepted the spider.

Slung on a stage over the gunwale of an old felucca, the Peri. A storm had just passed, rushing away toward the land in a great slope of clouds; already turning yellowish from the desert. The sea there is the color of Damascus plums; and how quiet. Sun was going down; not a beautiful sunset, more a gradual darkening of the air and that storm’s mountainside. The Peri had been damaged, we hove to alongside and hailed her master. No reply. Only the sailor—I never saw his face—one of your fellahin who abandon the land like a restless husband and then grumble for the rest of their term afloat. It’s the strongest marriage in the world. This one wore a kind of loincloth and a rag round his head for the sun which was almost gone. After we’d shouted in every dialect we had among us, he replied in Tuareg: ‘The master is gone, the crew is gone, I am here and I am painting the ship.’ It was true: he was painting the ship. She’d been damaged, not a load line in sight, and a bad list. ‘Come aboard,’ we told him, ‘night is nearly on us and you cannot swim to land.’ He never answered, merely continued dipping the brush in his earthen jar and slapping it smoothly on the Peri’s creaking sides. What color? It looked gray but the air was dark. This felucca would never again see the sun. Finally I told the helmsman to swing our ship round and continue on course. I watched the fellah until it was too dark: becoming smaller, inching closer to the sea with every swell but never slackening his pace. A peasant with all his uptorn roots showing, alone on the sea at nightfall, painting the side of a sinking ship.

Why here? Why should the rainbow edges of what is almost on him be rippling most intense here in this amply coded room? say why should walking in here be almost the same as entering the Forbidden itself—here are the same long rooms, rooms of old paralysis and evil distillery, of condensations and residues you are afraid to smell from forgotten corruptions, rooms full of upright gray-feathered statues with wings spread, indistinct faces in dust—rooms full of dust that will cloud the shapes of inhabitants around the corners or deeper inside, that will settle on their black formal lapels, that will soften to sugar the white faces, white shirt fronts, gems and gowns, white hands that move too quickly to be seen…what game do They deal? What passes are these, so blurred, so old and perfect? “Fuck you,” whispers Slothrop. It’s the only spell he knows, and a pretty good all-purpose one at that. His whisper is baffled by the thousands of tiny rococo surfaces. Maybe he’ll sneak in tonight—no not at night—but sometime, with a bucket and brush, paint FUCK YOU in a balloon coming out of the mouth of one of those little pink shepherdresses there…

Yes. A custom. Everything according to the rules, then. But Lila, as usual, hadn’t stopped there, she had soon gone further. As we worked with brushes and paints, she told me that she had begun to see in that formula an indirect object of place to which, as if Cerullo Carracci somehow indicated that Cerullo goes toward Carracci, falls into it, is sucked up by it, is dissolved in it. And, from the abrupt assignment of the role of speech maker at her wedding to Silvio Solara, from the entrance into the restaurant of Marcello Solara, wearing on his feet, no less, the shoes that Stefano had led her to believe he considered a sacred relic, from her honeymoon and the beatings, up until that installation—in the void that she felt inside, the living thing determined by Stefano—she had been increasingly oppressed by an unbearable sensation, a force pushing down harder and harder, crushing her. That impression had been getting stronger, had prevailed. Raffaella Cerullo, overpowered, had lost her shape and had dissolved inside the outlines of Stefano, becoming a subsidiary emanation of him: Signora Carracci. It was then that I began to see in the panel the traces of what she was

The explosion was deafening; a huge cloud of fire rolled out the window after us, its immense heat brushing my face as we tumbled into the snow. We hit the ground and rolled. Flaming debris from the house came down around us; Griffin shoved me flat on my back, covering us both with his heavy coat. The echoes of the explosion reflected back across the river, then slowly dwindled away, like dying thunder. The leaping flames threw warm light onto the falling snow, turning it into a storm of sparks pouring down from the heavens. Griffin started to push himself off of me, then stoped. His hands were braced on either side of my shoulders, his legs twined with mine. Mt heart pounded, my palms sweated, and I was suddenly, acutely aware of how close his face was to mine. "You're a madman," he whispered. "An utter madman." "Perhaps," I allowed. "But it worked." The leaping light from the burning house painted his features in gold, highlighting his patrician nose and finding threads of brown and blue in his green eyes. His pupils widened, the irises contracting to silver. "Whatever am I going to do with you?" he murmured. The warmth of his breath feathered over my skin. Heat collected in my groin, my lips. My mouth was dry, my voice hoarse, and perhaps he was right and it was madness when I whispered, "Whatever you want." A shiver went through his body, perhaps because we were lying on the cold ground. But instead of getting up, he leaned closer, his overlong hair tumbling over his forehead. He paused, his mouth almost touching mine, his eyes seeming to ask a question. It was madness; it was folly; it was sheer selfishness. I was delusional, misguided, wrong, out of control. I needed to pull back, to say something sane, to re-establish mastery over myself. I could not do this. I could not take the risk. Later tonight, I'd relive this moment in my lonely bed and wonder if I'd done the right thing. But at least that would be familiar, would be something I knew how to cope with. And yet the very thought felt like dying. I surged forward, crossing the final, tiny gap and pressing my lips to his. It was awkward and desperate and frantic, but the feel of his mouth against mine sent a bolt of electricity straight down my spine. Just a moment, just this one kiss, surely that would be enough... Then he kissed me back, and it would never be enough, a thousand years of this would not be enough. His mouth was hungry and insistent, his tongue probing my lips, asking for greater intimacy. I granted it, tongues swirling together, mine followed his when it retreated and tasting him in return. There came the clanging of bells in the distance, the fire company alerted to the explosion. Griffin drew back a fraction. His breath was as raged as mine, which left me dazed with wonder. "My dear," he whispered against my lips. Then he swallowed convulsively. "We should leave, before the fire companies come." "Y-Yes." It was amazing I managed that much coherence. He closed his eyes and leaned his forehead against mine, our breaths mingling. "Will you come home with me?" Was he asking...? "Yes." Oh, God, yes. His lips curved into a smile.

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.

Optimal Tower is a skyscraper unlike its predecessors, rising skyward as an artistic endeavor, spirited and soulful, with a steel and glass manifestation reminiscent of Claude Monet's water lilies, and instantly dismissive of the gray, steel and mortar structures of the past. The architects and builders have pilfered Monet's color pallet and painted this vertical stretch of the Cavanaugh skyline with the delicate greens and blues and grays and yellows of Giverny. Somehow, in the structure, the sensibility of an impressionist painting emerges as the muted colors are faded in splotches and sunlit in others, with gradual transitions as subtle as the delicate brush strokes of the master himself. Steel beams crisscross haphazardly throughout the towering facade, which only reinforces its intrinsic impressionistic essence by emulating the natural randomness of the lily pond. Atop the structure, a simple fifty foot spire seems to rein in the freeform work beneath it as it merges the natural splendor into one straight pinnacle skyward. This one hundred and fifteen story building reaches twenty-five stories above its surroundings, creating a gloriously artful and peaked skyline not unlike the Alps in France that will be instantly recognizable the world over and cause onlookers to gasp and utter, "C'est Magnifique.

I had better come clean now and say that I do not believe that art (all art) and beauty are ever separate, nor do I believe that either art or beauty are optional in a sane society." "That puts me on the side of what Harold Bloom calls 'the ecstasy of the privileged moment. Art, all art, as insight, as transformation, as joy. Unlike Harold Bloom, I really believe that human beings can be taught to love what they do not love already and that the privileged moment exists for all of us, if we let it. Letting art is the paradox of active surrender. I have to work for art if I want art to work on me." (...) We know that the universe is infinite, expanding and strangely complete, that it lacks nothing we need, but in spite of that knowledge, the tragic paradigm of human life is lack, loss, finality, a primitive doomsaying that has not been repealed by technology or medical science. The arts stand in the way of this doomsaying. Art objects. The nouns become an active force not a collector's item. Art objects. "The cave wall paintings at Lascaux, the Sistine Chapel ceiling, the huge truth of a Picasso, the quieter truth of Vanessa Bell, are part of the art that objects to the lie against life, against the spirit, that is pointless and mean. The message colored through time is not lack, but abundance. Not silence but many voices. Art, all art, is the communication cord that cannot be snapped by indifference or disaster. Against the daily death it does not die." "Naked I came into the world, but brush strokes cover me, language raises me, music rhythms me. Art is my rod and my staff, my resting place and shield, and not mine only, for art leaves nobody out. Even those from whom art has been stolen away by tyranny, by poverty, begin to make it again. If the arts did not exist, at every moment, someone would begin to create them, in song, out of dust and mud, and although the artifacts might be destroyed, the energy that creates them is not destroyed. If, in the comfortable West, we have chosen to treat such energies with scepticism and contempt, then so much the worse for us. "Art is not a little bit of evolution that late-twentieth-century city dwellers can safely do without. Strictly, art does not belong to our evolutionary pattern at all. It has no biological necessity. Time taken up with it was time lost to hunting, gathering, mating, exploring, building, surviving, thriving. Odd then, that when routine physical threats to ourselves and our kind are no longer a reality, we say we have no time for art. "If we say that art, all art is no longer relevant to our lives, then we might at least risk the question 'What has happened to our lives?

What if even then, God had plans for a second garden? Another tree, and another chance to reach out and accept the abundance of life? What if in Eden, God was planning Gethsemane?" The question echoed through Lucy, growing in power with each reverberation within her soul. She held a flower in her hands. The sweet, exotic perfume floated deep into Lucy's heart---carrying Ms. Beth's words right along beside it. Lucy hesitated, allowing the words to take effect. "Are you circling a closed Eden, or have you chosen to step into Gethsemane, through the open gate?" Lucy blinked. She had never thought of it like that. "Maybe what you thought was a closed gate meant to punish you is actually God's way of protecting you from remaining in a place where you won't and can't receive His life." The truth washed Lucy's heart with color. As it brushed over the harsh edges with water, watercolor blooms began to blend one into the other, filling her with understanding. Lucy's heart swelled as the long-dry soil soaked up this water. "Where you're preoccupied with your failures and your fears and the desire to preserve all you might lose, God has a plan to preserve something else. To root you in a place where life can grow within you once more, freely and abundantly. A garden of death for a garden of life, where through His own resurrection Jesus returns all that was stolen.

John Isidore said, “I found a spider.” The three androids glanced up, momentarily moving their attention from the TV screen to him. “Let’s see it,” Pris said. She held out her hand. Roy Baty said, “Don’t talk while Buster is on.” “I’ve never seen a spider,” Pris said. She cupped the medicine bottle in her palms, surveying the creature within. “All those legs. Why’s it need so many legs, J. R.?” “That’s the way spiders are,” Isidore said, his heart pounding; he had difficulty breathing. “Eight legs.” Rising to her feet, Pris said, “You know what I think, J. R.? I think it doesn’t need all those legs.” “Eight?” Irmgard Baty said. “Why couldn’t it get by on four? Cut four off and see.” Impulsively opening her purse, she produced a pair of clean, sharp cuticle scissors, which she passed to Pris. A weird terror struck at J. R. Isidore. Carrying the medicine bottle into the kitchen, Pris seated herself at J. R. Isidore’s breakfast table. She removed the lid from the bottle and dumped the spider out. “It probably won’t be able to run as fast,” she said, “but there’s nothing for it to catch around here anyhow. It’ll die anyway.” She reached for the scissors. “Please,” Isidore said. Pris glanced up inquiringly. “Is it worth something?” “Don’t mutilate it,” he said wheezingly. Imploringly. With the scissors, Pris snipped off one of the spider’s legs. In the living room Buster Friendly on the TV screen said, “Take a look at this enlargement of a section of background. This is the sky you usually see. Wait, I’ll have Earl Parameter, head of my research staff, explain their virtually world-shaking discovery to you.” Pris clipped off another leg, restraining the spider with the edge of her hand. She was smiling. “Blowups of the video pictures,” a new voice from the TV said, “when subjected to rigorous laboratory scrutiny, reveal that the gray backdrop of sky and daytime moon against which Mercer moves is not only not Terran—it is artificial.” “You’re missing it!” Irmgard called anxiously to Pris; she rushed to the kitchen door, saw what Pris had begun doing. “Oh, do that afterward,” she said coaxingly. “This is so important, what they’re saying; it proves that everything we believed—” “Be quiet,” Roy Baty said. “—is true,” Irmgard finished. The TV set continued, “The ‘moon’ is painted; in the enlargements, one of which you see now on your screen, brush strokes show. And there is even some evidence that the scraggly weeds and dismal, sterile soil—perhaps even the stones hurled at Mercer by unseen alleged parties—are equally faked. It is quite possible in fact that the ‘stones’ are made of soft plastic, causing no authentic wounds.” “In other words,” Buster Friendly broke in, “Wilbur Mercer is not suffering at all.” The research chief said, “We at last managed, Mr. Friendly, to track down a former Hollywood special-effects man, a Mr. Wade Cortot, who flatly states, from his years of experience, that the figure of ‘Mercer’ could well be merely some bit player marching across a sound stage. Cortot has gone so far as to declare that he recognizes the stage as one used by a now out-of-business minor moviemaker with whom Cortot had various dealings several decades ago.” “So according to Cortot,” Buster Friendly said, “there can be virtually no doubt.” Pris had now cut three legs from the spider, which crept about miserably on the kitchen table, seeking a way out, a path to freedom. It found none.

She took my wings,' he whispered. Tamlin's green eyes flickered and I knew right then, that the faerie was going to die. Death wasn't just hovering in this hall; it was counting down the faerie's remaining heartbeats. I took one of the faerie's hands in mine. The skin there was almost leathery, and, perhaps more of a reflex than anything, his long fingers wrapped around mine, covering them completely. 'She took my wings,' he said again, his shaking subsiding a bit. I brushed the long, damp hair from the faerie's half-turned face, revealing a pointed nose and a mouth full of sharp teeth. His dark eyes shifted to mine, beseeching, pleading. 'It will be all right,' I said, and hoped he couldn't smell the lies the way the Suriel was able to. I stroked his limp hair, its texture like liquid night- another I would never be able to paint but would try to, perhaps forever. 'It will be all right.' The faerie closed his eyes, and I tightened my grip on his hand. Something wet touched my feet, and I didn't need to look down to see that his blood had pooled around me. 'My wings,' the faerie whispered. 'You'll get them back.' The faerie struggled to open his eyes. 'You swear?' 'Yes,' I breathed. The faerie managed a slight smile and closed his eyes again. My mouth trembled. I wished for something else to say, something more to offer him than my empty promises. The first false vow I'd ever sworn. But Tamlin began speaking, and I glanced up to see him take the faerie's other hand. 'Cauldron save you,' he said, reciting the words of a prayer that was probably older than the mortal realm. 'Mother hold you. Pass through the gates, and smell that immortal land of milk and honey. Fear no evil. Feel no pain.' Tamlin's voice wavered, but he finished. 'Go, and enter eternity.' The faerie heaved one final sigh, and his hand went limp in mine. I didn't let go, though, and kept stroking his hair, even when Tamlin released him and took a few steps from the table. I could feel Tamlin's eyes on me, but I wouldn't let go. I didn't know how long it took for a soul to fade from the body. I stood in the puddle of blood until it grew cold, holding the faerie's spindly hand and stroking his hair, wondering if he knew I'd lied when I'd sworn he would get his wings back, wondering if, wherever he had now gone, he had gotten them back. A clock chimed somewhere in the house, and Tamlin gripped my shoulder. I hadn't realised how cold I'd become until the heat of his hand warmed me through my nightgown. 'He's gone. Let him go.' I studied the faerie's face- so unearthly, so inhuman. Who could be so cruel to hurt him like that? 'Feyre,' Tamlin said, squeezing my shoulder. I brushed the faerie's hair behind his long, pointed ear, wishing I'd known his name, and let go.

We sat at long tables side by side in a big dusty room where we laughed and carried on until they told us to pipe down and paint. The running joke was how we glowed, the handkerchiefs we sneezed into lighting up our purses when we opened them at night, our lips and nails, painted for our boyfriends as a lark, simmering white as ash in a dark room. "Would you die for science?" the reporter asked us, Edna and me, the main ones in the papers. Science? We mixed up glue, water and radium powder into a glowing greenish white paint and painted watch dials with a little brush, one number after another, taking one dial after another, all day long, from the racks sitting next to our chairs. After a few strokes, the brush lost its shape, and our bosses told us to point it with our lips. Was that science? I quit the watch factory to work in a bank and thought I'd gotten class, more money, a better life, until I lost a tooth in back and two in front and my jaw filled up with sores. We sued: Edna, Katherine, Quinta, Larice and me, but when we got to court, not one of us could raise our arms to take the oath. My teeth were gone by then. "Pretty Grace Fryer," they called me in the papers. All of us were dying. We heard the scientist in France, Marie Curie, could not believe "the manner in which we worked" and how we tasted that pretty paint a hundred times a day. Now, even our crumbling bones will glow forever in the black earth.

I'm so excited to meet you, Emma," she says. "Now I know why Galen won't shut up about you." Her smile seems to contradict the decades' worth of frown lines rippling from her mouth. In fact, it's so genuine and warm that I almost believe she is excited to meet me. But isn't that what all moms say when introduced to their son's girlfriend? You're not his girlfriend, stupid. Or does she think we're dating, too? "Thanks, I think," I smile generically. "I'm sure he's told you a million times how clumsy I am." Because how else am I supposed to take that? "A million and one, actually. Wish you'd do something different for a change," Rayna drawls without looking up. Rayna has outstayed her welcome on my nerves. "I could teach you how to color in the lines," I shoot back. The look she gives me could sour milk. Toraf puts his hands on her shoulders and kisses the top of her head. "I think you're doing a great job, my princess." She wiggles out of his grasp and shoves the polish brush back into its bottle. "If you're so good at it, why don't you paint your toes? They probably stay injured all the time from you running into stuff. Am I right?" Yeah? And? I'm about to set her straight on a few things-like how wearing a skirt and sitting Indian-style ruins the effect of pretty toes anyway-when Galen's mom puts a gentle hand on my arm and clears her throat. "Emma, I'm so glad you're feeling better," she says. "I bet dinner would just about complete your recovery, don't you?

On Monday morning, she called me into her bedroom. Her dark hair was tousled, her light robe very feminine against the soft blue of her bed. Her eyes were full of mischief. “Oh, Mr. West,” she whispered in her beguiling child’s voice. “I’ve gotten myself into something. Can you help me get out of it?” “What can I do?” I asked, wondering who was next in line to be fired. “I’ve invited someone to stay here,” she said, “but now we’ve changed our minds.” She cast a glance in the direction of the President’s bedroom. “Could you help us cook up something so we can get out of having her as a houseguest?” Without waiting for a reply, she rushed on, her request becoming a command in mid-breath. “Would you fix up the Queen’s Room and the Lincoln Room so that it looks like we’re still decorating them, and I’ll show her that our guest rooms are not available.” Her eyes twinkled, imagining the elaborate deception. “The guest rooms will be redecorated immediately,” I said, and almost clicked my heels. I called Bonner Arrington in the carpenter’s shop. “Bring drop-cloths up to the Queen’s Room and Lincoln Bedroom. Roll up the rugs and cover the draperies and chandeliers, and all the furniture,” I instructed. “Oh yes, and bring a stepladder.” I called the paint shop. “I need six paint buckets each for the Queen’s Room and the Lincoln Room. Two of the buckets in each room should be empty—off-white—and I need four or five dirty brushes.” I met the crews on the second floor. “Now proceed to make these two rooms look as if they’re being redecorated,” I directed. “You mean you don’t want us to paint?” said the painters. “No,” I said. “Just make it look as if you are.” The crew had a good time, even though they didn’t know what it was all about. As I brought in the finishing touches, ashtrays filled with cigarette butts, Bonner shook his head. “Mr. West, all I can say is that this place has finally got to you,” he said. That evening the President and Mrs. Kennedy entertained a Princess for dinner upstairs in the President’s Dining Room. Before dinner, though, President Kennedy strolled down to the East Hall with his wife’s guest. He pointed out the bedraped Queen’s Room. “… And you see, this is where you would have spent the night if Jackie hadn’t been redecorating again,” he told the unsuspecting lady. The next morning, Mrs. Kennedy phoned me. “Mr. West, you outdid yourself,” she exclaimed. “The President almost broke up when he saw those ashtrays.

I pulled at the knot again and heard threads begin to pop. “Allow me, Miss Jones,” said Armand, right at my back. There was no gracious way to refuse him. Not with Mrs. Westcliffe there, too. I exhaled and dropped my arms. I stared at the lotus petals in my painting as the new small twists and tugs of Armand’s hands rocked me back and forth. Jesse’s music began to reverberate somewhat more sharply than before. “There,” Armand said, soft near my ear. “Nearly got it.” “Most kind of you, my lord.” Mrs. Westcliffe’s voice was far more carrying. “Do you not agree, Miss Jones?” Her tone said I’d better. “Most kind,” I repeated. For some reason I felt him as a solid warmth behind me, behind all of me, even though only his knuckles made a gentle bumping against my spine. How blasted long could it take to unravel a knot? “Yes,” said Chloe unexpectedly. “Lord Armand is always a perfect gentleman, no matter who or what demands his attention.” “There,” the gentleman said, and at last his hands fell away. The front of the smock sagged loose. I shrugged out of it as fast as I could, wadding it up into a ball. “Excuse me.” I ducked a curtsy and began my escape to the hamper, but Mrs. Westcliffe cut me short. “A moment, Miss Jones. We require your presence.” I turned to face them. Armand was smiling his faint, cool smile. Mrs. Westcliffe looked as if she wished to fix me in some way. I raised a hand instinctively to my hair, trying to press it properly into place. “You have the honor of being invited to tea at the manor house,” the headmistress said. “To formally meet His Grace.” “Oh,” I said. “How marvelous.” I’d rather have a tooth pulled out. “Indeed. Lord Armand came himself to deliver the invitation.” “Least I could do,” said Armand. “It wasn’t far. This Saturday, if that’s all right.” “Um…” “I am certain Miss Jones will be pleased to cancel any other plans,” said Mrs. Westcliffe. “This Saturday?” Unlike me, Chloe had not concealed an inch of ground. “Why, Mandy! That’s the day you promised we’d play lawn tennis.” He cocked a brow at her, and I knew right then that she was lying and that she knew that he knew. She sent him a melting smile. “Isn’t it, my lord?” “I must have forgotten,” he said. “Well, but we cannot disappoint the duke, can we?” “No, indeed,” interjected Mrs. Westcliffe. “So I suppose you’ll have to come along to the tea instead, Chloe.” “Very well. If you insist.” He didn’t insist. He did, however, sweep her a very deep bow and then another to the headmistress. “And you, too, Mrs. Westcliffe. Naturally. The duke always remarks upon your excellent company.” “Most kind,” she said again, and actually blushed. Armand looked dead at me. There was that challenge behind his gaze, that one I’d first glimpsed at the train station. “We find ourselves in harmony, then. I shall see you in a few days, Miss Jones.” I tightened my fingers into the wad of the smock and forced my lips into an upward curve. He smiled back at me, that cold smile that said plainly he wasn’t duped for a moment. I did not get a bow. Jesse was at the hamper when I went to toss in the smock. Before I could, he took it from me, eyes cast downward, no words. Our fingers brushed beneath the cloth. That fleeting glide of his skin against mine. The sensation of hardened calluses stroking me, tender and rough at once. The sweet, strong pleasure that spiked through me, brief as it was. That had been on purpose. I was sure of it.

Suenos. Dulces Suenos. He must be painting upstairs. I can feel it. I remember when his father was just a baby and I called her Mama for the first time and she became Mama for all of us; Mama de la casa and his father would wake up in the middle of the night and scream in his crib and nothing would make him stop, nada, and Mama would get so exhausted she would turn her back to me and cry in her pillow. I would smooth her hair-it was black, Basilio, as black as an olive-and I would turn on the radio (electricity, Basilio, in the middle of the night), to maybe calm the baby and listen to something besides the screaming. Mama liked the radio, Basilio, and we listened while your father cried-cantante negra, cantante de almas azules-and it made us feel a little better, helped us make it through. I had to get up early to catch the streetcar to the shipyard, but when the crying finally stopped sometimes the sun would be ready to pop and Mama's breathing would slow down and her shoulders would move like gentle waves, sleeping but still listening, like I can hear her now on this good bed, and Basilio-Mira, hombre, I will not tell you this again-if I moved very close and kissed her shoulders, she would turn to face me and we would have to be quiet Basilio, under the music, very, very quiet.... So this I want to know, Basilio. This, if you want to live on Macon Street for another minute. Can you paint an apple baked soft in the oven, an apple filled with cinnamon and raisins? Can you paint such a woman? Are you good enough yet with those brushes so that she will step out of your pictures to turn on the radio in the middle of the night? Will she visit an old man on his death bed? If you cannot do that, Basilio, there is no need for you to live here anymore.

We were in Julie’s room one night, my eldest daughter and I, maybe a decade ago now. I wanted to show her how the canvas painting she had carefully labored over for her little sister's Christmas gift was framed and hung on the wall. I said, gazing at her masterpiece with no small amount of motherly pride, “Now it looks like a real work of art”. Bella looked at me quizzically, wondering yet again how her mother could possibly understand so little about the world. “Mama, every time you make something, or draw something, or paint something, it is already real art. There is no such thing as art that is not real” And so I said that she was right, and didn’t it look nice, and once again, daughter became guru and mother became willing student. Which is, I sometimes think, the way it was meant to be. ~~~~~ art is always real. all of it. even the stuff you don’t understand. even the stuff you don’t like. even the stuff that you made that you would be embarrassed to show your best friend that photo that you took when you first got your DSLR, when you captured her spirit perfectly but the focus landed on her shoulder? still art. the painting you did last year the first time you picked up a brush, the one your mentor critiqued to death? it’s art. the story you are holding in your heart and so desperately want to tell the world? definitely art. the scarf you knit for your son with the funky messed up rows? art. art. art. the poem scrawled on your dry cleaning receipt at the red light. the dress you want to sew. the song you want to sing. the clay you’ve not yet molded. everything you have made or will one day make or imagine making in your wildest dreams. it’s all real, every last bit. because there is no such thing as art that is not real.

An android,” Irmgard explained. “And nobody knows. No humans, I mean.” Pris, with the scissors, cut yet another leg from the spider. All at once John Isidore pushed her away and lifted up the mutilated creature. He carried it to the sink and there he drowned it. In him, his mind, his hopes, drowned, too. As swiftly as the spider. “He’s really upset,” Irmgard said nervously. “Don’t look like that, J. R. And why don’t you say anything?” To Pris and to her husband she said, “It makes me terribly upset, him just standing there by the sink and not speaking; he hasn’t said anything since we turned on the TV.” “It’s not the TV,” Pris said. “It’s the spider. Isn’t it, John R. Isidore? He’ll get over it,” she said to Irmgard, who had gone into the other room to shut off the TV. Regarding Isidore with easy amusement, Roy Baty said, “It’s all over now, Iz. For Mercerism, I mean.” With his nails he managed to lift the corpse of the spider from the sink. “Maybe this was the last spider,” he said. “The last living spider on Earth.” He reflected. “In that case it’s all over for spiders, too.” “I—don’t feel well,” Isidore said. From the kitchen cupboard he got a cup; he stood holding it for an interval—he did not know exactly how long. And then he said to Roy Baty, “Is the sky behind Mercer just painted? Not real?” “You saw the enlargements on the TV screen,” Roy Baty said. “The brush strokes.” “Mercerism isn’t finished,” Isidore said. Something ailed the three androids, something terrible. The spider, he thought. Maybe it had been the last spider on Earth, as Roy Baty said. And the spider is gone; Mercer is gone; he saw the dust and the ruin of the apartment as it lay spreading out everywhere—he heard the kipple coming, the final disorder of all forms, the absence which would win out. It grew around him as he stood holding the empty ceramic cup; the cupboards of the kitchen creaked and split and he felt the floor beneath his feet give.

In this sense, therefore, inasmuch as we have access to neither the beautiful nor the ugly, and are incapable of judging, we are condemned to indifference. Beyond this indifference, however, another kind of fascination emerges, a fascination which replaces aesthetic pleasure. For, once liberated from their respective constraints, the beautiful and the ugly, in a sense, multiply: they become more beautiful than beautiful, more ugly than ugly. Thus painting currently cultivates, if not ugliness exactly - which remains an aesthetic value - then the uglier-than-ugly (the 'bad', the 'worse', kitsch), an ugliness raised to the second power because it is liberated from any relationship with its opposite. Once freed from the 'true' Mondrian, we are at liberty to 'out-Mondrian Mondrian'; freed from the true naifs, we can paint in a way that is 'more naif than naif', and so on. And once freed from reality, we can produce the 'realer than real' - hyperrealism. It was in fact with hyperrealism and pop art that everything began, that everyday life was raised to the ironic power of photographic realism. Today this escalation has caught up every form of art, every style; and all, without discrimination, have entered the transaesthetic world of simulation. There is a parallel to this escalation in the art market itself. Here too, because an end has been put to any deference to the law of value, to the logic of commodities, everything has become 'more expensive than expensive' - expensive, as it were, squared. Prices are exorbitant - the bidding has gone through the roof. Just as the abandonment of all aesthetic ground rules provokes a kind of brush fire of aesthetic values, so the loss of all reference to the laws of exchange means that the market hurtles into unrestrained speculation. The frenzy, the folly, the sheer excess are the same. The promotional ignition of art is directly linked to the impossibility of all aesthetic evaluation. In the absence of value judgements, value goes up in flames. And it goes up in a sort of ecstasy. There are two art markets today. One is still regulated by a hierarchy of values, even if these are already of a speculative kind. The other resembles nothing so much as floating and uncontrollable capital in the financial market: it is pure speculation, movement for movement's sake, with no apparent purpose other than to defy the law of value. This second art market has much in common with poker or potlatch - it is a kind of space opera in the hyperspace of value. Should we be scandalized? No. There is nothing immoral here. Just as present-day art is beyond beautiful and ugly, the market, for its part, is beyond good and evil.

We turned off the path then, following a line of red, cup-shaped wildflowers that I had not seen before. And then abruptly, we came to a door-- an actual door, because the Folk are maddeningly inconsistent, even when it comes to their inconsistencies--- tucked into a little hollow. It was only about two feet tall and painted to look like the mountainside, a scene of grey-brown scree with a few splashes of green, so realistic that it was like a reflection on still water. The only thing that gave it away was the doorknob, which looked like nothing that I can put into human terms; the best I can do is compare it to a billow of fog trapped in a shard of ice. "It has the look of a brownie house," Wendell said. "But perhaps I should make sure." He shoved the door open and vanished into the shadows within--- I cannot relate how he accomplished this; it seemed for a moment as if the door grew to fit him, but I was unable to get a handle on the mechanics as not one second later he was racing out again and the door had shrunk to its old proportions. Several porcelain cups and saucers followed in his wake, about the right size for a doll, and one made contact, smashing against his shoulder. Behind the hail of pottery came a little faerie who barely came up to my knee, wrapped so tightly in what looked like a bathrobe made of snow that I could see only its enormous black eyes. Upon its head it wore a white sleeping cap. It was brandishing a frying pan and shouting something--- I think--- but its voice was so small that I could only pick out the odd word. It was some dialect of Faie that I could not understand, but as the largest difference between High Faie and the faerie dialects lies in the profanities, the sentiment was clear. "Good Lord!" Rose said, leaping out of range of the onslaught. "I don't--- what on--- would you stop?" Wendell cried, shielding himself with his arm. "Yes, all right, I should have knocked, but is this really necessary?" The faerie kept on shrieking, and then it launched the frying pan at Wendell's head--- he ducked--- and slammed its door. Rose and I stared at each other. Ariadne looked blankly from Wendell to the door, clutching her scarf with both hands. "Bloody Winter Folk," Wendell said, brushing ceramic shards from his cloak. "Winter Folk?" I repeated. "Guardians of the seasons--- or anyway, that is how they see themselves," he said sourly. "Really I think they just want a romantic excuse to go about blasting people with frost and zephyrs and such. It seems I woke him earlier than he desired." I had never heard of such a categorization, but as I was somewhat numb with surprise, I filed the information away rather than questioning him further. I fear that working with one of the Folk is slowly turning my mind into an attic of half-forgotten scholarly treasures.

I consider myself a student of colours and shades and hues and tints. Crimson lake, burnt umber, ultramarine … I was too clumsy as a child to paint with my moistened brush the scenery that I would have liked to bring into being. I preferred to leave untouched in their white metallic surroundings my rows of powdery rectangles of water-colours, to read aloud one after another of the tiny printed names of the coloured rectangles, and to let each colour seem to soak into each word of its name or even into each syllable of each word of each name so that I could afterwards call to mind an exact shade or hue from an image of no more than black letters on a white ground. Deep cadmium, geranium lake, imperial purple, parchment … after the last of our children had found employment and had moved out of our home, my wife and I were able to buy for ourselves things that had previously been beyond our means. I bought my first such luxury, as I called it, in a shop selling artists’ supplies. I bought there a complete set of coloured pencils made by a famous maker of pencils in England: a hundred and twenty pencils, each stamped with gold lettering along its side and having at its end a perfectly tapered wick. The collection of pencils is behind me as I write these words. It rests near the jars of glass marbles and the kaleidoscope mentioned earlier. None of the pencils has ever been used in the way that most pencils are used, but I have sometimes used the many-striped collection in order to confirm my suspicion as a child that each of what I called my long-lost moods might be recollected and, perhaps, preserved if only I could look again at the precise shade or hue that had become connected with the mood – that had absorbed, as it were, or had been permeated with, one or more of the indefinable qualities that constitute what is called a mood or a state of feeling. During the weeks since I first wrote in the earlier pages of this report about the windows in the church of white stone, I have spent every day an increasing amount of time in moving my pencils to and fro among the hollow spaces allotted to them in their container. I seem to recall that I tried sometimes, many years ago, to move my glass marbles from place to place on the carpet near my desk with the vague hope that some or another chance arrangement of them would restore to me some previously irretrievable mood. The marbles, however, were too variously coloured, and each differed too markedly from the other. Their colours seemed to vie, to compete. Or, a single marble might suggest more than I was in search of: a whole afternoon in my childhood or a row of trees in a backyard when I had wanted back only a certain few moments when my face was brushed by a certain few leaves. Among the pencils are many differing only subtly from their neighbours. Six at least I might have called simply red if I had not learned long ago their true names. With these six, and with still others from each side of them, I often arrange one after another of many possible sequences, hoping to see in the conjectured space between some or another unlikely pair a certain tint that I have wanted for long to see.